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 …

In this study the term "woman's movement" is defined as any advancement made by women, socially, economically, legally, or politically. In addition to information gathered from various collections, memoirs, diaries, and contemporary newspaper accounts of Louisiana women's activities, material from a number of pertinent secondary works is included. Chapter one gives a brief overview of the women's movement as it developed in America in the latter half of the 19th century. This is followed by a chapter on women in Louisiana before 1879- Evidence suggests that a number of Louisiana women shared a common bond with other southern women in longing for an emancipation from their limited role in society. The last six chapters are devoted to the woman's movement in the state, beginning in 1879 when women first dared to to speak out in public in behalf of women. After the Civil War, a large number of women were forced by post war conditions to depart from the traditional life-style of home and family and venture into public life. Liberated from their societal mold, women slowly expanded their sphere, going beyond the immediate need to provide a livelihood. Early women's organizations, temperance unions, church societies, and women's clubs, provided …

Using portraiture methodology and social practice theory, this study examined the identity work of young people engaged in a teen arts internship program at a contemporary arts center in post-Katrina New Orleans. This research asked four interrelated questions. Through the lens of a teen arts internship at a contemporary arts center in post-Katrina New Orleans, 1) How do contextual figured worlds influence artist identity work? 2) How does artist identity work manifest through personal narratives? 3) How does artist identity work manifest in activities? 4) What are the consequences of artist identity work? The findings of the study highlight how sociocultural factors influence dis/identification with the visual arts in young people and provoke considerations of in/equity in the arts.