Pub Date : 2019-08-15DOI: 10.14325/mississippi/9781496823786.003.0008
L. Wade
This chapter assesses New Orleans’ situation in 2018. One can see Downtown Mardi Gras as a vast piece of egalitarian street theatre, whose process may witness ego-rivalries and identity contestations, but whose final performance achieves something greater than the sum of its parts—the physical manifestation of an aspirant desire, for a reanimated city, of tolerance, equity, and mutual respect. Downtown Mardi Gras may portend a new future for Carnival practices, the opening of the door to further, yet-to-be-realized ludic expressions and energies; it may also point to new civic constellations, themselves yet unmaterialized, that could help elevate actual lives, spreading more widely the benefits of post-Katrina recovery.
{"title":"Exceptional Performance, Exceptional Place","authors":"L. Wade","doi":"10.14325/mississippi/9781496823786.003.0008","DOIUrl":"https://doi.org/10.14325/mississippi/9781496823786.003.0008","url":null,"abstract":"This chapter assesses New Orleans’ situation in 2018. One can see Downtown Mardi Gras as a vast piece of egalitarian street theatre, whose process may witness ego-rivalries and identity contestations, but whose final performance achieves something greater than the sum of its parts—the physical manifestation of an aspirant desire, for a reanimated city, of tolerance, equity, and mutual respect. Downtown Mardi Gras may portend a new future for Carnival practices, the opening of the door to further, yet-to-be-realized ludic expressions and energies; it may also point to new civic constellations, themselves yet unmaterialized, that could help elevate actual lives, spreading more widely the benefits of post-Katrina recovery.","PeriodicalId":334997,"journal":{"name":"Downtown Mardi Gras","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123993169","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
After Hurricane Katrina devastated New Orleans and the surrounding region in 2005, the city debated whether to press on with Mardi Gras or cancel the parades. Ultimately, they decided to proceed. New Orleans’s recovery certainly has resulted from a complex of factors, but the city’s unique cultural life—perhaps its greatest capital—has been instrumental in bringing the city back from the brink of extinction. Voicing a civic fervor, local writer Chris Rose spoke for the importance of Carnival when he argued to carry on with the celebration of Mardi Gras following Katrina: “We are still New Orleans. We are the soul of America. We embody the triumph of the human spirit. Hell. We ARE Mardi Gras”. Since 2006, a number of new Mardi Gras practices have gained prominence. The new parade organizations or krewes, as they are called, interpret and revise the city’s Carnival traditions but bring innovative practices to Mardi Gras. The history of each parade reveals the convergence of race, class, age, and gender dynamics in these new Carnival organizations. Downtown Mardi Gras: New Carnival Practices in Post-Katrina New Orleans examines six unique, offbeat, Downtown celebrations. Using ethnography, folklore, cultural, and performance studies, the authors analyze new Mardi Gras’s connection to traditional Mardi Gras. The narrative of each krewe’s development is fascinating and unique, illustrating participants’ shared desire to contribute to New Orleans’s rich and vibrant culture.
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Pub Date : 2019-08-01DOI: 10.14325/MISSISSIPPI/9781496823786.003.0006
L. Wade
This chapter features the fastest growing of the new Downtown Mardi Gras organizations, the Intergalactic Krewe of Chewbacchus. New Orleans culture is not conventionally associated with science-fiction or futurism; however, this krewe has tapped a rich and vibrant vein, blending conventional Carnival with science-fiction fandom—the mash-up of Bacchus and Chewbacca from Star Wars. This chapter examines the egalitarian impulse of Chewbacchus, which clearly situates itself in opposition to traditional Uptown krewes. The chapter also investigates its relation to the Downtown neighborhood of Bywater and how the color and energy of the enterprise both reflects and contributes to the gentrification of the area. Finally, the chapter speculates upon the krewe’s fantastical expressions and implicit utopianism, how its carnivalesque, otherworldly aspect might alter or impact actual social realities.
{"title":"Chewbacchus and Science-Fiction Carnival","authors":"L. Wade","doi":"10.14325/MISSISSIPPI/9781496823786.003.0006","DOIUrl":"https://doi.org/10.14325/MISSISSIPPI/9781496823786.003.0006","url":null,"abstract":"This chapter features the fastest growing of the new Downtown Mardi Gras organizations, the Intergalactic Krewe of Chewbacchus. New Orleans culture is not conventionally associated with science-fiction or futurism; however, this krewe has tapped a rich and vibrant vein, blending conventional Carnival with science-fiction fandom—the mash-up of Bacchus and Chewbacca from Star Wars. This chapter examines the egalitarian impulse of Chewbacchus, which clearly situates itself in opposition to traditional Uptown krewes. The chapter also investigates its relation to the Downtown neighborhood of Bywater and how the color and energy of the enterprise both reflects and contributes to the gentrification of the area. Finally, the chapter speculates upon the krewe’s fantastical expressions and implicit utopianism, how its carnivalesque, otherworldly aspect might alter or impact actual social realities.","PeriodicalId":334997,"journal":{"name":"Downtown Mardi Gras","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130057614","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-08-01DOI: 10.14325/MISSISSIPPI/9781496823786.003.0007
R. Roberts
This chapter focuses on The Amazons Social Aid and Benevolent Society and The Black Storyville Baby Dolls. The Amazons is group of breast cancer survivors, both natives and transplants, who provide support to other survivors while celebrating life through costuming and parading. Wearing breastplates and brandishing swords, the group commandeers a militaristic posture that exudes strength and power. While the group’s main focus is social aid and support, the members use Mardi Gras parades to make a public statement of women’s empowerment. The Black Storyville Baby Dolls, also founded by Dianne Honoré, draw directly on the African-American tradition of Baby Dolls, the historical practice of adult women dressing as young girls, in beautiful outfits made of satin, dancing in the streets, and acting tough (smoking cigars). Both groups exemplify the use of Carnival as an opportunity to resist gender and race stereotypes.
{"title":"Reclaiming Life and History: The Amazons Benevolent Society and the Black Storyville Baby Dolls","authors":"R. Roberts","doi":"10.14325/MISSISSIPPI/9781496823786.003.0007","DOIUrl":"https://doi.org/10.14325/MISSISSIPPI/9781496823786.003.0007","url":null,"abstract":"This chapter focuses on The Amazons Social Aid and Benevolent Society and The Black Storyville Baby Dolls. The Amazons is group of breast cancer survivors, both natives and transplants, who provide support to other survivors while celebrating life through costuming and parading. Wearing breastplates and brandishing swords, the group commandeers a militaristic posture that exudes strength and power. While the group’s main focus is social aid and support, the members use Mardi Gras parades to make a public statement of women’s empowerment. The Black Storyville Baby Dolls, also founded by Dianne Honoré, draw directly on the African-American tradition of Baby Dolls, the historical practice of adult women dressing as young girls, in beautiful outfits made of satin, dancing in the streets, and acting tough (smoking cigars). Both groups exemplify the use of Carnival as an opportunity to resist gender and race stereotypes.","PeriodicalId":334997,"journal":{"name":"Downtown Mardi Gras","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124099189","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Reclaiming Life and History:","authors":"R. Roberts","doi":"10.2307/j.ctvkwnmpj.10","DOIUrl":"https://doi.org/10.2307/j.ctvkwnmpj.10","url":null,"abstract":"","PeriodicalId":334997,"journal":{"name":"Downtown Mardi Gras","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121833152","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Red Beans Krewe:","authors":"R. Roberts, F. de Caro","doi":"10.2307/j.ctvkwnmpj.8","DOIUrl":"https://doi.org/10.2307/j.ctvkwnmpj.8","url":null,"abstract":"","PeriodicalId":334997,"journal":{"name":"Downtown Mardi Gras","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133061207","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-08-01DOI: 10.14325/MISSISSIPPI/9781496823786.003.0005
R. Roberts, Frank de Caro
This chapter focuses on a new parade, a new surrogation, that has assumed an empty spot in the Carnival calendar, Lundi Gras, the Monday before Fat Tuesday. This chapter explores the Krewe of Red Beans and the ways that this new parade draws on New Orleans culture, from its signature red beans and rice dish, to the Mardi Gras Indians’ costumes, to the second-line tradition. Like the other new Downtown parades, the Red Beans fosters artistic expression (and competition); displays whimsical and political humor based on local culture; and valorizes the domestic (a common meal and food stuff), and thus the feminine. And like the other new Mardi Gras parades, Red Beans wrestles with an evolving New Orleans and the role transplants play in precipitating change.
{"title":"The Red Beans Krewe: An Iconic Dish and a New Parade","authors":"R. Roberts, Frank de Caro","doi":"10.14325/MISSISSIPPI/9781496823786.003.0005","DOIUrl":"https://doi.org/10.14325/MISSISSIPPI/9781496823786.003.0005","url":null,"abstract":"This chapter focuses on a new parade, a new surrogation, that has assumed an empty spot in the Carnival calendar, Lundi Gras, the Monday before Fat Tuesday. This chapter explores the Krewe of Red Beans and the ways that this new parade draws on New Orleans culture, from its signature red beans and rice dish, to the Mardi Gras Indians’ costumes, to the second-line tradition. Like the other new Downtown parades, the Red Beans fosters artistic expression (and competition); displays whimsical and political humor based on local culture; and valorizes the domestic (a common meal and food stuff), and thus the feminine. And like the other new Mardi Gras parades, Red Beans wrestles with an evolving New Orleans and the role transplants play in precipitating change.","PeriodicalId":334997,"journal":{"name":"Downtown Mardi Gras","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122172996","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-08-01DOI: 10.14325/MISSISSIPPI/9781496823786.003.0002
R. Roberts, Frank de Caro
This chapter explores the history of the Joan of Arc parade, a women’s enterprise that celebrates the birthday of the famous saint, which happens to fall upon January 6th, Twelfth Night, the traditional commencement of the Carnival season. The parade runs through the French Quarter, concluding at the gilded Joan of Arc statue on Decatur Street (Joanie on a pony). The chapter looks at the feminist aspect of the group, which celebrates this female icon, a woman who spoke truth to power and actively fought against it. The parade also is significant for drawing upon European history in a way that underscores the French heritage of the city.
{"title":"The St. Joan of Arc Parade, Gender, and Pride of Place","authors":"R. Roberts, Frank de Caro","doi":"10.14325/MISSISSIPPI/9781496823786.003.0002","DOIUrl":"https://doi.org/10.14325/MISSISSIPPI/9781496823786.003.0002","url":null,"abstract":"This chapter explores the history of the Joan of Arc parade, a women’s enterprise that celebrates the birthday of the famous saint, which happens to fall upon January 6th, Twelfth Night, the traditional commencement of the Carnival season. The parade runs through the French Quarter, concluding at the gilded Joan of Arc statue on Decatur Street (Joanie on a pony). The chapter looks at the feminist aspect of the group, which celebrates this female icon, a woman who spoke truth to power and actively fought against it. The parade also is significant for drawing upon European history in a way that underscores the French heritage of the city.","PeriodicalId":334997,"journal":{"name":"Downtown Mardi Gras","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133914088","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}