DOCSLIB.ORG

Dance and Gender in Old-Line New Orleans Carnival Balls, 1870-1920 Jennifer Atkins

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dance and Gender in Old-Line New Orleans Carnival Balls, 1870-1920 Jennifer Atkins Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 Setting the Stage: Dance and Gender in Old-Line New Orleans Carnival Balls, 1870-1920 Jennifer Atkins Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES SETTING THE STAGE: DANCE AND GENDER IN OLD-LINE NEW ORLEANS CARNIVAL BALLS, 1870-1920 By JENNIFER ATKINS A Dissertation submitted to the Department of History in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2008 The members of the Committee approve the dissertation of Jennifer Atkins defended on 25 March 2008. ______________________________ Suzanne Sinke Professor Directing Dissertation ______________________________ John O. Perpener, III Outside Committee Member __________________________________ Sally Hadden Committee Member ______________________________ V.J. Conner Committee Member ______________________________ Tricia Young Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii This dissertation is dedicated to all of my dance history teachers, especially Diana Green, who first sparked my love of dance history, and Tricia Young, who inspired me to join the American Dance Studies community. iii ACKNOWLEDGEMENTS I would like to acknowledge the support of my committee members: V.J. Conner, Sally Hadden, Tricia Young, John O. Perpener, III, and especially my major advisor, Suzanne Sinke. Additional thanks to Suzanne Sinke and Tricia Young, who generously read and commented on drafts of this dissertation. Their advice and guidance has been invaluable in this process. I would also like to acknowledge the financial support of the History Department, which awarded me two J. Leitch Wright Travel Research grants, and the University, which awarded me a Dissertation Research Grant. This financial support made archival research in New Orleans possible. While in New Orleans, the staff at the Historic Research Collection was extremely helpful and caring throughout my process. They made research at the Collection fun and fruitful and they were an extremely positive force in my journey. Thank you John Magill, Pamela D. Arceneaux, Siva Blake, Sally Stassi and Mary Lou Eichhorn. Particular thanks and appreciation goes to Amy Baptist, who not only equipped me with a thorough familiarly of New Orleans archives, but was also my neighbor and good friend throughout my research time in New Orleans. Tallahassee has been very good to me. I could not have accomplished this without the loving support of the faculty with whom I have the pleasure to work, laugh, and share a passion for dance. Thank you to Patty Phillips and Russell Sandifer, our Dance Department Co-Chairs who have tirelessly encouraged both my teaching and me. Thank you to the American Dance Studies faculty: Tricia Young, Sally Sommer, and John Perpener, who have embraced my personality and my work as I’ve grown from an M.A. student to now. And thank you to Anjali Austin, Jennifer S.B. Calienes, Doug Corbin, Alex Davis, Lynda Davis, Suzanne Farrell, Joyce Straub Fausone, Nancy Smith Fichter, Tim Glenn, Gerri Houlihan, Sheila Humphreys, Jasmine Johnson, Emily Keeler, Currie Leggoe, Carol L. McCoy, Rick McCullough, Russ Marsh, Lindsay Meeks, Anthony Morgan, Marc Ray, Jennifer Shepherd, Anna Singleton, Dan Wagoner, Tom Welsh, and Jawole Will Jo Zollar, all of whom have provided me with fabulous— sometimes singing—company when I needed a break. Finally, thank you to David, my husband, who scurried with me in the end so that I could format this dissertation amidst the hectic schedule of editing, teaching, advising, and general life! iv TABLE OF CONTENTS List of Tables……………………………………………………………………...….…..……...vi List of Figures……………………………………………….….…….…….….……....….….…vii Abstract …………………………………………………………………………………….......viii INTRODUCTION ……………………………………………………………….….….……..….1 1. THE DEVELOPMENT OF DANCING, MARDI GRAS AND CARNIVAL BALLS IN NEW ORLEANS……………………...…..…...….34 2. PREPARING FOR THE BALL: PERFORMANCES OF CONSPICUOUS CONSUMPTION……….….….....…....59 3. MARBLE MEN: TABLEAUX VIVANTS PERFORMANCES AND THE RECONSTRUCTION OF KREWE MASCULINITY….…….....….…91 4. “USING THE BOW AND THE SMILE”: KREWE COURT FEMININITY, POLISHED PEDESTRAIN AND THE GRAND MARCH…………..….…........129 5. “THE VERY MADDEST WHIRLPOOL OF PLEASURE”: THE ROUX OF ROMANCE AND BALLROOM DANCING……...…….…….…….166 CONCLUSION…………………………………………………………....…….…….….…….200 BIBLIOGRAPHY…………………………………………………………….…….………......234 BIOGRAPHICAL SKETCH………………………………………………………….………..250 v LIST OF TABLES Table 1. Popular Carnival Court Families, 1870-1920………….….….….…….…….……….220 Table 2. Carnival Court Family Dynasties in Old-Line Krewes and Tableaux Societies, 1870-1920…..…..….……..………..…....….….…..….…....227 Table 3. Old-Line Krewe Seasonal Themes, 1870-1916………….…..…..….….………….…228 vi LIST OF FIGURES 1. 1864 Washington Ball………………………………………………………………………..42 2. Proteus Dance Card……………………………………………………………………..……71 3. 1900 Momus Invitation………………………………………………………………..……..73 4. The French Opera House……………………………………………………………..………75 5. The First Balcony……………………………………………………………………...……..80 6. “A Parisian Ball Gown”………………………………………………………………...……82 7. Ladies in “Full Dress”………………………………………………………………….….…85 8. “The Carnival Season Moves Merrily On”…………………………………………………..92 9. “C. Briton, watercolors, 1873”…………………………………………………………..….100 10. Comus Tableaux…………………………………………………………………………...102 11. “Louisiana.”………………………………………………………………………..………113 12. “Plenty and Liberty”………………………………………………………………….……114 13. “Louisiana—Her Founders and Defenders”……………………………………….….……123 14. Winnie Davis as Comus Queen, 1892…………………………………………….…..……131 15. Josephine Maginnis, Queen of Comus, 1893…………………………………………....…137 16. “The Sun King”…………………………………………………………………………….142 17. “Cotillion Figure No. 1”……………………………………………………………………143 18. Isabel Hardie………………………………………………………………………….……153 19. “L'été”………………………………………………………………………………..…….172 20. A scene from the Krewe of Proteus ball at the French Opera House, 1907………….……180 21. The Standard Waltz………………………………………………………………………..183 22. “The Closed Position”……………………………………………………………………..185 23. “The Tango Position”……………………………………………………………….….….189 24. Ragtime Dances……………………………………………………………………………193 25. “Mr. and Mrs. Vernon Castle”……………………………………………………………..195 26. “The Promenade”…………………………………………………………………………..197 27. “Four Types of Fair Women in Tableau”………………………………………………….201 28. “Emblem of the Mysterious”……………………………………………………….….…..202 29. French Ball Advertisement in the 10th Edition Blue Book....................................................206 30. “Mademoiselle Rita Walker”………………………………………………………………208 vii ABSTRACT Mardi Gras Carnival balls are traditional New Orleans events when krewe organizations present their seasonal mock monarchs. Traditionally, these ballroom spectacles included tableaux vivants performances, the grand march and promenade of the season’s royal court, special dances with masked krewemen, and general ballroom dancing. These events reinforced generational ties through the display of social power in a place where women were crystallized into perfect images of Southern beauty. Since the mid nineteenth century, old-line krewes (the oldest, most elite Carnival organizations) have cultivated patriarchal traditions in their ball presentations and have acted as historical vehicles of commentary on personal and social identity. The manner in which krewe members used their bodies to proclaim their royalty, to promenade, or to dance, all signified individual social roles and represented the evolving mores of their connected group. Likewise, masked courtiers and fashionable guests used their bodies in ballroom dancing to uphold or refute acceptable standards of male and female behavior. From 1870 to 1920, old-line krewes dominated the private terrain of New Orleans Mardi Gras. Through their steadfast commitment to performing white elitism, traditional krewes set the stage for the gender battles of the twentieth century, when female, black, and gay bodies, within newly formed krewes, used dance in their own carnival balls to define modern and diverse sexual, personal, and communal identities. viii INTRODUCTION MEANINGS OF CARNIVAL, GENDER, AND DANCE Every Mardi Gras season, select members from New Orleans’ elite society transcend their everyday identity and assume a royal persona. As part of a Mardi Gras tradition that dates back to the mid nineteenth century, each Carnival organization (known as a krewe) chooses a king, a queen, and a few royal attendants from among their members and members’ families. Among the myriad of krewes, a handful of organizations are positioned at the top of the Carnival hierarchy. These are the “old-line” krewes: The Mistick Krewe of Comus, the original Twelfth Night Revelers, Rex, the Knights of Momus and the Krewe of Proteus.1 They are the oldest, most elite, most prestigious groups who ruled Mardi Gras during the Gilded Age and Progressive Era. These annual monarchs and social aristocrats led public parades and took center stage at some of the most important krewe activities—Carnival balls. Several types of masked balls (bals masqué) during Carnival season date back to the founding of New Orleans, but private krewe Carnival balls emerged in the 1870s as a way to use dance and highly choreographed, themed spectacles to reinforce krewe superiority.
Load more

Recommended publications
  • Wavelength (February 1983)
    University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 2-1983 Wavelength (February 1983) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (February 1983) 28 https://scholarworks.uno.edu/wavelength/28 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. ... ,.. i .,. #pf r f~ ~ I ~ t J t .. ~ • '~ -- •-- .. I ' I . r : • 1 ,, ' ,,. .t, '~'. • .·' f I .. ""' - • ,, ' ' 4. ,I • , /rl. • 4 . • .•, .' ./j ·. ~ f/ I. • t • New Orleans is a live! A day and night kaleido­ scope of the gaud y, raucous, erotic and exotic­ Mardi Gras, Steamboats, Parades, Seafood, Jazz and the French Quarter. Discover it all in the award-winning books Mardi Gras! A Celebration and New Orleans: The Passing Parade. Brilliant color photographs by Mitchel L. Osborne are complimented by delightful and informative texts. A vail able in fine bookstores or order directly from Picayune Press, Ltd .: Mardi Gras!: A C!oth $29.95, Paper$15.95 · New Orleans: The Passing Parade: 326 Picayune Place # 200 New Orleans, LA 70130 Paper $14.95 Postage and Handhng $1.50 • LA res1dents add 3% tax • V1sa & Mastercharge accepted. ' ISSUE NO. 28 • FEBRUARY 1983 "I'm not sure, but I'm almost positive, rhar all music came from New Orleans. " Ernie K-Doe, 1979 Available in American Oak, American Walnut, Teak, Mahogany and White Features Melamine at no change In cost.
    [Show full text]
  • Mardi Gras Parade Ft Worth Stockyards
    LLC WICHITA, KANSAS ardi Gra M s Horseshoe Casino FEBRUARY 14-20, 2015 Premium Arrow Tour Bus City of BEGIN!Honolulu YOUR VACATION HERE! Mardi Gras Parade Ft Worth Stockyards Snorkeling L’Auberge Hotel It’s Mardi Gras in New Orleans, “The Big Easy”, and you’re right in the middle of the revelers! It has been called the “greatest free party on earth” and you’ve been invited! See at least four parades, with hundreds of floats. Catch the beads and enjoy the excitement! Oak Alley In addition to the excitement of Mardi Gras, Gardens experience the history of the Antebellum South with a tour of Oak Alley Plantation, and the history of the Wild West at the Ft. Worth Stockyards and the Chisholm Trail Heritage Center. ardi Gra M s FEBRUARY 14-20, 2015 Mardi Gras Mask BONUS! LLC Fun & Games WICHITA, KANSAS on the Bus WEST VIRGINIA MISSOURI Trip Includes: Wichita ► Baton Rouge, LA & the KANSAS KENTUCKY L’Auberge Casino & Hotel ► New Orleans City Tour TENNESSEE ► French Quarter & Bourbon Duncan ARKANSAS Street OKLAHOMA SOUTH Little Rock CAROLINA ► Historic Trolleys ► Grandstand Seating for Fat Tuesday Parades MISSISSIPPI ALABAMA GEORGIA ► Oak Alley Plantation Ft. Worth Bossier City TEXAS ► Bossier City, LA & Horseshoe LOUISIANA Casino ► Ft. Worth, TX Stockyards & Baton Rouge FLORIDA Billy Bob’s Over Texas Oak Alley New Orleans ► Six Meals and All Hotels Gulf of Mexico ► Refreshments on the Bus Page 2 Email: [email protected] │ www.jctours.com │ Tel: 316-838-0795 │ 3227 N. Tee Time │ Wichita, KS 67205 LLC WICHITA, KANSAS History of Mardi Gras Mardi Gras is French for Fat Tuesday, and is the last day for Catholics to indulge (or overindulge) before Ash Wednesday, the beginning of Lent.
    [Show full text]
  • "Throw Me Something, Mister": the History of Carnival Throws in New Orleans
    University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses 5-20-2011 "Throw Me Something, Mister": The History of Carnival Throws in New Orleans Lissa Capo University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Recommended Citation Capo, Lissa, ""Throw Me Something, Mister": The History of Carnival Throws in New Orleans" (2011). University of New Orleans Theses and Dissertations. 1294. https://scholarworks.uno.edu/td/1294 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. “Throw Me Something, Mister”: The History of Carnival Throws in New Orleans A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Arts in History Public History by Lissa Capo B.A. Louisiana State University, 2006 May 2011 i Dedication This work is dedicated to my parents, William and Leslie Capo, who have supported me through the years.
    [Show full text]
  • Rhythm, Dance, and Resistance in the New Orleans Second Line
    UNIVERSITY OF CALIFORNIA Los Angeles “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Benjamin Grant Doleac 2018 © Copyright by Benjamin Grant Doleac 2018 ABSTRACT OF THE DISSERTATION “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line by Benjamin Grant Doleac Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Cheryl L. Keyes, Chair The black brass band parade known as the second line has been a staple of New Orleans culture for nearly 150 years. Through more than a century of social, political and demographic upheaval, the second line has persisted as an institution in the city’s black community, with its swinging march beats and emphasis on collective improvisation eventually giving rise to jazz, funk, and a multitude of other popular genres both locally and around the world. More than any other local custom, the second line served as a crucible in which the participatory, syncretic character of black music in New Orleans took shape. While the beat of the second line reverberates far beyond the city limits today, the neighborhoods that provide the parade’s sustenance face grave challenges to their existence. Ten years after Hurricane Katrina tore up the economic and cultural fabric of New Orleans, these largely poor communities are plagued on one side by underfunded schools and internecine violence, and on the other by the rising tide of post-disaster gentrification and the redlining-in- disguise of neoliberal urban policy.
    [Show full text]
  • Copyright Hy Willism J{*N Ulrich
    Copyright hy Willism J { * n Ulrich i960 THE HCKTHERN MILITARY MIBD IM RBSARD TO RECOHSTRaCTlOH, 1865-1872: THE ATTITUDES OF TEN LEADBKj UMIŒ GENERALS DISSERTATIOH Presented in Partial Fulfillnsent of the Requirements for the Degree Doctor of Phi losopby in the Graduate School of the Oiio State University By m U A M JŒ3N ULRICH, B.A., H.Ac The Ohio State University 19^9 Approved by AdviS D^artment of History ACKBiaWLEDGMEIfrS The writer must acknowledge his indebtedness to many indivi­ duals idio were of significant help to him in the preparation and cOTçletîon of this manuscript. ^ thanks must go to Professor Henry H. Simms, History Department, of the Ohio State University, It was he who first introduced me to the subject, and gave invaluable and suggestive advice during all stages of the work. Words cannot express adequately sy p r e d a t i o n for the vast services rendered by the staff of the Ohio State University Library, especially the Interlibrary Loan department. The staff of the Library of Congress gave ^lendid assistance as did Mr. Drag and Mr. DePorry of the Manuscripts Division. Mr. Boyer of the Bcwdoia College Library was very cooperative in permitting me to make use of the Howard Psmers. Special thanks are again extended to Mr. Blanchette and staff of the Essex Institute located at Salem, Massachusetts. They allowed me to inspect the Banks Papers. It is nearly icfflossible to say "thank you" enough to my dearest mother for all her sacrifices and words of inspiration. Like­ wise a sincere ^>preciation for all her assistance, encouragement and understanding is due my beloved wife.
    [Show full text]
  • Gayneworleans.COM • Southerndecadence.COM • Gayeasterparade.COM • Jan
    GayNewOrleans.COM • SouthernDecadence.COM • GayEasterParade.COM • Jan. 30-Feb. 12, 2007 • AmbushMag.COM • MAIN~1 of 56 MAIN~2 of 56 • AmbushMag.COM • Jan. 30-Feb. 12, 2007 • The One & Only Official Gay Mardi Gras Guide • GayMardiGras.COM GayNewOrleans.COM • SouthernDecadence.COM • GayEasterParade.COM • Jan. 30-Feb. 12, 2007 • AmbushMag.COM • MAIN~3 of 56 local brass band talent is one of the few Krewe du Vieux traditions not currently the "official" dish being gutted, demolished, called into special session or waiting on a Road to Gulf South Entertainment/Travel Guide Since by Rip & Marsha Naquin-Delain Nowhere application. 1982 • Texas-Florida RipandMarsha.COM The Krewe du Vieux is a non-profit organization dedicated to the historical OFFICE/SHIPPING ADDRESS: E-mail: [email protected] 828-A Bourbon St., New Orleans, LA 70116-3137 and traditional concept of a Mardi Gras USA parade as a venue for individual creative Warden Chris Rose expression and satirical comment. It is OFFICE HOURS: 10am-3pm unique among all Mardi Gras parades Monday-Friday [Except Holidays] To Lead Inmates’ Escape because it alone carries on the old Carni- E-mail: [email protected] Parade, Krewe du Vieux val traditions, by using decorated, hand or PHONE: 1.504.522.8049 • 1.504.522.8047 mule-drawn floats with satirical themes, 2007 on Feb. 3 ANNUAL READERSHIP: accompanied by costumed revelers danc- Has there ever been a crazier 650,000+ in print/3.5 Million+ On-line ing to the sounds of jazzy street musi- year? In Washington, the Repub- cians. We believe in exposing the world to NATIONAL CIRCULATION: licans turned a few pages – and " the true nature of Mardi Gras — and in USA..
    [Show full text]
  • Maryland Historical Magazine, 1960, Volume 55, Issue No. 4
    MARYLAND HISTORICAL MAGAZINE VOL. 55, No. 4 DECEMBER, i960 CONTENTS PAGE George Calvert: His Yorkshire Boyhood ]ames W. Foster 261 Constitutional Reform and Election Statistics in Maryland, 1790-1812 /. R. Vole 275 The Causes of the Maryland Revolution of 1689 Michael G. Kammen 293 Old Quaker Burying Ground, "West River /. Reaney Kelly 334 John Ferdinand Dalziel Smith: Loyalist Harold Hancock 346 Sidelights 359 Letter of Francis Scott Key ed. by Franklin R. Mullaly Excerpts from Two Pinkney Letter Books ed. by Dorothy Brown Reviews of Recent Books 371 Cappon, ed.. The Adams-Jefferson Letters: The Complete Corre- spondence between Thomas Jefferson and Abigail and John Adams, by Charles A. Barker Labaree, ed., The Papers of Benjamin Franklin, by Curtis Carroll Davis Hall, Benjamin Franklin and Polly Baker: The History of a Literary Deception, by Ellen Hart Smith Hamilton, Braddock's Defeat: The Journal of Captain Cholmelefs Batman, ... by Milton W. Hamilton Sears, George Washington and the French Revolution, by Ellen Hart Smith Parham, ed., ATy Odyssey: Experiences of a Young Refugee from Two Revolutions ... by Frank F. White, Jr. Powers, ed., The Maryland Postal History Catalog . ., by H. Findlay French Gray et al, The Historian's Handbook: A Key to the Study and Writing of History, by Frank F. White, Jr. Ferguson and Ferguson, The Piscataway Indians of Southern Maryland, by Frederic Matthew Stiner Notes and Queries 380 Contributors 383 Annual Subscription to the Magazine, $4.00. Each issue $1.00. The Magazine assumes no responsibility for statements or opinions expressed in its pages. Richard Walsh, Editor C. A. Porter Hopkins, Asst.
    [Show full text]
  • THOUSANDS of SMALL BATTLES: a CASE STUDY on the IMPACT of POLITICAL DISCUSSION NETWORKS on VOTE CHOICE in CAUCUSES Jonathan Jackson University of Nebraska - Lincoln
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Political Science Department -- Theses, Political Science, Department of Dissertations, and Student Scholarship 7-2018 THOUSANDS OF SMALL BATTLES: A CASE STUDY ON THE IMPACT OF POLITICAL DISCUSSION NETWORKS ON VOTE CHOICE IN CAUCUSES Jonathan Jackson University of Nebraska - Lincoln Follow this and additional works at: http://digitalcommons.unl.edu/poliscitheses Part of the American Politics Commons, and the Social Psychology Commons Jackson, Jonathan, "THOUSANDS OF SMALL BATTLES: A CASE STUDY ON THE IMPACT OF POLITICAL DISCUSSION NETWORKS ON VOTE CHOICE IN CAUCUSES" (2018). Political Science Department -- Theses, Dissertations, and Student Scholarship. 46. http://digitalcommons.unl.edu/poliscitheses/46 This Article is brought to you for free and open access by the Political Science, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Political Science Department -- Theses, Dissertations, and Student Scholarship by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. THOUSANDS OF SMALL BATTLES: A CASE STUDY ON THE IMPACT OF POLITICAL DISCUSSION NETWORKS ON VOTE CHOICE IN CAUCUSES by Jonathan Andrew Jackson A DISSERTATION Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Philosophy Major: Political Science Under the Supervision of Professor Elizabeth Theiss-Morse Lincoln, Nebraska July, 2018 THOUSANDS OF SMALL BATTLES: A CASE STUDY ON THE IMPACT OF POLITICAL DISCUSSION NETWORKS ON VOTE CHOICE IN CAUCUSES Jonathan Andrew Jackson, Ph.D. University of Nebraska, 2018 Advisor: Elizabeth Theiss-Morse How do the people with whom we talk about politics influence our voting behavior? In this dissertation, I seek to answer that question within the particular context of voters in a single Iowa county in the 2016 Republican presidential caucus.
    [Show full text]
  • Place St. Charles Calendar of Events November 22 DDD Canal St
    Place St. Charles Calendar of events november 22 DDD Canal St. tree lighting ceremony 24 HAPPY THANKSGIVING! hristmas on the venue 25 Celebration in the Oaks thru Jan 1, 2017 26 Bayou Classic C HOLIDAY ARTS & CRAFTSA FAIR 27 Saints vs. Los Angeles Rams december 1-31 Christmas New Orleans Style 2 Holiday Movie on the Mississippi 4 Saints vs. Detroit Lions 5-17 Holiday Concert series @ PSC in the lobby 6 Saints vs. Carolina Panthers 8-9 Annual Holiday Arts & Crafts Fair @ Place St. Charles around the lobby fountain, 11 a.m. - 3 p.m. 9 Holiday Movie on the Mississippi 11 Saints vs. Tampa Bay Buccaneers 17 New Orleans Bowl 18 Delta Festival Ballet’s Nutcracker Saints vs. Arizona Cardinals Caroling in Jackson Square 23 Moscow Ballet’s Great Russian Nutcracker 24 Saints vs. Tampa Bay Buccaneers 24-Jan 1 Hanukkah 25 MerrY CHrISTMAS! 26-Jan 1 Kwanza 31 New Year’s Eve French Quarter Celebration & Fireworks january 2017 1 HAPPY New YeAr! Saints vs. Atlanta Falcons 2 Allstate Sugar Bowl www.placestcharles.com 201 ST. CHARLES AVE NOV 2016 - FEb 2017 2-Feb 28 Get your PSC passport to a FREE LuNCH - SuPPLiES LiMiTED! ake a trolley down the avenue to CMK POTTErY Local potter Cynthia M. Kuehne offers 5 Twelfth Night Place St. Charles Annual Holiday handmade pottery with a touch of “N’Awlins.” Oyster plates, 6 Krewe of Joan of Arc, French Quarter Arts & Crafts Fair on Thursday, large and small, shotgun house relief pieces and many fleur de lis Phunny Phorty Phellows, uptown are just some of the items that will make thoughtful gifts! December 8 and Friday, December 16 MArTIN LUTHer KING DAY 9 from 11 a.m.
    [Show full text]
  • Mardi Gras Parades 2014
    Mardi Gras Parades 2014 Date Parade Time Area 2/15/2014 Krewe of Jupiter 6:30 PM Baton Rouge 2/21/2014 Krewe of Artemis 7:00 PM Baton Rouge 2/22/2014 Krewe of Mystique 2:00 PM Baton Rouge 2/22/2014 Krewe of Orion 6:30 PM Baton Rouge 2/28/2014 Southdowns 7:00 PM Baton Rouge 3/1/2014 Spanish Town Noon Baton Rouge 2/16/2014 Krewe of Des Petite 1:00 PM Bayou Lafourche 2/22/2014 Le Krewe Des T- Cajun noon Bayou Lafourche 2/22/2014 Krewe of Ambrosia 5:30 PM Bayou Lafourche 2/23/2014 Krewe of Shaka 1:00 PM Bayou Lafourche 2/23/2014 Krewe of Versailles Noon Bayou Lafourche 2/28/2014 Krewe of Athena 7:00 PM Bayou Lafourche 3/1/2014 Krewe of Altantis noon Bayou Lafourche 3/1/2014 Krewe of Apollo Noon Bayou Lafourche 3/1/2014 Krewe of Babylon 6:00 PM Bayou Lafourche 3/1/2014 Le Krewe Du Bon Temps 5:50 PM Bayou Lafourche 3/2/2014 Krewe of Nereids 6:00 PM Bayou Lafourche 2/22/2014 Knights of Nemesis 1:00 PM Chalmette 2/22/2014 Krewe of Olympia 6:00 PM Covington 2/28/2014 Krewe of Lyra 7:00 PM Covington 2/15/2014 Krewe du Vieux 6:30 PM French Quarter 2/15/2014 Krewe Delusion du Vieux French Quarter 2/21/2014 Krewe of Cork 3:00 PM French Quarter 2/23/2014 Krewe of Barkus 2:00 PM French Quarter 2/22/2014 Krewe of Tee Caillou 12:00 PM Houma/Terrebonne 2/22/2014 Krewe of Aquarius 6:30 PM Houma/Terrebonne 2/23/2014 Krewe of Hyacinthians 12:30 PM Houma/Terrebonne 2/23/2014 Krewe of Titans Hyacin Houma/Terrebonne 2/28/2014 Krewe of Aphrodite 6:30 PM Houma/Terrebonne 3/1/2014 Krewe of Mardi Gras 6:30 PM Houma/Terrebonne 3/2/2014 Krewe of Terreanians 12:30
    [Show full text]
  • The Career of Henry Watkins Allen
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1940 The aC reer of Henry Watkins Allen. Luther Edward Chandler Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Part of the History Commons Recommended Citation Chandler, Luther Edward, "The aC reer of Henry Watkins Allen." (1940). LSU Historical Dissertations and Theses. 7825. https://digitalcommons.lsu.edu/gradschool_disstheses/7825 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. MANUSCRIPT THESES Unpublished theses submitted for the master*s and doctorfs degrees and deposited in the Louisiana State University Library are available for inspection. Use of any thesis is limited by the rights of the author. Bibliographical references may be noted, but passages may not be copied unless the author has given permission# Credit must be given in subsequent written or published work. A library which borrows this thesis for use by its clientele is expected to make sure that the borrower is aware of the above restrictions. LOUISIANA STATE UNIVERSITY LIBRARY 1 1 9 - a THE CAREER OF HENRY WATKINS ALLEN A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History By Luther Edward chandler B* A.
    [Show full text]
  • Kruisin' Da Krewes
    Alternative Mardi Gras Kruisin’ da Krewes Vol. II, issue 2 1 Dave Malone from The Radiators Photo / Pat Jolly Where is Beat Street? There is a place in New Orleans, a figurative address that is home to all that is real. New Orleans Beat Street is the home of jazz. It is also the residence of funk and the blues; R&B and rock ‘n’ roll live here, too. When zydeco and Cajun music come to town, Beat Street is their local address. Beat Street has intersections all over town: from Uptown to Treme, from the Ninth Ward to the French Quarter, from Bywater to the Irish Channel, weaving its way through Mid-City and all points Back o’ Town. Beat Street is the Main Street in our musical village. It is where we gather to dine and to groove to live music in settings both upscale and downhome. Beat Street is where we meet to celebrate life in New Orleans with second line parades, festivals and concerts in the park. Beat Street is lined with music clubs, restaurants, art galleries, recording studios, clothing shops, coffee emporiums and so much more. New Orleans Beat Street is a mythical street in New Orleans surrounded by water and flooded with music. 2 NEW ORLEANS BEAT STREET MAGAZINE Vol. II, issue 2 3 Photo Michael P. Smith In This Issue... Beat Street takes a look at Carnival from an alternative perspective. Broderick Webb explores the East-West connections. David Kunian investigates the origins of some of the most fascinating “underground” krewes. Spike Perkins gets up close and personal with the Krewe Du Vieux.
    [Show full text]