More Than A Movement: Unpacking Contemporary Anti-Human Trafficking Efforts in Washington, D.C.

Trafficking in persons has attracted seemingly boundless attention over the last two decades and the work aimed at fighting it is best understood when this cause is contextualized against the backdrop of other social forces—economic, social, and cultural—shaping contemporary nonprofit activities. This project argues that the paid and volunteer labor that takes place in metro Washington, D.C., to combat trafficking in persons can be understood as both a movement and an industry. In addition to arguing that anti-trafficking work is part of a nonprofit industrial complex that situates activist and advocacy work firmly inside state and economic institutions, this project is concerned with the ways in which trafficking work and workers conduct their business collectively. As an organizational study, it identifies the key players in the D.C. region focused on this issue and traces their interactions, collaborations, and cooperation. Significantly, this project suggests that despite variations in objectives, methods, priorities, and characterizations of trafficking, thirty organizations in metro D.C. working on this issue “get along” because they are bound by the benign common goal of raising awareness. Awareness, in this context, is best understood as both a cultural anchor facilitating cohesion and as a social currency allowing groups to opt into joint efforts. The dissertation concludes that organizations centralize awareness in their collective activities over more drastic priorities around which consensus would need to be gained. This is a lost opportunity for making sense of the ways that individual bodies—men, women, and children—experience not just trafficking, but the world around them.

Dissonant Belonging and the Making of Community: Native Hawaiian Claims to Selfhood and Home

In 1898 the United States illegally annexed the Hawaiian Islands over the protests of Queen Liliʽuokalani and the Hawaiian people. American hegemony has been deepened in the intervening years through a range of colonizing practices that alienate Kanaka Maoli, the indigenous people of Hawaiʽi, from their land and culture. Dissonant Belonging and the Making of Community is an exploration of contemporary Hawaiian peoplehood that reclaims indigenous conceptions of multiethnicity from colonizing narratives of nation and race. Drawing from archival holdings at the University of Hawaiʽi, Mānoa and in-depth interviews, this project offers an analysis of public and everyday discourses of nation, race, and peoplehood to trace the discursive struggle over Local identity and politics. A context-specific social formation in Hawaiʽi, “Local” is commonly understood as a multiethnic identity that has its roots in working-class, ethnic minority culture of the mid-twentieth century. However, American discourses of race and, later, multiethnicity have functioned to render invisible the indigenous roots of this social formation. Dissonant Belonging and the Making of Community reclaims these roots as an important site of indigenous resistance to American colonialism. It traces, on the one hand, the ways in which Native Hawaiian resistance has been alternately erased and appropriated. On the other hand, it explores the meanings of Local identity to Native Hawaiians and the ways in which indigenous conceptions of multiethnicity enabled a thriving community under conditions of colonialism.

CREATING ORGANIZATIONAL CITIZENS: A QUASI-EXPERIMENTAL AND QUALITATIVE EXAMINATION OF SUPERVSIOR- AND PEER-BASED INTERVENTIONS

Research suggests that supervisors and peers can help employees make sense of what is important or expected from them at work and, thereby, shape their behaviors. In this dissertation, I examine how employees’ organizational citizenship behaviors (OCB), such as helping and voice, are differentially affected by these two sources of influence over time. In particular, I compare the relative and joint effectiveness of two field interventions to enhance OCB: (a) a role clarification intervention in which supervisors are trained to set expectations for OCB for their employees and encourage them to engage in OCB and (b) a norm establishment intervention in which peers are trained to set expectations for each other and encourage each other to perform OCB. I utilize a mixed methods approach involving a quasi-field experiment to test for changes in OCB and qualitative data to explore the theoretical mechanisms over the course of three months in a large food processing plant. I find that role clarification interventions alone have immediate positive effects on OCB, whereas norm establishment interventions alone take a longer period of time to increase OCB. In addition, in the condition where both interventions were combined, norm establishment interventions weaken the effects of role clarification earlier on; however, at later stages in time, this pattern reverses as norm establishment enhances the effects of role clarification on OCB. Through these findings, I highlight how (a) organizations seeking quick increases in citizenship might be better off focusing on supervisors as sources of influence; (b) organizations need to persist with peer-focused interventions to see positive gains; and (c) despite initial hurdles with peer-focused interventions, over time, they can lead to the highest increases in OCB when combined with supervisor-focused interventions.

GOSPEL SINGING IN THE VALLEY: AN INVESTIGATION INTO THE HYMNODY AND CHORAL SINGING OF THE LISU ON THE CHINA-BURMA/MYANMAR BORDER

This dissertation is an ethnomusicological study of contemporary musical practices of the Christian Lisu in Nujiang Prefecture in northwest Yunnan on the China-Myanmar border. Among all the changes that the Nujiang Lisu have experienced since the twentieth century, the spread of Protestant Christianity throughout Nujiang’s mountainous villages has existed for the longest time and had one of the greatest effects. Combining historical investigation and ethnographic description, this study uses the lens of music to examine the impact of this social change on the Lisu living in this impoverished frontier region. The Lisu characteristics have never been vital in the music written by the Christian Lisu in Nujiang. Compared with the practices described in other ethnomusicological writings on Christian music around the world that I have read, this absence of incorporation of indigenous musical elements is unusual. There are probably many other cases similar to that of the Lisu, but few ethnomusicologists have paid attention to them. I aim to elucidate this particular scenario of Lisu Christian music in relation to three social and cultural forces: the missionary legacy of conventions; the government’s identification of the Lisu as a minority nationality and its national policies toward them since the 1950s; and the transnational religious exchange between the Christian Lisu in China and Myanmar since the late 1980s. My examination focuses on two genres which the Lisu use to express their Christian beliefs today: ddoqmuq mutgguat, derived from American northern urban gospel songs, the basis of the Lisu choral singing; and mutgguat ssat, influenced by the Christian pop of the Burmese Lisu, with instrumental accompaniment and daibbit dance and preferred by the young people. Besides studying these two genres in the religious context, I also juxtapose them with other musical traditions in the overall Nujiang music soundscape and look at their role in local social interactions such as those between sacred and secular, and majority and minority. This dissertation demonstrates that the collective performances of shared repertoires have not only created a sense of affinity for the Nujiang Christian Lisu but also have reinforced the formation of Lisu transnational religious networks.

The Ballad of Ravolo Soto

Set in 2008 Puerto Rico, this novel aims to explore the relationship between constructed masks of personal identity, the increasingly interconnected nature of community, and their confluence in the worlds of politics, media, social activism, and business through a narrative examination of the ways in which three primary characters affect the lives of those around them. Jaime, a meditative young man with a penchant for planes, comes home to find the power shut off and his drug-addict mother gone. His best friend, Yarique, a disaffected stoner with a false sense of machismo, becomes an overnight sensation after an escalating series of violent run-ins with his abuelo’s neighbor. Ravolo Soto, a reclusive pitorro distiller, drinks to keep The Other in check, but takes off into the jungles of Lares, hiding out in his father’s mountain shack, after a violent encounter with the police leaves one officer dead.

Are Videogames Art?

My dissertation defends a positive answer to the question: “Can a videogame be a work of art? ” To achieve this goal I develop definitions of several concepts, primarily ‘art’, ‘games’, and ‘videogames’, and offer arguments about the compatibility of these notions. In Part One, I defend a definition of art from amongst several contemporary and historical accounts. This definition, the Intentional-Historical account, requires, among other things, that an artwork have the right kind of creative intentions behind it, in short that the work be intended to be regarded in a particular manner. This is a leading account that has faced several recent objections that I address, particular the buck-passing theory, the objection against non-failure theories of art, and the simultaneous creation response to the ur-art problem, while arguing that it is superior to other theories in its ability to answer the question of videogames’ art status. Part Two examines whether games can exhibit the art-making kind of creative intention. Recent literature has suggested that they can. To verify this a definition of games is needed. I review and develop the most promising account of games in the literature, the over-looked account from Bernard Suits. I propose and defend a modified version of this definition against other accounts. Interestingly, this account entails that games cannot be successfully intended to be works of art because games are goal-directed activities that require a voluntary selection of inefficient means and that is incompatible with the proper manner of regarding that is necessary for something to be an artwork. While the conclusions of Part One and Part Two may appear to suggest that videogames cannot be works of art, Part Three proposes and defends a new account of videogames that, contrary to first appearances, implies that not all videogames are games. This Intentional-Historical Formalist account allows for non-game videogames to be created with an art-making intention, though not every non-ludic videogame will have an art-making intention behind it. I then discuss examples of videogames that are good candidates for being works of art. I conclude that a videogame can be a work of art, but that not all videogames are works of art. The thesis is significant in several respects. It is a continuation of academic work that has focused on the definition and art status of videogames. It clarifies the current debate and provides a positive account of the central issues that has so far been lacking. It also defines videogames in a way that corresponds better with the actual practice of videogame making and playing than other definitions in the literature. It offers further evidence in defense of certain theories of art over others, providing a close examination of videogames as a new case study for potential art objects and for aesthetic and artistic theory in general. Finally, it provides a compelling answer to the question of whether videogames can be art. This project also provides the groundwork for new evaluative, critical, and appreciative tools for engagement with videogames as they develop as a medium. As videogames mature, more people, both inside and outside academia, have increasing interest in what they are and how to understand them. One place many have looked is to the practice of art appreciation. My project helps make sense of which appreciative and art-critical tools and methods are applicable to videogames.