Kevin Mulcahy: Hurricane Katrina: A Cultural Chernobyl.

Abstract: This article is a scholarly overview and analysis of
Hurricane Katrina's social and cultural devastation of the unique,
indigenous culture of New Orleans. This study has been prepared as a
scholarly and academic endeavor. However, it is also the basis for
consideration of measures that could be taken to facilitate the
reconstitution of the living environment of New Orleans in a way that is
respectful of its folk culture. The physical devastation caused by the
hurricane severely compromised the precious cultural communities of the
French colonial Gulf Coast. The impact was most devastating to New
Orleans because of its distinctive folk culture, which includes vivid
cultural rituals such as the Mardi Gras Indians, jazz, the jazz funeral
tradition, second line parades, and local cuisine. This culture is
potentially fragile because it is a living culture—not based on
collections preserved within the walls of a museum, but rather in the
lives of its people. It is indisputably worthy of respect and
revitalization. This project, realized through intensive research, will
surely benefit the academic community and, most important, the people of
New Orleans, to whom this document is dedicated. The project has been
interesting, but it is an even greater honor to have the opportunity to
advocate the necessity of reconstituting the folk culture of New Orleans
through positive action to sustain the city's unique way of life. This
will not be easy, but it is crucial for any "new New Orleans." [ABSTRACT
FROM AUTHOR]
http://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=36146772&si

Kevin Mulcahy: International Issues in Arts Management, Law, and Society: Introduction.

Abstract:

The article discusses various reports published within the issue, including one on the development of museums within a marketing context, one on the legal dispute between the National Ballet of Canada and its principal dancer Kimberly Glasco, and another on the legal case about questions of intellectual property in the production of Australian Aboriginal art.http://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=42648791&si

Kevin Mulcahy: The cultural policy of the Counter-Reformation: the case of St. Peter's

http://web.a.ebscohost.com/ehost/detail/detail?sid=ea6b9faa-a8b0-421d-beb9-7b2d6baa6cdc%40sessionmgr4002&vid=0&hid=4209&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#db=a9h&AN=59529690 

Abstract:

The Counter-Reformation, or Catholic Renewal, provides an important example of how the arts - especially architecture, painting, and sculpture - were mobilized to serve the religious mission of the embattled Catholic Church. Mobilization is an apt word to describe the concerted effort to put artistic expression in tandem with theological belief. As an emotional stimulus for piety, religious imagery in support of doctrinal orthodoxy was welcome. The Council of Trent decreed that through works of art the faithful could be instructed in the articles of faith. This aesthetic ideology required the creation of images that would strengthen their beliefs and guide their emotions. Art was to have a pedagogical purpose by representing sacred doctrine and the Church's aesthetic imprimatur was a necessary guarantee of doctrinal correctness. As such, counter-reformatory aesthetics were a complement to the more general aspirations of the Catholic Renewal. [ABSTRACT FROM AUTHOR]

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