The problem of this study was to determine the extent to which instructors perceived visual media as being valuable in achieving their classroom objectives in predominantly black, state-supported colleges and universities in the State of Louisiana. Questionnaires were mailed to 165 college and university instructors in colleges of education in predominantly black state-supported universities in Louisiana. Of the 165 questionnaires mailed, 139 were returned. All participants used in the study were teaching at least one course in education during the time the questionnaire was administered. The study is descriptive. The data were collected by means of a questionnaire, and analyzed by percentages, means, and standard deviations. One-way analysis of variance was used to test the differences in attitudes among the faculty members in the study. The level of significance was set at .05.

How does it feel to be creative? Such a question, when approached from a phenomenological perspective, reveals new understandings about the embodied experience of creativity, and how it feels as it is being lived. This investigation begins with a provocative contrast of two environments where creativity is thought to manifest itself: school art classrooms, where creativity is often legislated from an authority figure, and New Orleans Second Line parades, where creativity is organically and kinetically expressed. A thorough review of the literature on creativity focuses on education, arts education, creative economies, psychology, and critical theorists, collectively revealing a cognitive bias and striking lack of consideration for community, freedom, and the lived experience of being creative. Further discussions in the literature also neglect sites of creativity, and the impact that place (such as a school classroom) can have upon creativity. The phenomenological perspectives of Merleau-Ponty, Heidegger, Bachelard, and Trigg support a methodological lens to grasp embodied knowledge, perceptions of placedness on creativity, and the interdependent frictions between freedom, authenticity, movement and belonging. The research method includes investigations in New Orleans in archives, examination of visual and material culture, participation in cultural practice, and formal and informal interviews. Further, the phenomena of …

This study was conceived as an attempt to determine .and analyze factors deterring participation in continuing professional education among social workers in environments where continuing education for relicensure is mandatory and voluntary. The specific research design implemented to complete this study was the ex-post facto descriptive design. The sample included 106 social workers randomly selected in the state of Texas where continuing education is mandatory and 94 social workers in the state of Louisiana where continuing education is voluntary. The instrument used was the Deterrent to Participation Scale developed by Scanlan (1983) and a demographic inventory. Scanlan (1983) earlier identified six factors deterring participation in continuing professional education: Disengagement, Lack of Quality, Family Constraints, Cost, Lack of Benefit, and Work Constraints. The study concluded that social workers in both states considered work constraint as a major factor deterring participation in continuing professional education. Also the factors of cost and lack of quality were also considered as crucial barriers in their efforts to participate in continuing professional education. The Wilks' multivariate test of significance of the means and univariate F tests at alpha level p < .05 revealed differences in the combined mean scores of social workers in both states when …

Louisiana’s Neutral Strip, an area of pine forests, squats between the Calcasieu and Sabine Rivers on the border of East Texas. Originally a lawless buffer zone between Spain and the United States, its hardy residents formed tight-knit communities for protection and developed a reliance on self, kin, and neighbor. In the early 1900s, the timber boom sliced through the forests and disrupted these dense communities. Mill towns sprang up, and the promise of money lured land speculators, timber workers, unionists, and a host of other characters, such as the outlaw Leather Britches Smith. That moment continues to shape the place’s cultural consciousness, and people today fashion a lore connected to this time. In a fascinating exploration of the region, Keagan LeJeune unveils the legend of Leather Britches, paralleling the stages of the outlaw’s life to the Neutral Strip’s formation. LeJeune retells each stage of Smith’s life: his notorious past, his audacious deeds of robbery and even generosity, his rumored connection to a local union strike—the Grabow War—significant in the annals of labor history, and his eventual death. As the outlaw’s life vividly unfolds, Always for the Underdog also reveals the area’s history and cultural landscape. Often using the particulars of …