Thesis (M.A.)--University of Hong Kong, 1996. / Includes bibliographical references (leaf 46-48). Also available in print.

Thesis (Ph. D.)--University of California, San Diego, 2010. / Title from first page of PDF file (viewed May 5, 2010). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (leaves 447-492).

Thesis (M.S. in Defense Analysis)--Naval Postgraduate School, June 2005. / Thesis Advisor(s): Anna Simons. Includes bibliographical references (p. 57-63). Also available online.

Thesis (M.A.)--Catholic Theological Union at Chicago, 2004. / Vita. Includes bibliographical references (leaves [54]-57).

Thesis (M.A.)--Catholic Theological Union at Chicago, 2004. / Vita. Includes bibliographical references (leaves [54]-57).

Thesis (Ph.D.)--Bowling Green State University, 2007. / Document formatted into pages; contains x, 167 p. Includes bibliographical references.

Thesis (Ph.D.)--York University, 2005. Graduate Programme in Sociology. / Typescript. Includes bibliographical references (leaves 256-265). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNR11634

This dissertation explores narratives that emerge from a community-museum collaboration while working with refugees in relation to Trinh T. Minh-ha’s (2011) concept of the boundary event. Within this study the boundary event is explored as moments of overlap where identity, experiences, knowledge, and processes are continuously being negotiated; by embracing or leaning into these moments, community-museum programs can develop multivocal narratives—where no single voice is heard as distinctly clear or separate. These co-created museum narratives stand in contrast to educational and engagement strategies that aim to instill knowledge and elevate community with the museum as the expert. In this dissertation 16 participant voices– of 15 refugees and one museum educator– mingle, coalesce, and complicate museum narratives. These narratives are participant-created (data presentation) as well as researcher-constructed (analysis and interpretation). Using the methodological lens of narrative inquiry and decolonization I investigated data collected from over a two-year period (summer 2013-summer 2015) including: content and wall labels collected from two exhibitions, one marks the beginning of the study in 2013 and the second in 2015 concludes the study; gallery activities collected over the course of the two-year study; and educator field notes from the 28 individual sessions. Ultimately, I argue that multivocal narratives, and embracing moments defined as the boundary event, complicate traditional hierarchy and expected stories of refugees and new migrants illustrating how difference can positively disrupt linear, static, and authoritative institutional narratives.

In this thesis I explore the relationships between post-secondary education in the field of international development, and the maintenance and practices of white settler-colonialism at home and abroad. My method is to search for recurring present and absent themes found in French and English course syllabi of the Canadian Master’s Program in Globalization and International Development of the University of Ottawa. Through search strings in 81 syllabi of four mandatory courses taught over an 8-year period, 2007-2015, I find that colonialism is little mentioned, and when it is, it is usually either as something of the past or something geographically distant. I conclude that, for students, academics and others to address settler-colonialism as an obstacle to decolonization, requires (1) acknowledging their current role in naturalizing settler-colonialism, (2) denaturalizing the logics of settler-colonialism, and (3) working to deliberately give up on white settler futures, while other futures (Indigenous futures) are flourishing through the process of decolonization. While this content analysis is only a small and possibly ungeneralizable example of higher education and its simultaneous potential for colonization and decolonization, it nevertheless represents an addition to the few applications of the theoretical field of settler-colonial studies and of its material implications.

This research is a personal reflection and a self-study of two performances that have taken place over the course of two years. My Medium Project titled, When Memories Break, set out to navigate ways of decolonising oppressive dominance and investigating the ramifications of indoctrination in dance. In 2017, during my Honours Degree in Dance Studies at the University of Cape Town, I created a poster-painting with a fellow #FeesMustFall artist-activist. This poster-painting, entitled, Amputation, was introduced at UCT School of Dance' Confluences 9: Deciphering decolonisation in Dance Pedagogy in the 21st Century in Cape Town, South Africa. Since then, Amputation has become a personal credo that I have carried with me in my Practice as Research field of study. In 2018, as part of my Minor Project, I not only highlighted my memories and experiences in Classical Ballet, but also included my memories of other informal1 dance influences. The purpose of this essay is therefore not to depict ballet as a current colonialist art form but rather to draw attention to what it represented during the years of colonialism, apartheid, and the aftermath of that. It is against this background that I explore the issues related to the relationship I have with my dance training to date. As a performer-researcher, I will use my living experience as a case study. This article provides a perspective from a performer-researcher's position using selfreflexivity as a research methodology. My conclusion supports the notion that self-reflection in the quest for decolonisation in dance by performer-researchers is important for the evolution of a more democratic society.