By Simon Dickel and Kindinger
»After the hurricane« lines the cultural and political responses to storm Katrina. instantly after Katrina, and through the prior 9 years, its devastating effects for the golfing zone, New Orleans, and the yank kingdom were negotiated in an increasing number of cultural productions – between them Spike Lee's documentary movie »When the Levees Broke«, David Simon and Eric Overmyer's television sequence »Treme«, or Natasha Trethewey's poetry assortment »Beyond Katrina«. This booklet offers interdisciplinary views on those and different negotiations of storm Katrina and places exact emphasis at the intersections of the kinds race and class.
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Extra info for After the Storm: The Cultural Politics of Hurricane Katrina
Her fight for her house testifies to an engagement that intertwines the personal and the political, highlighting the fact that segregation translates into the private realm. As an African-American widow who does not have a lot of money to live with, Parker stands for a minority – which the geographical focus on her house emphasizes. Never does Parker confess any economic motives for her decision to remain in the Lower Ninth Ward, although Demme explains in a voice-over that “almost two years after the floods now, Carolyn has finally received the federally provided financial assistance promised to the underinsured homeowners like herself under the increasingly controversial Road Home program” (50:35).
Taylor 2008). So are we just dealing with a new academic topic or is there more to the scholar on the dump? When contemplating this question I again would like to turn to Cavell, especially his Philosophy the Day after Tomorrow. Screening a community living on a dump can also be seen as what he calls a passionate utterance. He defines a passionate utterance as “an invitation to improvisation in the disorders of desire” (2005: 19; cf. also 185). In contrast to J. L. Austin’s performative utterance, in which the “I” is central, in a “passionate utterance, the ‘you’ comes essentially into the picture.
Lewis Watts: To the Ancestors, Guardians of the Flame Arts Society, Harrison family home, Upper 9th Ward on Mardi Gras morning 2007 On the 2nd celebration of Mardi Gras after Hurricane Katrina, this was a ceremony using the Yoruba practice of pouring libations to honor those who came before. Also the children in Mardi Gras Indian suits show the promise that the traditions will endure. I gained access to this and other customs, after I exhibited my early work from New Orleans along with other artists from there.
After the Storm: The Cultural Politics of Hurricane Katrina by Simon Dickel and Kindinger