Mumford, Marrie

This thesis is about the ways in which Indigenous dance serves as a social determinant of Indigenous health and well-being. Utilizing both contemporary and traditional versions of the Medicine Wheel for the framework, analysis and organization of the thesis allows for a holistic perspective which includes the spiritual, physical, emotional and mental aspects. The importance of Indigenous dance for Indigenous health and well-being is confirmed through: existing literature; interviews with Indigenous choreographers, dancers, theatre artists, and performers; Indigenous exponents of the forms; and Indigenous Elders. In order to contextualize current practices of Indigenous dance, the history of Indigenous dance in relation to colonization is presented. The research and experiences of co-researchers show the need for Indigenous dance and culture to be supported as a social determinant of health and well-being.

This dissertation explores a 2017 elementary school Hoop Dance project that was organized by a white music teacher, and taught by an Indigenous artist in Peterborough, Ontario. It aims to respond to the Truth and Reconciliation Commission Calls to Action, numbers 10 and 63, which ask the federal government to sufficiently fund legislation that incorporates the following principles: "… developing culturally appropriate curricula" (p. 2), and "building student capacity for intercultural understanding, empathy, and mutual respect" (p. 7). The dissertation asks the question: In what ways will a seven-week Indigenous Hoop Dance Unit, taught by an Indigenous performing artist and facilitated by a white school teacher, contribute to reconciliation in an elementary school classroom in Ontario? I am the teacher in this study and have worked at this elementary school for five years. Throughout the project, I acted as facilitator, participant, and researcher, while Indigenous dancer and instructor Beany John planned and delivered the Hoop Dance content.

Theoretically, the dissertation is organized around the Anishinabek seven grandmother/grandfather teachings, as taught by Ojibwe/Odawa educator and author Pamela Toulouse (2011). I believe that these seven traditional teachings are a meaningful basis upon which to build the project, not only because they inform Indigenous knowledge in the arts, but also because frequent reflection and referral to the teachings help remind me to remain connected to the "higher" purpose of the research throughout the project, which is to further the reconciliation process in Canada, and more broadly, to benefit society. Regarding methodology, I use arts based research (Leavy, 2015) and a constructivist grounded theory analysis, which embraces the subjectivity and positionality of the researcher (Creswell, 2012). The overall conclusion of the dissertation is that although the Hoop Dance project did not significantly address issues of Indigenous sovereignty in education nor our shared inherited legacy of colonial harm, it was a constructive step in the reconciliation project, largely due to the contributions of Beany John, whose teaching gently unsettled conventional educational practice at our school.

Author Keywords: Arts Education, Hoop Dance, Indigenous Education, Indigenous Peoples, Settler Colonialism, Truth and Reconciliation