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Articles 1 - 3 of 3
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Operating The Digital Space In The Age Of Protest Participation, Kyle Stanley
Operating The Digital Space In The Age Of Protest Participation, Kyle Stanley
LSU Master's Theses
This study examines young African American adults’ usage of social media and other digital spaces as tools to build community given the rise in protest participation in North American (U. S.) society while at the height of a global health pandemic. Since early adulthood is a time where African Americans are most active online, this study will examine how and why those African Americans are turning to digital spaces to find social connections. Racism and racial injustice are two of the most pressing issues in the African American community, and it is clear that it can be an emotionally laborious …
Body/Mind:Matter, Mary Ellen Ratcliff
Body/Mind:Matter, Mary Ellen Ratcliff
LSU Master's Theses
Body/Mind:Matter presents the unfiltered experiences of living in a period of momentous instability. Three life-sized figurative sculptures stage my emotional journey towards mindfulness as a direct response to the pandemic and my growing concern for our collective future. A winding network of crocheted yarns and growing vines interweave the troubled figures to signify our complex dependencies upon one another and our environment.
The condition of the encumbered bodies is a result of the worried mind. Revitalized matter proposes reconciliation by introducing a sense of hope; decaying surfaces reveal new life; fused wires hold up under immense pressure; and soft woven …
The Arena Players, Inc.: The Oldest Continuously Operating African American Community Theatre In The United States, Alexis Michelle Skinner
The Arena Players, Inc.: The Oldest Continuously Operating African American Community Theatre In The United States, Alexis Michelle Skinner
LSU Doctoral Dissertations
Hay (1994) gave the Arena Players the moniker, “the oldest continuously operating African American community theatre company” in the U.S. But, if Black Theatre is increasingly found in mainstream venues in regional theatre and Broadway while Black Drama is relegated to syllabi, where is the living practice of African American, or black, community theatre? And what guarantees its survival? Craig (1980) and Fraden (1994) give voice to black critics, like Locke (1925), in co-creating objectives for black theatre during the FTP which took stage as the Negro Little Theatre continued. Hill & Hatch (2003) solidify the geographical and ideological connections …