Metropolitan New Orleans Neighborhoods were surveyed in order to determine how bird populations responded to distance from the batture, percent canopy cover, stem counts, and understory vegetation. Surveys were conducted in the spring and summer of 2010. It was found that batture birds, urban birds, and pooled birds all had greater species richness and abundance in the spring in areas with more canopy cover, higher stem counts, more understory vegetation, and distances closer to the batture. In the summer, batture birds had greater richness and abundance in areas with more canopy cover, higher stem counts, and more understory cover. This group of birds also had greater richness nearer the batture in the summer, but there were no significant abundance tests. Urban birds showed no preferences for any of the vegetative variables, but showed some tendency to have greater richness further away from the batture. Pooled birds did not significantly respond to any of the variables during the summer. Fifteen individual species of birds were also analyzed to see how they responded to the same variables.

The following thesis is a brief view of the production process of Theatre UNO’s Spring 2014 production of the Tennessee William’s New Orleans Literary Festival One-Act play competition 2013 winner, Father. This thesis will include analysis, production book, documentation from the production, and an evaluation of the process of putting this production on stage. The play was performed in New Orleans, Louisiana at the University of New Orleans, Performing Arts Center Robert E Nims Lab Theatre on February 11th- 16th, 2014.

In The Sins of the Mothers, the main character, Bridgette, suffers a mental breakdown after the death of her three-month-old baby, Celeste, from Sudden Infant Death Syndrome (SIDS). She develops severe obsessive-compulsive disorder with the delusion that the child is trapped in Limbo because she was never baptized. The delusion haunts Bridgette, and she suffers brief dissociative episodes with visual hallucinations. Bridgette hears of a church in Provence where, according to a seventeenth century legend, children who died without baptism returned briefly to life under the intersession of Saint Pantaleon were baptized and gained heaven. She decides to exhume Celeste’s body and bring the corpse to Provence for the ceremony. She plans to find a priest to baptize the baby and bury Celeste in the churchyard. After unsuccessful attempts by her dysfunctional family to thwart her plans, Bridgette smuggles the ancestral christening dress and an attached piece of the baby’s hair to Provence where she fails to bury the dress in the now deconsecrated church. In the remainder of the novel, the reader learns of her attempts to reconcile with the results of her actions and heal from her mental illness.

In 1990, over 3,000 of 4,500 New Orleans public school teachers refused to enter their classrooms over a contract dispute with their employer, the Orleans Parish School Board. For three weeks, teachers picketed while the negotiating team for their union, The United Teachers of New Orleans, worked to reach a contract agreement. Using interviews with striking teachers and union leaders, this paper aims to tell this story from their perspective. The interviews shed light on the ways that minorities and women used UTNO, with the incorporated ideologies and strategies of civil rights and feminism, as a platform to combat economic, political, and social inequalities in New Orleans at the end of the 20th century. An analysis of this strike also aims to complicate the current historiography of the union—filling the gap between its activism in the 1970s to its near dismantling after Hurricane Katrina.

No description available.

The focus of this project is to examine current tuba and euphonium applied lessons syllabi and to create a New Orleans brass band curriculum supplement to enhance those existing courses. Through the addition of new method books, exercises, historical texts and articles, listening assignments, and performing experiences, collegiate tuba and euphonium students will be able to apply the knowledge gained in core academic music courses, such as music theory and music history, to mastering a new style of music. Emphasis has been placed on learning chord progressions, stylizations, and how to improvise and walk a bass line.

This text highlights the small Japanese community in New Orleans, along with its cultural traditions.

The Great Migration is the largest self-initiated movement of Black Americans in United States history. By leaving behind the rural areas which were familiar but offered little or no opportunities for advancement out of poverty and journeying to major urban centers, Blacks were able to exercise their individual and collective agency. Many thousands of Black Southerners chose to remain below the Mason-Dixon line: the populations of Atlanta, Houston, and New Orleans swelled during the 1910s and through the 1930s, due largely to an influx of Blacks from other areas of the South. These stories often get lost among the millions of other records about migration to the North. New Orleans offered an enticing compromise between remaining in rural poverty and relocating thousands of miles from home: Black Louisianans could stay relatively close to loved ones while gaining new opportunities for employment and economic stability. Furthermore, the city’s vibrancy and reputation for Black solidarity and community support helped draw those who sought to escape the race-based violence of the Jim Crow countryside. Lastly, New Orleans’ Black neighborhoods had always been and continued to act as hotbeds of cultural evolution, and in areas such as the Tremé and Central City, it was easy to find others who shared similar backgrounds and values. Louisiana’s Great Migration helped stimulate Black culture within New Orleans and across the nation.

This poetry manuscript explores themes of family and addiction, education and New Orleans, and fear and escape in the span of three parts. Its preface examines the poet’s background and influences, his relationship with performance and humor, and the levity he hopes to create in his work.

acase@tulane.edu