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Memorial Practices of New Orleans

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Memorial Practices of New Orleans The Pennsylvania State University The Graduate School College of the Liberal Arts RHETORICAL BURIALS: MEMORIAL PRACTICES OF NEW ORLEANS A Dissertation in Communication Arts and Sciences by J. David Maxson © 2018 J. David Maxson Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2018 ii The dissertation of J. David Maxson was reviewed and approved* by the following: Debra Hawhee McCourtney Professor of Civic Deliberation Professor of English and Communication Arts and Sciences Dissertation Advisor Chair of Committee Michele Kennerly Assistant Professor Communication Arts and Sciences and Classics and Ancient Mediterranean Studies Stephen H. Browne Liberal Arts Professor of Communication Arts and Sciences Matthew Jordan Associate Professor in the Donald P. Bellisario College of Communications Kirt H. Wilson Associate Professor of Communication Arts and Sciences and African American Studies Director of Graduate Studies for the Department of Communication Arts and Sciences *Signatures are on file in the Graduate School. iii ABSTRACT Contests over public memory are complex, dynamic, political, and rhetorical. The interdisciplinary study of public memory has, in fact, occupied scholars in rhetoric for the past quarter century. By focusing on the public and social qualities of most memorial practices, contemporary rhetoricians have emphasized the contingent nature of the past, drawn attention to the judgments made to select and sustain memories, and explored the persuasive power of leveraging past events in service of present needs. But why do some memories crop up at unexpected times? What happens when memories are adopted by the very institutions that formerly disavowed and suppressed them? How can scholars in rhetoric studies help explain the opportunistic resurgence of public memories or the deliberate dismissal of traumatic pasts? In order to answer these questions, this dissertation builds from and draws together extensive interdisciplinary conversations in history, geography, sociology, ethnomusicology, performance studies, and rhetoric studies to analyze public memorial practices in New Orleans. More specifically, the case studies in each chapter explore how New Orleans’ funerary rituals—from jazz funerals to cenotaphic naming—are used for commemorative purposes other than mourning and burying the dead. In this study, bodily movement and sound rhetorically express public memory in liminal moments of transition, animating alternative presents, envisioning productive futures, claiming space for the living, maintaining memories of the departed, and defining who is invited to remember. Organized thematically, the first two chapters explore commemorations for the unacknowledged dead, while the final two chapters examine the ritualized burial of traumatic pasts through New Orleans’ musical funerary traditions. iv TABLE OF CONTENTS LIST OF FIGURES ...................................................................................................................v ACKNOWLEDGEMENTS ..................................................................................................... vi INTRODUCTION .....................................................................................................................1 Public Memory in New Orleans ...........................................................................................5 Rhetorical Field Methods ......................................................................................................7 Writing About New Orleans ...............................................................................................17 Preview of Chapters ............................................................................................................21 CHAPTER ONE. Burying the King Again: Buddy Bolden’s Jazz Funeral and Defleshed Memory ................................................................................................................................... 33 Defleshed Memory..............................................................................................................35 Muting Buddy Bolden.........................................................................................................38 Jazz Funerals, Democracy, and Public Mourning ..............................................................43 The Buddy Bolden Planning Committee ............................................................................49 Cutting the Body Loose ......................................................................................................53 CHAPTER TWO. St. Anna’s Murder Board: Memorializing New Orleans’ Victims of Violence ...................................................................................................................................69 Cenotaphic Naming ............................................................................................................73 “Paying Faithful Attention” ................................................................................................75 Humanizing Through Inscription ........................................................................................81 Prompting Reactions ...........................................................................................................87 Ever-Expanding Memorial ..................................................................................................90 CHAPTER THREE. “Burying the Past”: Dillard University’s Jazz Funeral for Katrina .....104 Scarred Landscapes ...........................................................................................................106 “Gleaming White and Spacious Green” ...........................................................................112 Burying Katrina ................................................................................................................120 “Getting Past the Katrina Story” .......................................................................................127 CHAPTER FOUR. “Second Line to Bury White Supremacy”: Take ’Em Down NOLA, Absent, Monuments and Residual Memories ........................................................................144 Rhetoric of Absent Monuments ........................................................................................147 The Liberty Place Monument ............................................................................................152 “We Are One Band, One Sound”: Mobilizing Residual Memory ....................................162 Residual Memories, Activist Communities, and Monuments to White Supremacy .........169 CONCLUSION ......................................................................................................................182 REFERENCES ......................................................................................................................195 v LIST OF FIGURES Figure Page I.1. Da Truth Brass Band outside of City Park ....................................................................3 2.1. Close up of St. Anna’s Murder Board ........................................................................69 2.2. Close up of handwritten names on St. Anna’s Murder Board ....................................71 2.3. Missing panel from the garden wall portion of the Murder Board .............................91 2.4. Pulse Night Club entry on the Murder Board .............................................................95 3.1. House with bullet hole painted on it and steps leading to nothing ...........................109 3.2. Dillard University’s Avenue of the Oaks ..................................................................117 3.3. “Jazz Funeral: Burying the Past” handkerchief and procession ...............................121 4.1. Rev. Alexander at the 1993 rededication of the Liberty Place Monument ...............157 4.2. NOPD dragging Rev. Alexander out of City Hall in 1964 .......................................159 C.1. Google Maps screenshots of the Liberty Place Monument......................................186 vi ACKNOWLEDGEMENTS Writing a dissertation is a process that requires countless acts of kindness to complete. Thanks to the New Orleanians who both inspired this project and helped make it happen. Thanks to Sarah Adams, Cory Geraths, and Mudiwa Pettus for your insightful feedback and for making accountability so much fun. Debra Hawhee’s writing group has a special knack for finding and refining arguments in the most hopeless drafts. Thanks to Kris Lotier, Kyle King, Jo Hsu, Sarah Adams, Megan Poole, Curry Kennedy, and Ashley Rea for your charitable criticism. Thanks to folks at Tulane University for sharing your intellectual community with me. I am especially grateful to Bruce Boyd Raeburn, Alaina W. Hébert, and Lynn Abbott for guiding me through the William Ransom Hogan Jazz Archive and providing me with a Björn Bärnheim Research Fellowship. Thanks to the New Orleans Center for the Gulf South, especially Rebecca Snedeker, Denise Frazier, and Joel Dinerstein for supporting my research in New Orleans with a Gulf South Fellowship. Thanks, also, to Matt Sakakeeny and T.R. Johnson whose genuine interest in this project, even in its earliest stages, encouraged me to do good work. Thanks to Davis Houck, Jennifer Mercieca, and Robert Asen for their generous feedback during the NCA Doctoral Honors Seminar in 2016. Thanks to Michael Butterworth, Charles Morris III, and Jeffrey A. Bennett for making me feel welcome as a scholar.
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