Lower Garden District AR 2009

Total Page:16

File Type:pdf, Size:1020Kb

Lower Garden District AR 2009 SurveyMonkey - Survey Results Page 1 of 4 survey title: 2009 Cultural District Annual Report current report: Default Report Displaying 16 of 21 respondents Response Type: Normal Response Collector: New Link (Web Link) Custom Value: empty IP Address: 74.240.161.17 Response Started: Sat, Jan 30, 2010 12:46:14 PM Response Modified: Sun, Jan 31, 2010 1:44:07 PM 1. Name of Cultural District: Lower Garden District 2. Contact Information for person designated to complete this report on behalf of the local governing authority, if further clarification is needed: Name: - Lillian Thompson, Vice President Company/Organization: - Coliseum Square Association City/Town: - New Orleans Email Address: - [email protected] Phone Number: - (504) 302-1561 3. List or describe Cultural District accomplishments for the past year. Information should include progress toward the goals stated in the initial application, and may include status of renovations and other capital projects; infrastructure improvements; marketing efforts; impact on tourism; crime rate, etc. On March 26, 2009, Coliseum Square Association (CSA) hosted a Cultural District “kickoff” event at the historic St. Alphonsus Art and Cultural Center on Constance Street. Attended by 40-50 LGD residents and business owners, the purpose of the event was to promote the opportunities afforded by our new designation, and to start a communication network of stake-holders. Gaye Hamilton and Alison Saunders from Baton Rouge, and Alison Gavrell from New Orleans were on hand to describe program specifics. Several new businesses were added to the cultural economy in the LGD in 2009. Most prominent among these is Second Line Stages (SLS), which is nearing completion of a 90,000 square foot film production facility (the first class A studio in New Orleans), scheduled to open early in 2010. While the main soundstage is new construction, SLS used the CD historic rehabilitation tax credits to restore an enormous, long-abandoned masonry warehouse. The city of New Orleans directed approximately $8 million in street improvements to the neglected area around SLS, and we view this infrastructure improvement as inextricably linked to our Cultural District designation. As part of a business recruitment initiative, SLS co-sponsored a workshop on the Louisiana Film Tax Credit with the New Orleans Video Access Center (NOVAC) and hosted a series of meetings with CSA, GNO Inc, representation from District B Councilwoman Stacy Head's office, and other stakeholders in LGD economic development. Other major contributors to the LGD’s cultural economy are: • The Music Shed on Euterpe Street, which continues to offer world-class music recording facilities • the New Orleans Photo Alliance (NOPA) on St. Mary Street, one of the city's most significant consortiums of photographic artists • the International School of Louisiana on Camp Street, a French and Spanish immersion K- 8 charter school, devoted to education in the context of global awareness and culture; hosts numerous art and music events open to the entire community • the Roots of Music (headquartered at the Music Shed), whose founder Derrick Tabb was a finalist for CNN’s Heroes award … much of its after-school programming occurs at the Music Shed • the Dark Room on Sophie Wright Place, providing resources and support for local artists • The Pontchartrain Hotel opened after a substantial renovation made possible by Cultural District tax credits. Art-related events that took place in the LGD in 2009: • CSA’s 35th Annual Lower Garden District House Tour took place Oct. 25, promoting preservation of our historic buildings (attendance 175). • In conjunction with the House Tour, “Arts in the Square” featured 17 local artists selling their original artwork in Coliseum Square (attendance 175-200). • LGD art galleries on lower Magazine Street were prominent in the annual Art for Art’s Sake event on Oct. 3 (attendance 400-500). • On December 12 as part of the month-long PhotoNOLA event, “ArtWalk in the LGD” featured five of our galleries and collaboratives (attendance 150-200). • On Sept. 5, the Project 30-90 Green Art and Music Festival was held just inside our district’s river-side boundary (attendance 2,000). • On September 1, “Walk-in Movie Night” at Sophie Wright Park the showed the documentary film “Future of Food” (attendance 150-175) • On May 4, “Fashion in the Park” took place at Sophie Wright Park, combining high fashion with local art, music, and food (attendance 175-200). The bottom line is … our cultural economy is stronger than ever. http://www.surveymonkey.com/MySurvey_ResponsesDetail.aspx?sm=B4TIQ5QqO4ZQzG ... 2/2/2010 SurveyMonkey - Survey Results Page 2 of 4 4. List or describe any proposed activities for the upcoming year. Coliseum Square Association continues to promote the CD designation through our website, and by announcing any and all art-related events in the district through email blasts, and through the creation of an “arts blog” where individual artists can post their own events. One of our main goals for 2010 is to enhance our network of business/homeowner resources to maximize the awareness of CD tax credits to the neighborhood, including hosting workshops on how to apply for CD rehab tax credits. There are several significant development projects in the pipeline for which we are actively promoting the use of tax credits, including an organic grocery and farmers’ market (Hollygrove Market) in an abandoned synagogue on Jackson Avenue, a condo development in an abandoned hospital on Jackson Avenue, two historically significant vacant churches, etc. Additionally: • We will continue promoting art and music events, and are actively engaged in luring into our district in 2010 a prominent existing music festival that may be looking for a new venue. • The Music Shed will be building out another phase of its historic warehouse structure to house an additional soundstage, and we are hopeful that CD tax credits will play a role. • Second Line Stages will be the site of a very large film production in 2010, and we look forward to the continued influx of film/art industry professionals affiliated with SLS and other film- and music-related businesses within the district. 5. Indicate the number of businesses, organizations, individuals, and events taking advantage of the sales tax exemption for original art. Businesses - 10-15 Organizations - 2-3 Individual Artists - not sure, but we assume some (artists know about the program) Events - 2-3 6. List any additional local incentives offered to businesses and/or qualifying residing artists in the district. Hoping to capitalize on the existence of Second Line Stages and The Music Shed in our district, we initiated talks with our city councilwoman about the prospect of Orleans Parish creating a package of tax incentives to attract additional film production to the city in general, and the LGD specifically. The LGD’s proximity to the river, the CBD and the French Quarter already makes it extremely appealing to filmmakers, and our hope is to level the playing field financially with surrounding parishes by encouraging the legislative push for new financial incentives. 7. List and/or describe the impact on property values. Property values in general have continued to rise in the LGD, as the few remaining pockets of blight are improving. Real estate agents that market actively in our neighborhood are well aware of the Cultural District’s historic rehabilitation tax credits, and make sure that prospective buyers understand the opportunity. At least one very significant historic house – formerly the Catherine Club on Camp Street – was bought out of foreclosure, and we have encouraged the new owners to take advantage of the credits. The Times Picayune reported mid-year that the Lower Garden District is one of the strongest residential real estate markets in the city. Despite our steadily rising property values, the LGD continues to attract a lot of young people and artists, due to the abundance of affordable apartments, and the “edginess” of the neighborhood in general. 8. Indicate the number of building renovation projects begun within the Cultural District in 2009. Residential - 15-20 Commercial - 8-10 9. Indicate the number and/or percent of vacant buildings; compare this to the vacancy before certification as a Cultural District. We estimate no more than 3-4% of buildings in the LGD are vacant, and know of at least 6-8 vacant residential buildings and 3-4 commercial buildings that have been bought, renovated, and occupied in the last year. 10. Describe any impacts attributable to certification as a Cultural District. These comments should describe the benefits or value of being a Cultural District related to each of the items below. Be concise. A. Artistic or cultural development - the promotion of the arts, encouraging creativity, attracting artists or other cultural businesses, new artist housing and studio spaces. B. Community development - engaging residents, providing a sense of community, serving as a gathering place, strengthening community partnerships, developing a positive image of your District C. Economic development - revitalizing the http://www.surveymonkey.com/MySurvey_ResponsesDetail.aspx?sm=B4TIQ5QqO4ZQzG ... 2/2/2010 SurveyMonkey - Survey Results Page 3 of 4 neighborhood, enhancing property values, stimulating the economy, drawing tourists, establishing new businesses Very generally, the collaborative efforts we initiated in 2009 to address our new status as a Cultural District have, in and of themselves, opened lines of communication that did not exist previously. More than ever before, LGD residents and business owners view themselves as common stakeholders in the continuing growth of the neighborhood. For decades we have had strong community partnerships, but the CD initiative has really helped bridge the gap between old guard urban pioneers from the 70’s, and the up-and-coming art community that has taken root in the last ten years. A. There is a very strong network in the LGD to promote events of art and culture.
Recommended publications
  • 86985237.Pdf
    Evening Schedule 7:00 p.m. Meschiya Lake & the Little Big Horns Special performance with Treme actor Michiel Huisman 7:50 p.m. Little Freddie King 8:30 p.m. Welcoming Remarks, Screening of a Special Treme Trailer Performance by The Roots of Music Crusaders 9:00 p.m. Live Auction 10:00 p.m. “Blue Zone” Silent Auction Closes Irma Thomas 10:30 p.m. “Brown Zone” Silent Auction Closes Check Out Opens Auction Rules No exchanges or refunds on auction items are permitted. Everything will be sold “as is.” Large items (such as by arrangement. Please call 504-421-4312 to schedule. 2. Check-out for the Blue Zone will begin at 10:30 p.m. tonight. We prefer check or cash, but also accept all major credit cards. In the event that you must leave before 10:30 p.m., you must contact us and make payment by Thursday, April 5, 2012. If we do not receive payment by that date, we reserve the right to sell that item to the next bidder. Pick-up will be available, but we can only ship items at the buyer’s expense. must be used within one year. Dates and times are to be ar- ranged at the mutual convenience of the donor and buyer. 5. Minimums and acceptable increments are stated on the bid sheets. A bid that does not meet the minimum or does not better the previous bid by at least the increment stated will be invalid. - A special acknowledgement to Ron Cuccia, Charles Neville and Ramsey McLean, who wrote the song My Darlin’ New Orleans, after which this event is named.
    [Show full text]
  • The Singing Guitar
    August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW.
    [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]
  • "Born in a Second Line": Glen David Andrews Shares New Orleans Musical Heritage with the World
    COVER STORY "Born in a Second Line": Glen David Andrews shares New Orleans musical heritage with the world By Dean M. Shapiro Over a long, stellar career filled with honors, awards and international accolades, Glen David Andrews has just added another milestone to his list of accomplish- ments: his own namesake record label! The New Orleans born-and-raised trom- bonist and vocalist with possibly the most distinguished musical lineage in the city’s history, is touting his latest release, a digital album titled “Live in My Living Room” on the Glen David Andrews Records label (a subsidiary of Louisiana Red Hot Records). Recorded live in his French Quarter living room during the COVID-19 quarantine, the album is already making the rounds and available for downloading from Andrews’ Facebook page and website. Backed by the six-piece Glen David Andrews Band plus himself on vocals, Andrews penned five of the disc’s eight cuts. These include the lead track, “Treme Hideaway,” a tribute to a music club recently opened by his older brother, Grammy Award-winning drum- mer Derrick Tabb of the Rebirth Brass Band, in the city’s musically rich 6th Ward where the two of them grew up. As he explained in the accompanying liner notes, “This album was done to give you the experience of my live shows. Due to the current situation we couldn’t go in the studio to record this record, but nothing can stop the Spirit of the New Orleans musicians so we decided to record it live.” Despite being unable to perform in clubs, go on tour or play for special events, Andrews has not been idle.
    [Show full text]
  • 2008 State of New Orleans' Music Community Report
    2008 State of New Orleans’ Music Community Report Copyright page Date, etc. Sweet Home New Orleans Board of Sweet Home New Orleans Staff Directors • Ali Abdin, Case Manager • Kim Foreman • Kate Benson, Program Director • Bethany Bultman • Aimee Bussells • Kat Dobson, Communications Director • Tamar Shapiro • Helene Greece, MSW, Social Worker • “Deacon” John Moore • Armand Richardson • Klara Hammer, Financial Director • Cherice Harrison-Nelson • Jordan Hirsch, Executive Director • Reid Wick • Lauren Anderson • James Morris, GSW, Director of Social Services • Scott Aiges • Lynn O’Shea, MNM, Director of Organizational • Tamara Jackson Development • Lauren Cangelosi • Joe Stern, Case Manager • David Freedman • Paige Royer (please alphabetize board list) (possible heading or title here) This report represents the culmination of three years of our direct service to New Orleans’ music community. Renew Our Music, founded as New Orleans Musicians Hurricane Relief Fund, began issuing relief checks to New Orleans artists while floodwaters still covered parts of the city. Sweet Home New Orleans evolved in 2006 to provide case management and housing assistance to the musicians, Mardi Gras Indians, and Social Aid & Pleasure Club members struggling to return to their neighborhoods. In 2008, these agencies merged to form a holistic service center for the music community, assisting with everything from home renovations to instrument repair. As of the third anniversary of the storm, we have distributed $2,000,000 directly to more than 2,000 of New Orleans’ cultural tradition bearers. Our case workers assess clients’ individual needs to determine how our resources, and those of our partnering agencies, can most effectively assist them in perpetuating our city’s unique music culture.
    [Show full text]
  • Friends of WWOZ Board of Directors Meeting May 9, 2012 General Manager's Report
    Friends of WWOZ Board of Directors Meeting May 9, 2012 General Manager's Report 1. 2012 New Orleans Jazz & Heritage Festival Coverage. Once again, WWOZ provided start-to-finish broadcast and webcast coverage of this year’s New Orleans Jazz & Heritage Festival. And once again, the station’s remote production krewe headed by Program Director Dwayne Breashears and Chief Engineer Damond Jacob provided live feeds to seventeen stations around the country, including KUVO (Denver), KVJZ (Vail), WUSM, Hattiesburg, MS, KPOV, Bend, OR, KDHX, St Louis, MO, CIUT, Toronto, Canada, KFCF, Fresno, CA, WNCU, Durham, NC, WCLK, Atlanta, GA, KMUD, Garberville, CA, KMUE, Eureka ,CA, KLAI, Laytonville/Shelter Cove, CA, WPFW, Washington, DC, KGOU, Norman, OK, KROU Spencer/Oklahoma City, KOUA, Ada, OK, KWOU, Woodward, OK. A small broadcast crew and more than 100 volunteers handled WWOZ’s multiple Jazz Fest activities ranging from broadcast, to membership/brass pass distribution, WWOZ Mango Freeze sales, Piano Night, and night time broadcasts from local clubs. Broadcast Krewe: The broadcast crew included George Ingmire, Bradley Blanchard, Jerry Lenaz, SherriLynn Colby-Bottel, David Kunian, Dimitri Apessos, Linda Santi, Olivia Greene, and many more. Engineering Krewe: The engineering crew included Tony Guillory, Robert Carroll, Khalid Hafiz, and Susan Jacob. Volunteer Power: Veronica Cromwell, Bill Insley, Leslie Cooper, Elsie Bunny Walker, Mary Lambert, Marie MacAdory, Paige Patriarca, Ruth Marinello, Jerry Lenaz, Heather McGlynn, Linz Adams, Mary Naughton, Christy Grimes, Ron Clingenpeel, Lance Albert, Rick Wilkof, Eric Ward, Duane Williams, Melissa Gemeinhardt, Christy Carney, Duane Williams, Betty Schlater, Melissa DeOrazio, Matthew De Orazio, Craig Christopher, Steve Daub, and many more.
    [Show full text]
  • T15058 Sebastian.Pdf (3.455Mb)
    IF YOU LIKE OUR SOUND, STICK AROUND: BUSKERS OF THE FRENCH QUARTER A Thesis by Rachael Elizabeth Sebastian Bachelor of Arts, Wichita State University, 2010 Submitted to the Department of Anthropology and the faculty of the Graduate School of Wichita State University in partial fulfillment of the requirements for the degree of Master of Arts July 2015 © Copyright 2015 by Rachael Sebastian All Rights Reserved IF YOU LIKE OUR SOUND, STICK AROUND: BUSKERS OF THE FRENCH QUARTER The following faculty members have examined the final copy of this thesis for form and content, and recommend that it be accepted in partial fulfillment of the requirement for the degree of Master of Arts with a major in Anthropology. Angela Demovic, Committee Chair Sarah Taylor, Committee Member Geoffrey Deibel, Committee Member iii DEDICATION For my parents; Who from an early age instilled a love of learning And my Grandpa Shurley; for showing me the power of thinking about things from other peoples perspectives iv ACKNOWLEDGEMENTS A massive thank you is in order to the Jackman Endowment, and the Ahmed Donation for the Advancement of the Social Sciences, without which both fieldwork trips that this thesis came out of would simply not have been possible. Another big thank you to my New Orleans friends, Jonathan Shaw and Lesley Wells who housed me, gave great insights into the city, and were kind and gracious hosts. To all of the folks I met who helped me along the way, and of course all of the musicians, this would not have been possible. To my buddy, William Silcott, that you for your friendship, encouragement that often looks more like scolding, for being a sounding board and my brainstorming partner.
    [Show full text]
  • The New Orleans Jazz and Heritage Festival and Foundation, Inc
    University of New Orleans ScholarWorks@UNO Arts Administration Master's Reports Arts Administration Program 12-2010 The New Orleans Jazz and Heritage Festival and Foundation, Inc. Lori B. Andrews University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/aa_rpts Recommended Citation Andrews, Lori B., "The New Orleans Jazz and Heritage Festival and Foundation, Inc." (2010). Arts Administration Master's Reports. 117. https://scholarworks.uno.edu/aa_rpts/117 This Master's Report 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 Master's Report 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 Master's Report has been accepted for inclusion in Arts Administration Master's Reports by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. The New Orleans Jazz & Heritage Festival and Foundation, Inc. An Internship Report 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 Arts Administration by Lori B. Andrews B.A. University of South Florida, 1986 December 2010 Table of Contents Abstract .............................................................................................................................................. iii Chapter 1: Profile of Organization ..................................................................................................... 1 Chapter 2: The Internship .................................................................................................................. 10 Chapter 3: S.W.O.T.
    [Show full text]
  • Ray Nagin Indicted on Federal Corruption Charges
    Lighting The Road To The Future Inaugural Highlights Data Zone Page 6 “The People’s Paper” January 26 - February 1, 2013 47th Year Volume 37 www.ladatanews.com Special Edition Super Bowl 2013 Comes to New Orleans Over 30 Community Events Planned! Page 2 Newsmaker Trailblazer Ray Nagin Jeffrey Indicted May Page 4 Page 5 Page 2 January 26 - February 1, 2012 Cover Story www.ladatanews.com NFL, National And Local Organizations Host More Than 30 Super Bowl XLvii Community Outreach Events in New Orleans Super Bowl XLVII brings much more than foot- Super Bowl XLVII Sports Equipment and Book Donation Project ball to New Orleans . Throughout the weeks pre- Environmental Program Climate Change Initiative ceding the game, more than 30 charitable activities For more information, contact Jack Groh, NFL and community outreach events will enliven and The NFL Environmental Program has devel- Environmental Program Director, at 401-952-0886 enrich the community and provide lasting legacies . oped a series of initiatives to minimize the impact of or NFLenvironment@aol .com . Super Bowl Week activities will also include the Super Bowl activities on the local and global envi- announcement of the annual Walter Payton NFL ronment . Environmental projects are developed in Man of the Year Award, the presentation of the Don partnership with the 2013 New Orleans Super Bowl NFL Play 60 & LULAC Shula NFL High School Coach of the Year Award, XLVII Host Committee and local, state and national Health Festival and a celebration of the positive impact of the Super organizations . Bowl with the Super Saturday of Service These initiatives include: On Saturday, Jan .
    [Show full text]
  • University of California UNIVERSITY of CALIFORNIA
    UCLA UCLA Electronic Theses and Dissertations Title Space, Place, and Music in New Orleans Permalink https://escholarship.org/uc/item/4q71f2ws Author Raimondi, Julie Michelle Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Space, Place, and Music in New Orleans A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology By Julie Michelle Raimondi 2012 © Copyright by Julie Michelle Raimondi 2012 ABSTRACT OF THE DISSERTATION Space, Place, and Music in New Orleans By Julie Michelle Raimondi Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2012 Professor Anthony Seeger, Chair This dissertation explores ways in which many people in New Orleans use, experience, form emotional attachments to, and make sense of space through music. It analyzes how music intersects with geography and how the musical experiences of New Orleanians bring meaning to the built form. It examines the role of the agent in the social construction of space, and how people use music as a spatial enabler in New Orleans. It proposes that music enables people to socially construct space because it accesses the nexus of memory and emotion, operates in a greater cultural context, and is a useful tool for variable expression. In order to present varied experiences with the musical construction of space, this dissertation approaches its subject through four case studies: place attachment through the “second line” parading tradition and North Claiborne Avenue, the fixing of memories in space at the Ernie K-Doe Mother-in-Law Lounge, the negotiation of public space through musical performances in various contexts, and the creation and growth of a music community in the New Orleans Habitat Musicians’ Village.
    [Show full text]
  • Music Lessons As Life Lessons in New Orleans Marching Bands
    Souls A Critical Journal of Black Politics, Culture, and Society ISSN: 1099-9949 (Print) 1548-3843 (Online) Journal homepage: http://www.tandfonline.com/loi/usou20 Music Lessons as Life Lessons in New Orleans Marching Bands Matt Sakakeeny To cite this article: Matt Sakakeeny (2015) Music Lessons as Life Lessons in New Orleans Marching Bands, Souls, 17:3-4, 279-302 To link to this article: http://dx.doi.org/10.1080/10999949.2015.1127106 Published online: 13 Apr 2016. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=usou20 Download by: [Tulane University] Date: 13 April 2016, At: 08:24 Souls Vol. 17, Nos. 3--4, July–December 2015, pp. 279–302 EDUCATION IN NEW ORLEANS: A DECADE AFTER HURRICANE KATRINA Music Lessons as Life Lessons in New Orleans Marching Bands Matt Sakakeeny In New Orleans, musicians in school marching bands are more popular than athletes, and spectators marvel at the choreography and musicianship on display in Mardi Gras parades and sporting events. Lessons imparted in the bandroom not only prepare a select few with the tools to pursue a career in music, they offer all students “culturally sustaining pedagogies” unavailable in core curriculum classes. But in prioritizing high-stakes testing, racialized “career readiness” schools have relegated arts education further to the periphery, denying young people an opportunity to socialize themselves as black subjects in ways that they find meaningful and valuable. Keywords: blackness, charter schools, culturally sustaining pedagogies, marching band, music, New Orleans Downloaded by [Tulane University] at 08:24 13 April 2016 Dinerral Jevone Shavers had wanted to be a marching band director ever since he first played in band at Martin Luther King Elementary, in the Lower Ninth Ward neigh- borhood where his mother Yolande Adams owned a home and raised Dinerral and his three sisters.
    [Show full text]
  • Working Towards the Sustainability of New Orleansâ•Ž African American
    University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Summer 8-2-2012 Working Towards the Sustainability of New Orleans’ African American Indigenous Cultural Traditions Ethan K. Ellestad University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Part of the Urban Studies and Planning Commons Recommended Citation Ellestad, Ethan K., "Working Towards the Sustainability of New Orleans’ African American Indigenous Cultural Traditions" (2012). University of New Orleans Theses and Dissertations. 1514. https://scholarworks.uno.edu/td/1514 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]. Working Towards the Sustainability of New Orleans’ African American Indigenous Cultural Traditions 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 Urban and Regional Planning Housing and Community Development/ Economic Development By Ethan Ellestad B.A. University of Wisconsin-Madison, 2000 August, 2012 AKNOWLEDGEMENTS First of all, I would like to thank my thesis advisory committee—Marla Nelson, Pat Evans and, especially, Renia Ehrenfeucht, for their guidance (and patience).
    [Show full text]