Abstract

This research examines some of the ways Black 2SLGBTQ Caribbean-Canadian artists engage with creative expression to navigate their sexual and gender identities. This study also highlighted the intersection of race, gender, sexual identity, and immigration. The secondary data sources collected were a photography series produced by Jamaican-Canadian photographer Brianna Roye; and a 2015 interview featuring Michèle Pearson Clarke, a Trinidadian-Canadian artist. These secondary data sources were analyzed using multi-textual analysis and qualitative content analysis tools. The findings highlight the potential for art and creative expression to address issues of anti-Black racism and heterosexism, in addition to fostering healing and community building. This study aims to present insight that will contribute to ongoing efforts within the social work profession to promote Black 2SLGBTQ equity and inclusion.

Highlights

  • This research applies a critical race theory (CRT) theoretical framework to examine how Black 2SLGBTQ Caribbean-Canadian artists engage with creative expression to navigate their sexual and gender identities

  • I approach this research as a Black queer Jamaican-Canadian musician and social worker informed by the principles and values of anti-oppressive practice (AOP)

  • Three key themes were identified in my analysis: (1) creative expression used to engage with the individual-community-society interplay; (2) creative expression used to normalize Black 2SLGBTQ Caribbean-Canadian identity; and (3) creative expression used to disseminate knowledge

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Summary

INTRODUCTION

The purpose of this research is to contribute to the promotion of Black and Two-Spirit, Lesbian, Gay, Bisexual, Transgender, and Queer (2SLGBTQ) equity and inclusion. This research applies a critical race theory (CRT) theoretical framework to examine how Black 2SLGBTQ Caribbean-Canadian artists engage with creative expression to navigate their sexual and gender identities. How their art practice interacts with community and culture will be analyzed. I approach this research as a Black queer Jamaican-Canadian musician and social worker informed by the principles and values of anti-oppressive practice (AOP) My interest in this topic is further inspired by my passion for social justice and my experience with anti-Black racism and heterosexism. The following is a list of key terms and definitions used to ensure a clear understanding of this research

CHAPTER 2. LITERATURE REVIEW Introduction
CHAPTER 3. THEORETICAL FRAMEWORK Introduction
CHAPTER 4. METHODOLOGY Introduction
Limitations
Findings
CONCLUSION
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