Jazz, The Second Line, and African American Religious Internationalism in New Orleans

Souls ◽  
2014 ◽  
Vol 16 (1-2) ◽  
pp. 69-78
Author(s):  
Richard Brent Turner
Keyword(s):  
African American ◽  
New Orleans ◽  
Second Line

Learning from New Orleans: Will Revising or Relaxing Public Space Ordinances Create a Just Environment for Street Commerce?

2017 ◽  
Author(s):  
Renia Ehrenfeucht ◽  
Ana Croegaert
Keyword(s):  
African American ◽  
Public Space ◽  
New Orleans ◽  
Urban Residents ◽  
Second Line ◽  
Street Vending ◽  
The City ◽  
Instructive Case

During 2010s, in response to new food truck operators, the city of New Orleans loosened regulations for food truck vending. At the same time the city turned its regulatory eye towards other forms of street vending and introduced a new second line vending ordinance. Using the New Orleans case, we argue that relaxing rather than revising regulations—and subsequently planning for ways to make street vending compatible with other activities—would be more effective and just. The authors participated in and observed 32 second line parades (parades organized and sponsored by African-American historic benevolent societies) during one season to understand how second line vending played out and the potential impacts of the new ordinance. This analysis demonstrates that compliance with the second line ordinance would have restricted vending without resolving identified concerns. New Orleans is an instructive case because the intent was to allow rather than eliminate vending. We argue that increasing compatibility between vending and other street activities makes food and goods available in the spaces were urban residents can most easily access them, and thereby establishes a more effective and just public space.

The Cultural Democracy of the Second Line

Sweet Spots ◽  
2018 ◽  
pp. 209-232
Author(s):  
Joel Dinerstein
Keyword(s):  
African American ◽  
New Orleans ◽  
Second Line ◽  
Expressive Culture ◽  
Brass Band ◽  
Public Consumption ◽  
Living Tradition ◽  
Physical Gestures ◽  
Verbal Messages ◽  
Vernacular Dance

There has been a weekly Sunday African-American second-line parade for 150 years in New Orleans--a diffused democratic street ritual of performativity enacted through dance, music, and stylin'. The main action focuses on the sponsoring Social Aid and Pleasure Club, who parade between the ropes with their hired brass-band, on-stage and for public consumption. Yet the so-called second-liners rolling and dancing outside the ropes provide the peak moments of aesthetic excellence in their claiming of interstitial spaces: on the sidewalks between the street and house-lines; on church-steps, atop truck beds or along rooftops; on porches, stoops, and billboards. Drawing on a living tradition of New Orleans African-American expressive culture, individuals display creative style as both personal pleasure and social invigoration. The physical gestures and non-verbal messages of this vernacular dance are here analysed through a series of images by second-line photographer Pableaux Johnson.

African American Religions in the Nineteenth Century

2018 ◽  
Author(s):  
Emily Suzanne Clark
Keyword(s):  
Nineteenth Century ◽  
African American ◽  
New Orleans ◽  
Black Church ◽  
African Methodist Episcopal ◽  
Abraham Lincoln ◽  
Methodist Episcopal ◽  
African American Religion ◽  
African Methodist Episcopal Church ◽  
Methodist Episcopal Church

The typical story of African American religions narrates the development and power of the Protestant black church, but shifting the focus to the long nineteenth century can reorient the significance of the story. The nineteenth century saw the boom of Christian conversions among African Americans, but it also was a century of religious diversity. All forms of African American religion frequently pushed against the dominance of whiteness. This included the harming and cursing element of Conjure and southern hoodoo, the casting of slaves as Old Israel awaiting their exodus from bondage, the communications between the spirit of Abraham Lincoln and Afro-Creoles in New Orleans, and the push for autonomy and leadership by Richard Allen and the rest of the African Methodist Episcopal Church. While many studies of African American religions in the nineteenth century overwhelmingly focus on Protestantism, this is only part of the story.

“The Greatest Thrill I Get is When I Hear a Criminal Say, ‘Yes, I Did it’”: Race and the Third Degree in New Orleans, 1920–1945

2016 ◽  
Vol 34 (1) ◽  
pp. 1-44
Author(s):  
Jeffrey S. Adler
Keyword(s):  
African American ◽  
Medical Care ◽  
New Orleans ◽  
Police Officer ◽  
Police Officers ◽  
Constitutional Protection ◽  
The Third ◽  
The Face ◽  
A Cell ◽  
Short Time

On May 11, 1938, two New Orleans policemen entered the Astoria Restaurant, marched to the kitchen, and approached Loyd D. T. Washington, a 41-year-old African American cook. They informed Washington that they would be taking him to the First Precinct station for questioning, although they assured the cook that he need not change his clothes and “should be right back” to the “Negro restaurant,” where he had worked for 3 years. Immediately after arriving at the station house, police officers “surrounded” Washington, showed him a photograph of a man, and announced that he had killed a white man in Yazoo City, Mississippi, 20 years earlier. When Washington insisted that he did not know the man in the photograph, that he had never been to (or even heard of) Yazoo City, and that he had been in the army at the time of the murder, the law enforcers confined him in a cell, although they had no warrant for his arrest and did not charge him with any crime. The following day, a detective brought him to the “show-up room” in the precinct house, where he continued the interrogation and, according to Washington, “tried to make me sign papers stating that I had killed a white man” in Mississippi. As every African American New Orleanian knew, the show-up (or line-up) room was the setting where detectives tortured suspects and extracted confessions. “You know you killed him, Nigger,” the detective roared. Washington, however, refused to confess, and the detective began punching him in the face, knocking out five of his teeth. After Washington crumbled to the floor, the detective repeatedly kicked him and broke one of his ribs. The beating continued for an hour, until other policemen restrained the detective, saying “give him a chance to confess and if he doesn't you may start again.” But Washington did not confess, and the violent interrogation began anew. A short time later, another police officer interrupted the detective, telling him “do not kill this man in here, after all he is wanted in Yazoo City.” Bloodied and writhing in pain, Washington asked to contact his family, but the request was ignored. Because he had not been formally charged with a crime, New Orleans law enforcers believed that Washington had no constitutional protection again self-incrimination or coercive interrogation and no right to an arraignment or bail, and they had no obligation to contact his relatives or to provide medical care for him.

The Spiritual Churches of New Orleans: Origins, Beliefs and Rituals of an African-American Religion

1993 ◽  
Vol 54 (3) ◽  
pp. 330
Author(s):  
Anita M. Waters ◽  
Claude F. Jacobs ◽  
Andrew J. Kaslow
Keyword(s):  
African American ◽  
New Orleans ◽  
American Religion ◽  
African American Religion

“All That You Can’t Leave Behind”

Meridians ◽  
2020 ◽  
Vol 19 (S1) ◽  
pp. 255-278
Author(s):  
Daphne A. Brooks
Keyword(s):  
African American ◽  
Black Women ◽  
Popular Music ◽  
Hurricane Katrina ◽  
New Orleans ◽  
Black Female ◽  
First Century ◽  
Global Level ◽  
Original Title ◽  
Early Twenty

Abstract As numerous scholars have shown, Hurricane Katrina exacerbated the already-ongoing precarity of African American communities in New Orleans. The crisis demanded a reckoning with the afterlives of slavery at the national and global level. This article focuses on the work of Black women popular music artists whose early twenty-first century recordings and stirring performances addressed the traumas, the challenges, and the spectacular subjugation of Black women who fell victim to brutal disenfranchisement in the midst of the disaster. Beyonce’s B-Day album and Mary J. Blige’s history-making Katrina telethon performance are central to this discussion. The original title of this article was “‘All That You Can’t Leave Behind’: Black Female Soul Singing and the Politics of Surrogation in the Age of Catastrophe.”

From the Bamboula to the Baby Dolls

Walking Raddy ◽  
2018 ◽  
pp. 89-108
Author(s):  
Jennifer Atkins
Keyword(s):  
African American ◽  
New Orleans ◽  
Cultural Practices ◽  
West African ◽  
African American Community ◽  
Cultural Tradition ◽  
African Dance ◽  
Twentieth Century Music ◽  
West African Dance ◽  
Baby Doll

Baby Dolls embodied the rambunctious, ambulatory dance practices of New Orleans' African-American community, playing with ragtime dancing, a style in conversation with early twentieth century music. Baby Doll dancing referenced their contemporary situation, empowering them through ribald street jaunts full of dynamism, while also relating to other cultural practices like jazz funerals and connecting them to a historical legacy that traced back to Congo Square (and earlier). Essential to Congo Square, where the Bamboula dance featured prominently, was that West African dance aesthetics persevered but also blended with sociocultural ideas influenced by its New Orleans context. Improvisation was key. Dancing, whether in Congo Square or ragtime style, highlighted spontaneity and a spirited—even competitive—style that cultivated agency while acknowledging a communal presence. These moments (and movement) were vibrant, illuminating Baby Dolls as innovators within a rich, cultural tradition that left troubles behind as liveliness surged through their dancing processions.

Introduction

2016 ◽  
Author(s):  
Jeanne Pitre Soileau
Keyword(s):  
African American ◽  
Public Schools ◽  
Popular Music ◽  
New Orleans ◽  
The Internet ◽  
White Children ◽  
Play Elements ◽  
Jump Rope ◽  
South Louisiana ◽  
Changing Society

This chapter covers the timeline from 1960 when New Orleans integrated its public schools, to 2011, the age of computers and the Internet. Integration had an immediate impact on children and their folklore – African American and white children began to communicate on the playground, sharing chants, jokes, jump rope rhymes, taunts, teases, and stories. Through the next forty-four years, schoolchildren of South Louisiana were able to conserve much traditional schoolyard lore while adapting to tremendous social and material changes and incorporating into play elements from media, computers, smartphones, and the Internet. As time passed African American vernacular became trendy among teenage whites. Black popular music became the music of choice for many worldwide. This is a story about how children, African American and “other” have learned to fit play into their rapidly changing society.

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