ABSTRACT
Based on data from qualitative interviews and participant observation with those involved in artistic production in New Orleans, this paper considers the effect of crises such as the COVID-19 pandemic on cities and artists. It investigates the supports available to artists before and during the pandemic and the relationship between cultural workers and tourism in New Orleans. This relationship creates a paradox: New Orleans is unique because it is the site of enduring local cultural traditions and emerging creative production, and yet the city must sell its culture to tourists to remain economically solvent. Left to fend for themselves by larger institutions, arts communities and nonprofit organizations came together to mutually support each other. The paper concludes that what we can learn from this case is how people ‘make do’ and survive during an extended period of crisis – especially when the lessons of survival have been taught and tested through preceding crises.
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No potential conflict of interest was reported by the author(s).
IRB Details
Approved for human subjects research, University of Scranton IRB #1739716–2.
Notes
1. By polyglot I mean both creole culture, a term commonly referred to as a mixture of Native American, African American, Spanish, French, and Anglo cultures, and the contemporary mix of cultures due to the multitude of cultural communities that overlap in the city, with a mix of races, religions, sexualities, classes, city tenure, and cultural activities.
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Meghan Ashlin Rich
Meghan Ashlin Rich is Professor of Sociology and Women’s and Gender Studies at the University of Scranton. She studies urban redevelopment, gentrification, and cultural policy. Her research has been published in International Journal of Urban and Regional Research, Journal of Urban Affairs, and Urban Affairs Review.