Rachel Carrico
Biographic Data
| ID | 5235668 |
|---|---|
| NAME | Rachel Carrico |
| GIVEN NAMES | Rachel |
| FAMILY NAME | Carrico |
| SIGNATURE | CARRICO R |
| AFFILIATIONS | Rachel Carrico holds an MA in Performance Studies from New York University/Tisch School of the Arts and is currently a PhD student in Critical Dance Studies at the University of California, Riverside, where she studies processions and parading in New Orleans. She is coauthor of “Lakeviews: A Bus Tour as a Vehicle for Regrowth in New Orleans,” also published in TDR, cofounder of the New Orleans-based performance ensemble, Goat in the Road Productions, and a proud member of the Camel Toe Lady Steppers. |
| VERIFIED | No |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 3 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2008 |
| LATEST PUBLICATION YEAR | 2016 |
| H-INDEX | 1 |
Un/Natural Disaster and Dancing
In December of 2006, over a year after Hurricane Katrina made landfall in New Orleans, the Big Nine Social Aid and Pleasure Club (SAPC) held their annual parade in the Lower Ninth Ward, an African
On Thieves, Spiritless Bodies, and Creole Soul
Five days before her death in 2009, Antoinette K-Doe paraded as Queen of the Camel Toe Lady Steppers, an all-female marching group. Danced articulations of race, class, and locality, performed by old and new New Orleanians, reveal why negotiations of the city's “local” culture are central to concerns of resource inequity before and after Hurricane Katrina
Lakeviews
This issue's Critical Acts focuses on “war and other bad shit” in terms of censorship, immigration, and art as a form of political protest and recovery. In “Habeas Corpus,” Ann Pellegrini uses Sally Field's censored Emmy-acceptance speech to exemplify the Bush administration's privatization of mourning as a means “to bind us to acts of fatal violence against an objectified and dehumanized ‘enemy.’” In her account of Luigi Nono's The Forest Is You…
Un/Natural Disaster and Dancing
In December of 2006, over a year after Hurricane Katrina made landfall in New Orleans, the Big Nine Social Aid and Pleasure Club (SAPC) held their annual parade in the Lower Ninth Ward, an African
Lakeviews
This issue's Critical Acts focuses on “war and other bad shit” in terms of censorship, immigration, and art as a form of political protest and recovery. In “Habeas Corpus,” Ann Pellegrini uses Sally Field's censored Emmy-acceptance speech to exemplify the Bush administration's privatization of mourning as a means “to bind us to acts of fatal violence against an objectified and dehumanized ‘enemy.’” In her account of Luigi Nono's The Forest Is You…
On Thieves, Spiritless Bodies, and Creole Soul
Five days before her death in 2009, Antoinette K-Doe paraded as Queen of the Camel Toe Lady Steppers, an all-female marching group. Danced articulations of race, class, and locality, performed by old and new New Orleanians, reveal why negotiations of the city's “local” culture are central to concerns of resource inequity before and after Hurricane Katrina
Un/Natural Disaster and Dancing
In December of 2006, over a year after Hurricane Katrina made landfall in New Orleans, the Big Nine Social Aid and Pleasure Club (SAPC) held their annual parade in the Lower Ninth Ward, an African
Art history (3 works) · History (3 works) · Art (2 works) · Geography (2 works) · History (2 works) · Hurricane katrina (2 works) · Law (2 works) · Music History and Culture (2 works) · Natural disaster (2 works) · Political science (2 works)