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Contesting Public Space in New Orleans' Jackson Square Rebecca A Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2006 Between representation and practice: contesting public space in New Orleans' Jackson Square Rebecca A. Sheehan Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Social and Behavioral Sciences Commons Recommended Citation Sheehan, Rebecca A., "Between representation and practice: contesting public space in New Orleans' Jackson Square" (2006). LSU Doctoral Dissertations. 987. https://digitalcommons.lsu.edu/gradschool_dissertations/987 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. BETWEEN REPRESENTATION AND PRACTICE: CONTESTING PUBLIC SPACE IN NEW ORLEANS’ JACKSON SQUARE 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 Geography & Anthropology by Rebecca A. Sheehan B.S., Purdue University, 1994 M.A.G., Texas State University, 2000 May 2006 Copyright© 2006 Rebecca A. Sheehan All rights reserved ii For Emily Ellen, Robert Raymond, Jack Michael, Nathan Bradley & Anna Grace iii Acknowledgements I owe many thanks to the people of Jackson Square—for their time, insight, individuality, and friendship. I sincerely appreciate what I learned from them both academically and personally. I want to thank my all-star committee, Miles Richardson, Craig Colten, Helen Regis, and Dydia DeLyser for their earnest enthusiasm and guidance throughout my dissertation. I thank Miles Richardson for his care, creativity, and for teaching me to learn with a listening eye. I am indebted to Craig Colten for providing me the idea to explore Jackson Square for my dissertation as well as for displaying a one-of-a-kind brand of humor. Craig and Helen Regis’ work in New Orleans have given me a constant source of inspiration for both archival and ethnographic research in the city. I thank Helen too for long conversations at coffee shops regarding Jackson Square and New Orleans and for all the “ins” she gave me while I lived in the Crescent City. Certainly, my advisor, Dydia DeLyser, gave me constant support through each stage of this research process, particularly in terms of qualitative analysis. Additionally, I thank Dydia for the immense amount of time that she put into reviewing and commenting on earlier drafts of this dissertation, going well beyond the call of duty. My skills and confidence as a scholar and writer have surely grown because of her commitment. Of course, I have had much support from other professors inside and outside the department. They include Michael Bowman, Tim Cresswell, Barry Keim, Steve Pile, Jennie Russell, and Fred Shelley. I sincerely appreciate the department’s West Fund, the Deep South Regional Humanities Center at Tulane University, and the Association of American Geographers’ Historical Research and the Cultural Geography specialty groups’ financial support, which helped greatly in funding my research for this dissertation. I also want to thank individuals for their support and for journeying through this dissertation with me. My fellow graduate students who I have learned, laughed, and cried with include Jennifer Speights-Binet, Frances Currin, Bill Fagan (and Susan and Mackenzie!), Sarah Hindman, Bess Matassa, Ellen Salter-Pedersen, Bethany Rogers, Paul Watts, and Kelli Welch. Finally, I want to thank my family, my mom, Vicki, my dad, Jim, and my sisters Stephanie and Jenny, for their support, love, and humor. Thanks to them for always being there for me. iv Table of Contents Acknowledgements…………………………………………………………………..iv List of Figures………………………………………………………………………..vi Abstract………………………………………………………………………….…..vii Chapter One Introduction: A World of Its Own………………………………………..........1 Two Notions of Public Space in Cultural Geography……….……………………………………………….19 Three Imperfect Performances: Doing Ethnographic and Archival Research………………………………………………………..51 Four Ordering and Imagining the City in a Public Square……………………..........86 Five Disorder in the City’s Front?.....................................................................................124 Six Unsettling Perceptions of High and Low Culture and Center and Margin in Society………….…………………………….......163 Seven Negotiating Space, Controlling Place Day-by-Day……………………...........196 Eight Conclusion: Connections to other Worlds……………………...…………....240 References…………………………………………………………………………..254 Appendix A Archival Abbreviations ……………………………………………………..270 Vita………………………………………………………………………………....273 v List of Figures 1. Jackson Square…………………………………………………………………......2 2. Baroness Pontalba’s Design for Jackson Square…………………………..………97 3. Pontalba Building………………………………………………………………...99 4. The Plaza’s Curvilinear Promenades…………………………………………….100 5. General Andrew Jackson Statue…………………………………………...…….101 6. Jackson Square Postcard……………………………………………………..….111 7. Artists’ Work Along the Jackson Square Fence………………………………….168 8. Artist Painting…………………………………………………………………...168 9. Tarot Card Reader………………………………………………………………180 10. Tarot Card Reader’s Setup………………………………………………………182 11. Joe and Kara in Their Spot…………………………………………………..….202 12. The Big Band…………………………………………………………………...206 13. St. Louis Cathedral…………………………………………………………........211 14. Artist, Reader, Entertainer Areas in the Pedestrian Mall……………………...….220 15. Homeless Man Sleeping on a Bench in the Pedestrian Mall……………..………223 16. Tuba Fats on the Bench………………………………………………………....240 17. Tuba Fats Jazz Funeral in Jackson Square………………………………………241 18. The Dancing Crowd in the Pedestrian Mall………………………..……………242 vi Abstract Recent geographic research on public space focuses largely on either the past or present. Using historical and ethnographic methods, I contribute to understanding public space over time from an everyday point of view, a variety of social scales. Further, departing from a generally political-protest focus that much geographic literature centers on, my study explores the multifaceted areas of the political, cultural, and economic in public space. Thus, I show that the need for public space expands beyond protest voices into other realms that form and inform identity. Through New Orleans’ Jackson Square, these prospects of public space demonstrate “a world of its own” that connects with and to other social worlds. Specifically, my research reveals ongoing and often mutually constitutive tensions between representation and practice, which various groups and classes employ in the meaning making of public space. In doing so, I engage with one of cultural geography’s current and important debates over the significance of and between representation and practice. I argue that approaches to creating cultural geographies must include examining both representation and practice together and on a continuum, where both are mutually constitutive of each other and thus to understanding the meanings of landscape and place. vii Chapter One Introduction: A World of Its Own During a Saturday afternoon in autumn, Jackson Square, center of New Orleans’ French Quarter, teemed with activity and thousands of tourists (fig. 1). On the Square’s edge at the corner of St. Ann and Decatur Streets, atop a milk crate, a fairy mime posed in statuesque form. Wearing a shimmery crimson dress and elfish shoes, she gently held a small bouquet of flowers. Her delicate sheer wings, long baby-fine hair, powder-white skin, and slender-girlish frame matched her persona. The fairy captured tourists’ curiosity, as they stared and gathered around her. Standing nearby, a captivated little girl exclaimed, “Ooo, Daddy, I wanna see what she does!” The father gave the girl a dollar to place in a basket at the milk crate’s base. The girl did so, watching the fairy all the while. With the girl’s kind gesture, the fairy slowly reached into the bouquet, taking out just a pinch of fairy dust, and sprinkled it into the air near the girl. Joyously, the girl twirled under the shower as the sparkling dust settled over her. Then, she and her Daddy strolled away, disappearing into the world of Jackson Square1 (fn 04.05.04). The late-eighteenth and mid-nineteenth century Spanish-French architecture surrounding Jackson Square may certainly allow one to envisage that she is in a different time and place. But, the enclosing architecture only partly accounts for the microcosm within the Square—a world that is separate from and simultaneously connected to other 1 The world of Jackson Square includes Jackson Square and its Pedestrian Mall. 1 worlds. In this dissertation one broad goal I have is to show how the creating of this world and its connecting to other worlds occurs in the life of this public space. Figure 1 Jackson Square (source: collection of author). Locals, who have a sustained presence in Jackson Square for cultural, economic, and social reasons, intimate that the Square is indeed a world of its own, making comments such as “Jackson Square has its own weather” (fn 06.25.04, 07.07.04). Others explain that different corners of the Square have different energies that sometimes change, not unlike the poles of the earth that also change (though of course over a much
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