Performing arts

The COVID-19 pandemic resulted in drastic impacts for people with disabilities across Canada. The pandemic opened questions about what meaningful access practices are and how these can be utilized to better engage people with disabilities in the arts. 10 participants, comprised of people with disabilities, were recruited for semi-structured interviews to understand their experiences with the local arts over the past five years. Five themes arose within the data findings, including: Access as Community-Based Care, On the Fringe, Access Labour, Passive Consumption, and Neoliberal Compliance. A document analysis was conducted to compare the participants' views on effective access practices to the recommendations included in the Accessibility for Ontarians with Disabilities Act. Using a critical disability studies lens, the thesis concluded that meaningful access emerges through the grassroots work of communities, requiring ongoing communication with and between invested parties to prioritize the complex and unique needs of those with non-normative body-minds.

Author Keywords: accessibility, arts, covid-19, critical disability studies, disability, neoliberalism

This thesis presents a critical history of stand-up comedy alongside rhetorical analyses of specific stand-up routines and performances to argue for stand-up's efficacy as a therapeutic artform. Through analysis of the history, function, and content of satire, this thesis presents stand-up comedy as an artform utilized for more than just simple laughter. Stand-up comedy, as a form and genre, provides the unique ability to engage with difficult subject matter, traumatic experiences, and offense for the benefit of both listener and audience in a way that subverts, therapizes, and equalizes instances of discrimination, trauma, and denigration.

Author Keywords: Abjection, Offense, Satire, Stand-up Comedy, Therapy

Distributing contextual fear episodes makes the memory become HPC-independent, meaning increasingly reliant on non-HPC memory structures. It is unclear, however, whether distribution of the conditioning episodes alone is sufficient or whether a combination of distribution and high conditioning saliency is necessary to make the memory become HPC-independent. To resolve this issue, rats were trained using a distributed contextual fear conditioning protocol in which foot-shocks were manipulated to create a low (0.4mA), intermediate (0.7 mA) and high (1.0 mA) saliency condition. This thesis also aimed to determine brain structures supporting the HPC-independent memory by assessing retention-induced c-fos expression in the basolateral- amygdala, perirhinal and anterior cingulate cortices. The results suggest that HPC lesion rats in the high saliency condition displayed similar level of freezing as control rats, indicating "strongly salient" and distributed episodes creates a HPC independent memory. c-fos expression suggests together, an increased context representation in the perirhinal and anterior cingulate cortices and a strengthened fear representation in the basolateral-amygdala supports the HPC-independent memory.

Author Keywords: context fear memory, distributed reinstatements, hippocampus, IEG, rat, saliency

How can educators use drama to nurture an ability in their students to identify and challenge the discourses and practices that have historically perpetuated oppression and inequality within Canada — without miring them in those narratives of oppression? This dissertation discusses the work of De-Railed, a theatre group that worked with youth in Hamilton Rapids, a Toronto neighbourhood where a high percentage of residents experience racial discrimination and poverty, to create a play about the destruction of Africville, a historically Black community in Halifax, NS. Drawing from the methodologies of critical, performance, and imaginative ethnography; critical multiculturalism; theatre of the oppressed; and feminist critical pedagogy, this dissertation argues that while participants used the fictional and intersubjective nature of drama to express embodied and affective resistance to class- and race-based oppressions in Canada's past and present, the play-building process also reproduced certain unequal disciplinary structures that De-Railed was attempting to challenge. Emphasizing the importance of creating space for young people's expressions of negative affect and emotion, this dissertation considers both the potentialities and limitations of De-Railed's application of theatre of the oppressed methods in enabling participants to engage in affective expressions of resistance that may not have been permissible or available in other areas of their lives.

Author Keywords: Africville, feminist critical pedagogy, forum theatre, multiculturalism, performance ethnography, theatre of the oppressed

Since 1984, poetry slams have emerged as a politicized expressive movement of performing the personal and political through poetry competitions. Slams are also discursively spatialized, often represented as "spaces" that are "safe," "inclusive," etc. In this thesis, I investigate how, why, and to what effect the Peterborough Poetry Slam produces, consolidates, and challenges such "resistant spaces." Drawing on interviews and participant observation, I consider how the slam's reiterative practices facilitate its space-making by encouraging performances that resist, reimagine, and sometimes inadvertently reify dominant societal norms. I argue that this space-making is imperfect yet productive: though not resistant space in any straightforward or static way, the slam continuously produces possibilities to challenge norms and confront power. This thesis contributes to scholarship on performative space and creative resistance movements. In an era when political resistance to power structures is often silenced, this research offers insights of potential significance to other resistant space-makings.

Author Keywords: Nogojiwanong Peterborough, performative space, poetry slam, resistance, space-making, spoken word