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Creative Industries in Canada is a foundational text that encourages students to think critically about creative industries within a Canadian context and interrogate the current state and future possibilities of the industry. While much of current creative industries literature concerns the United Kingdom, the United States, and Asia, this text captures the breadth of how Canadian industries are organized and experienced, and how they operate.This ambitious collection aims to guide students through the current landscape of Canadian creative industries through three thematic sections. “Production” collects chapters focused on how national discourses and identities are produced through creative industries and the tensions that exist between policy and media. “Participation” explores how we engage with these industries in different roles: as consumer, creator, policy-maker, and more. “Pedagogies” explores how education impacts inclusion and visibility in creative industries.Truly intersectional, Creative Industries in Canada provides students with practical industry knowledge and frameworks to explore the current state of the field and its future. With a broad application to many undergraduate programs, this text is a must-read resource for those pursuing media studies, arts management, creative and cultural industries studies, communications, and arts and humanities.
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Traditionally, partner dances occur between a woman and a man, following rather conservative gender roles and rules. However, as a result of international lesbian, gay, bisexual, transgender, intersex, queer, asexual, allies and more (LGBTIQA+) activism, some social dancing events and competitions have made space for gender and sexual diversity. This chapter focuses on the Rainbow and Same-Sex dancing scene in Finland and its potential and challenges for transgender inclusion. We draw on data collected during the first author’s ethnographic and participatory action research study on trans-inclusive sport spaces and the second author’s experiences as a professional dance teacher and Rainbow trans dancer at both same-sex and mainstream dance competitions. Our findings reveal that the Rainbow dancing movement has helped make dancing more accessible and inclusive for members of the trans community through challenging traditional cis- and heteronormative dance roles and the men-lead/women-follow paradigm. Yet, certain challenges for trans-inclusion persist, such as the transphobic politics and rules of national and international dance associations. In concluding this chapter, we provide recommendations for enhancing access and positive experiences of trans people in dance, DanceSport and sport in general.
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Through the lens of personal experience, this chapter provides an exploration of the oft-concealed practices and hypermasculine ideals in dance education. Commercial, concert, and academic dance pedagogy continues to create and perpetuate homophobia that restricts the definition of “boy dancer” to the point of creating a false scarcity and competition to be the most cis-heteronormative male possible. Alterio argues this environment contributes to the perpetuation of discrimination against LGBTQIA+ dancers, the exclusion of non-cis boys, and lack of innovation in the field. Recommendations are offered to those interested in pushing the boundaries of performance and gender identity and a call for institutions to support this work.
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Theatrical dance remains widely perceived as an unconventional activity for boys and young men in many Western contexts. This chapter focuses on professional male dancers’ pathways into recreational, pre-professional dance and assesses the various obstacles encountered and the sources of encouragement available to continue dancing and to pursue a dance career. Data analysis challenges the assumption that homophobia and hierarchies among boys, men, and masculinities have been erased. The chapter argues that wider systems of inequality, oppression, and power persist. These continue to affect boys and young men, influencing their choices and the possibilities to transgress gender norms.
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This chapter provides a contextual account of the rise of #MeToo as an global gender-equality campaign supporting those affected by sexual transgressions. Originally articulated by African-American civil rights activist Tarana Burke in 2006, the slogan ‘me too’ was meant as a rallying cry to support young minority ethic survivors of sexual abuse. Years later, social media would turn Burke’s motto into a byword for the global #MeToo movement. The chapter chronicles the events surrounding #MeToo’s inception, including Hollywood producer Harvey Weinstein’s sexual exploitation scandal in 2017, and The New York Times and The New Yorker exposés of his serial offending within the film industry. It also examines the narratives of countless survivors and #MeToo campaigners, including high-profile cases such as those of Rose McGowan, Alyssa Milano, Mimi Haleyi, Jessica Mann and Zelda Perkins. The chapter then critically considers the growth and international significance of #MeToo as well as its inherent shortcomings.
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Since the inception of jazz, the lives and experiences of women-in-jazz have been inadequately documented and archived, which has led to a lack of female representation in the jazz community. During the recent resurgence of the #MeToo Movement, many women-in-jazz bravely shared stories of sexual discrimination and harassment. As the jazz community continues to address the gender disparity, women’s stories need to be centered in order to address current realities of women-in-jazz. By documenting the experiences of women-in-jazz in higher education as students, educators and performers, sexual discrimination and harassment must be considered as contributing factors of the gender disparity in jazz.