| dc.description.abstract | This thesis explores how indigenous peoples in the U.S. and Canada have been represented through popular music, both historically and in the present. It uses musicians, both indigenous and nonindigenous, as case studies to discuss how indigenous identities have been expressed, particularly exploring issues of gender, authenticity, voice, and cultural ownership. This is done through examination of music, interviews, and other cultural works. It considers the significance of these, given the context of colonialism that indigenous peoples in North American have experienced. This thesis also explores indigenous popular music as a potential form of agency which allows indigenous artists self-determination. It examines this in conjunction with Gerald Vizenor’s theory of indigenous survivance, an idea that indigenous peoples are assertive of their own cultural identities, and that their cultures have not only survived colonialism, but are resurging. | en_GB |
