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Dylan Robinson

Dylan Robinson

Assistant Professor & CRC in Indigenous Arts (Musicology/Ethnomusicology)

Education: B.A. (Simon Fraser University), M.A. (University of Victoria), Ph.D. (University of Sussex)
Email: dylan.robinson@queensu.ca
Member Type(s): Faculty

Discipline(s)

Dylan Robinson is a Stó:lō scholar who holds the Canada Research Chair in Indigenous Arts at Queen’s University, located on the traditional lands of the Haudenosaunee and Anishinaabe peoples. He completed a practice-based PhD at the University of Sussex’s Centre for Research in Opera & Music Theatre, where his research focused on dialogical and social arts models for ‘public musicology’. Since then, Robinson’s research has been supported by national and international fellowships at the Faculty of Music at the University of Toronto, in the Canadian Studies Program at the University of California Berkeley, the Indigeneity in the Contemporary World project at Royal Holloway University of London, and a Banting Postdoctoral fellowship in the First Nations Studies Program at the University of British Columbia.

Dr. Robinson’s research in ethnomusicology and musicology spans a wide range of topics including Indigenous composition, the politics of Indigenous inclusion and recognition in classical music; Indigenous ontologies of music; sound art; and interarts collaboration. These areas of research are united by a common theoretical concern with the sensory and affective politics of sound. Recent publications include the collection Opera Indigene: Re/Presenting First Nations and Indigenous Cultures (Ashgate, 2011), which examines operatic representations of First Peoples and the lesser-known history of opera created by Indigenous composers and artists. His current publication projects include an edited collection with Victoria Lindsay Levine titled Music and Modernity Amongst First Peoples of North America, and a volume with Keavy Martin on the role of the arts in Canada’s Truth and Reconciliation Commission on the Indian Residential Schools. In addition, he is completing work on a monograph titled Songs Taken for Wonders: Between Indigenous and Art Music Ontologies that examines the history of inclusions, recognitions and negotiations between First Peoples and contemporary classical music composers, musicians and ensembles.

In addition to Dr. Robinson’s music research, his new research project documents the history of contemporary Indigenous public art across North America, and questions how Indigenous rights and settler colonialism are embodied and spatialized in public space. Funded by the Canada Research Chair program, this project involves working with Indigenous artists and scholars to collaboratively imagine new forms of public engagement and create new public works that speak to Indigenous experience. Dr. Robinson is also an avid learner of Halq’eméylem, the language spoken by the Stó:lō people. Yú:wqwlha kws t’í:lemtel te sqwá:ltset!

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