Thesis (M.A.)--Baylor University, 2009. / Includes bibliographical references (p. 50-51).

Thesis (M.S.)--Miami University, Dept. of Family Studies and Social Work, 2007. / Title from first page of PDF document. Includes bibliographical references (p. 35-39).

Thesis (MMAS)--Command and General Staff College (CGSC), 2006. / AD-A452 186.

Mama D's 2 Blocks tells the story of a neighborhood home in New Orleans that was transformed into a distribution center and used to assist residents impacted by Hurricane Katrina's devastation in 2005. Mama D stayed at her home throughout the storm and remained there until the floodwaters had subsided. After the water had drained, socially minded youth from all over the country were drawn to Mama D's home and stayed there while supporting local renewal efforts. The film documents their joining together, without electricity or running water, and assisting in the rebuilding process undertaken by Mama D and other neighborhood residents. This film captures a community in action, how it survived, and the first steps taken towards the rebuilding of New Orleans.

On Monday August 29, 2005, Hurricane Katrina made landfall in Southeast Louisiana bringing with it destruction to much of the Gulf Coast. While New Orleans, one of America's most culturally and artistically significant cities, was spared a direct hit, the subsequent flood devastated much of the city, home to many musicians. The devastation and stress from the storm established a situation and a motivator for creative response, and this dissertation illustrates that the music these musicians produce is a manifestation and continuation of New Orleans' cultural atmosphere. The city's historical allowance and celebration of freedom of expression permits New Orleans' current musicians to be innovative and responsive to the events surrounding the disaster. This project, designed as a qualitative research study, identifies four professional musicians who are established in the musical environment of New Orleans. To illustrate the depth of tradition and experimentation that their music evokes, the music of post- Katrina New Orleans is given historical contextualization and set in comparison to music that was inspired by a past catastrophe, the 1927 flood. Through the holistic exploration of the present circumstances of these four musicians, it becomes clear that New Orleans remains a place that is extremely open to change and that experimental music flourishes at the same time that traditional jazz lives on through new performers, who walk in the footsteps of legends. From interviews conducted with these four individuals, as well as other on-site observations, the emotional, physical, and financial effects of Hurricane Katrina are identified and recorded. / Central to this study is the author's own knowledge of music and experience in musical dialogue - it is through the interaction of the author and the subjects that important events and characteristics, which could be documented, actually emerged.This project reveals the influence that the storm has had on the individual musician and it demonstrates that while all four musicians are caught up in the whirlwind of recovery in New Orleans, their music remains rooted in the fundamental characteristic that is associated historically with New Orleans' music, improvisation. By the same token, it also shows that while each person may have had to suffer the same conditions, the musical response from each musician was unique. / by David Bethea. / Thesis (Ph.D.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

The trauma and devastation that resulted from Hurricane Katrina's landfall on August 29, 2005, produced a wide spread public perception of government neglect and ineptitude. Subsequently, a period of nationwide shame and concern for those most affected by the disaster elicited a wave of financial generosity from all social sectors. Yet, by late 2005 the media declared that the majority of Americans had become desensitized to the tragedy and its consequences, coining this shift in public perception as "Katrina fatigue." Thousands of volunteers contradicted this phenomenon, however, by performing service in the devastated city of New Orleans. Long-term volunteers defied "Katrina fatigue" by redirecting the trajectory of their lives so they could provide service. Conventionally accepted volunteer theory predicts that volunteers provide service and that their labor operates in conjunction with institutionally supported mechanisms of security and services. / However, for the volunteer subjects in this study, Katrina and its immediate aftermath shattered the trust in such institutions. These volunteers did not assume that their service operated in conjunction with state sponsored agencies or corporations. Rather, they viewed their own acts of service as the means of promoting the recovery. This qualitative case study examines the deliberated choices and actions performed by long-term volunteers between the years 2005 and 2009. The primary subjects in this investigation include 15 volunteers who performed long-term and/or repeat delegations of service within organized networks. Volunteer subjects believed that if they did not perform the services they did, these services might not get done. Volunteers internalized contours of the larger political economy and their own perceived role within them. Performing service functioned partially to counteract this internalization and simultaneously redirect their lives. / Second Line, a New Orleans street tradition of neighborhood processions, reveals more of what drives the long-term volunteer's desire. The root practice of Second Line processions embodies a form of cognitive liberation for the disenfranchised as the processions interrupt normal arrangements of order and power in the city, albeit temporarily. Volunteers desire to connect with poor and working class Black people in this capacity, and their attempts to do so played out in contexts that sometimes disrupted institutional or corporate power, constituting a demand for change on behalf of Katrina victims. / by Susan D'Aloia. / Thesis (Ph.D.)--Florida Atlantic University, 2011. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2011. Mode of access: World Wide Web. FboU

Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 2008. / Abstract and vita. Includes final project proposal. Includes bibliographical references (leaves 146-152, 219-225).

Thesis(M.A.)--Auburn University, 2007. / Abstract. Includes bibliographic references.

Thesis (M.A.)--Miami University, Dept. of Speech Communication, 2008. / Title from first page of PDF document. Includes bibliographical references (p. 84-95).

Thesis (M.A.)--Miami University, Dept. of Communication, 2009. / Title from first page of PDF document. Includes bibliographical references (p. 67-77).