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NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions by Ned Hémard
NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions By Ned Hémard Shall We Dance Dancing has been an essential part of New Orleans’ psyche almost since its very beginning. Pierre François de Rigaud, Marquis de Vaudreuil-Cavagnal replaced Bienville, the city’s founder, as Governor of Louisiana. He set the standards high with his polished manners, frequently sponsoring balls, dinners, and other elegant social soirées. Serving from 1743 to 1753, he even provided the colony with a Parisian dancing master named Baby. Below are numerous quotes through the ages about the Crescent City’s special love affair with dancing: There were balls, with court dress de rigueur, where gaily uniformed officers danced with bejeweled women. This was the beginning of fashionable life in the colony. - LYLE SAXON, writing of “de Vaudreuil’s régime” in Old Louisiana The eccentricities of Baby's mind, as well as those of his physical organization had made him famous in the colony, and the doleful mien with which he used to give his lessons, had gained him the appellation of the Don Quixote of dancing. -Louisiana Historian CHARLES GAYARRÉ on Baby, the Dancing Master The female Creoles being in general without education, can possess no taste for reading music or drawing, but they are passionately fond of dancing … passing whole nights in succession in this exercise. - PIERRE-LOUIS BERQUIN-DUVALLON, Travels in Louisiana and the Floridas in the Year 1802, Giving the Correct Picture of Those Countries It’s the land where they dance more than any other. - LOUIS-NARCISSE BAUDRY DES LOZIÈRES, Second Voyage à la Louisiane, 1803 Upon my arrival at New Orleans, I found the people very Solicitous to maintain their Public Ball establishment, and to convince them that the American Government felt no disposition to break in upon their amusements … - GOVERNOR W. -
Fiftioen Cents a Week. New Orleans, Thursday Morning, January 18, 1849 Volume I Number 374
• FIFTIOEN CENTS A WEEK. NEW ORLEANS, THURSDAY MORNING, JANUARY 18, 1849 VOLUME I NUMBER 374. [From the N. Y. Literary World.] REMOVAL. ties of New Orleans are in league with the cabmen T>RIESTLEY & BEIN have removed their entire Stock FASHIONABLE DANCING ACADEMY WANTS. THE DAILY CHESCEN 21 Xttanljattaner in Nero GDrkane. and shoemakers." JL of HARDWARB.IRON. &C..&C-, ^ Who knows ! from No«. 19 New Levee and 36 and 40 LADIES' CALISTHENEUM : A S'TUATION WANTED-Br a »«vir. penevsrin« rllRLISHK» KVKKY l>AÏ—SUNDAYS «XCEITICU— THg MUNICIPALITIES—THIIR ARCHITECTURE AND I have often thought with pity of the New Or Tchoupitoulas street, to their New Stores, xA man. in s Grocery or WeMern Produce Store, u Ssles- PROMBNADKS. No8. 89 and 91 CA P Street, opposite APOLLO ROOMS, man, or I m any capacity in which he can make hinuelf ine Bv HAYES, M'OUTRE ft OO. leans-ward exiled lielles of Broadway, and Wasli- Natchez street, where they have on hand and are constantly CARONDELET 8T H E ET, NEAR UNION. fnl. salary not. so much an object a* immediateemployment * M. S. M < LIRH..J. C LARttg. .J. o. PltRSUX. [Below we give another of the clever sketches of itigfon, and Chestnut streets, so used to the pecu receiving by arrivals from Foreign and ^mestic Manufac Aw communication addrened to X. B„ Cranent Office. R. ST. MAUR STUART respectfully intimates to will be promptly attended to. \w* a Manhattaner in New Orleans. From his descrip liar delights of their own promenades. In some turers, full supplies of every description of GOODS in their > mine— No. -
From Maroons to Mardi Gras
FROM MAROONS TO MARDI GRAS: THE ROLE OF AFRICAN CULTURAL RETENTION IN THE DEVELOPMENT OF THE BLACK INDIAN CULTURE OF NEW ORLEANS A MASTERS THESIS SUBMITTED TO THE GRADUATE FACULTY OF LIBERTY UNIVERSITY BY ROBIN LIGON-WILLIAMS IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY DECEMBER 18, 2016 Copyright: Robin Ligon-Williams, © 2016 CONTENTS ACKNOWLEDGEMENTS iv. ABSTRACT vi. CHAPTER 1. INTRODUCTION 1 History and Background 1 Statement of the Problem 1 Research Question 2 Glossary of Terms 4 Limitations of the Study 6 Assumptions 7 2. LITERATURE REVIEW 9 New Orleans-Port of Entry for African Culture 9 Brotherhood in Congo Square: Africans & Native Americans Unite 11 Cultural Retention: Music, Language, Masking, Procession and Ritual 13 -Musical Influence on Jazz & Rhythm & Blues 15 -Language 15 -Procession 20 -Masking: My Big Chief Wears a Golden Crown 23 -African Inspired Masking 26 -Icons of Resistance: Won’t Bow Down, Don’t Know How 29 -Juan “Saint” Maló: Epic Hero of the Maroons 30 -Black Hawk: Spiritual Warrior & Protector 34 ii. -Spiritualist Church & Ritual 37 -St. Joseph’s Day 40 3. METHODOLOGY 43 THESIS: 43 Descriptions of Research Tools/Data Collection 43 Participants in the Study 43 Academic Research Timeline 44 PROJECT 47 Overview of the Project Design 47 Relationship of the Literature to the Project Design 47 Project Plan to Completion 49 Project Implementation 49 Research Methods and Tools 50 Data Collection 50 4. IN THE FIELD 52 -Egungun Masquerade: OYOTUNJI Village 52 African Cultural Retentions 54 -Ibrahima Seck: Director of Research, Whitney Plantation Museum 54 -Andrew Wiseman: Ghanaian/Ewe, Guardians Institute 59 The Elders Speak 62 -Bishop Oliver Coleman: Spiritualist Church, Greater Light Ministries 62 -Curating the Culture: Ronald Lewis, House of Dance & Feathers 66 -Herreast Harrison: Donald Harrison Sr. -
The Dance in Place Congo. I. Congo Square
THE DANCE IN PLACE CONGO. I. CONGO SQUARE. HOEVER has been to New Orleans with eyes not totally abandoned to buying and selling will, of course, remember St. Louis Cathedral, looking south-eastward — riverward — across quaint Jackson Square, the old Place W d'Armes. And if he has any feeling for flowers, he has not forgotten the little garden behind the cathedral, so antique and unexpected, named for the beloved old priest Père Antoine. The old Rue Royale lies across the sleeping garden's foot. On the street's farther side another street lets away at right angles, north-westward, straight, and imperceptibly downward from the cathedral and garden toward the rear of the city. It is lined mostly with humble ground-floor-and-garret houses of stuccoed brick, their wooden doorsteps on the brick sidewalks. This is Orleans street, so named when the city was founded. Its rugged round-stone pavement is at times nearly as sunny and silent as the landward side of a coral reef. Thus for about half a mile; and then Rampart street, where the palisade wall of the town used to run in Spanish days, crosses it, and a public square just beyond draws a grateful canopy of oak and sycamore boughs. That is the place. One may shut his buff umbrella there, wipe the beading sweat from the brow, and fan himself with his hat. Many's the bull-fight has taken place on that spot Sunday afternoons of the old time. That is Congo Square. The trees are modern. So are the buildings about the four sides, for all their aged looks. -
New Orleans Jazz National Historical Park Junior Ranger Activity Book
U.S. Department of the Interior New Orleans Jazz National Park Service National Historical Park Junior Ranger Activity Book New Orleans Jazz National Historical Park Be a Junior Park Ranger EXPLORE . LEARN . PROTECT Are YOU ready to become a Junior Park Ranger ? Becoming a Junior Ranger is a fun way to learn about Jazz, New Orleans & YOUR National Park. 1.) How do you become a Junior Park Ranger? Choose and complete the number of activities for your age group. Your parents are welcome to help and learn too. 7 years & younger, complete at least four activities. 8-11 years, complete six or more activities. 12 years or older, complete at least eight of the activities 2.) To receive your Junior Ranger Badge, complete the activities for your age group, then re- turn to the visitor’s center, or mail the booklet to the New Orleans Jazz National Historical Park. *If you have any questions about the activities in this book remember that Park Rangers are here to help you. New Orleans Jazz National Historical Park MAIL: Junior Park Ranger VISITOR CENTER: 916 N. Peters St. (in Dutch Alley) PERFORMANCE HALL AT: Old U.S. Mint TO 419 Decatur St. New Orleans, LA. 70116 400 Esplanade Ave. New Orleans, LA. 70130 New Orleans, LA.70116 (504) 589-4841 ● www.nps.gov/jazz WWhat is JJazz? Jazz is a musical style based on improvisation, that is the art of making What is something up on the spot. New Orleans Many different musical Jazz? styles came together to form what we now call jazz, and the place it all began was in New Orleans. -
Urban Public Space, Privatization, and Protest in Louis Armstrong Park and the Treme, New Orleans
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 2001 Protecting 'Place' in African -American Neighborhoods: Urban Public Space, Privatization, and Protest in Louis Armstrong Park and the Treme, New Orleans. Michael Eugene Crutcher Jr Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Crutcher, Michael Eugene Jr, "Protecting 'Place' in African -American Neighborhoods: Urban Public Space, Privatization, and Protest in Louis Armstrong Park and the Treme, New Orleans." (2001). LSU Historical Dissertations and Theses. 272. https://digitalcommons.lsu.edu/gradschool_disstheses/272 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]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. -
The Evolution of Ornette Coleman's Music And
DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style. -
CURRICULUM VITAE Name Birth Date and Place John D. Fair
CURRICULUM VITAE Name Birth Date and Place John D. Fair September 6, 1943 Waynesboro, Pennsylvania, U.S.A. Married Children Sarah Patterson Fair Jonathan Oliver Fair (b. 1982) Philip Alexander Fair (b. 1985) Address 759 Karlee Court, Auburn, AL 36830 (478) 986-9286 or [email protected] or The H. J. Lutcher Stark Center for Physical Culture & Sports, NEZ 5.700, 1 University Station, D3600, Austin, TX 78712 (512) 471-0995 [email protected]. Education B.A. Juniata College, Huntingdon, Pennsylvania, 1965 M.A. Wake Forest University, Winston-Salem, North Carolina, 1966 Thesis: "Women's Suffrage in Great Britain, 1913-1918" Ph.D. Duke University, Durham, North Carolina, 1970 Dissertation: "The Role of the Conference in British Politics, 1884-1918" Areas of Specialization British Political and Constitutional History Modern Irish History British Empire and Commonwealth Twentieth Century American (Physical Culture & Sport) History Southern History Teaching Experience Instructor of History, York College of Pennsylvania, York, Pennsylvania, 1967. Instructor of History, Millersville University of Pennsylvania, Millersville, Pennsylvania, 1968. Assistant Professor of History, Virginia Polytechnic Institute & State University, Blacksburg, Virginia, 1969-1971. Assistant Professor of History, Auburn University at Montgomery, Montgomery, Alabama, 1971-1975. Associate Professor of History, Auburn University at Montgomery, Montgomery, Alabama, 1975-1981. Visiting Professor of History, University of Maine at Orono, Orono, Maine, Summer, 1981. Professor of History, Auburn University at Montgomery, Montgomery, Alabama, 1981-1989, Professor and Head, 1989- 1995, Alumni Professor and Head, 1995-1997 Professor of History & Chair, Georgia College & State University, Milledgeville, Georgia, 1997-2002 Professor of History, Georgia College & State University, Milledgeville, Georgia, 2002-2012 Adjunct Professor of Kinesiology, University of Texas, Austin, 2012-. -
Zur Ökonomik Von Spitzenleistungen Im Internationalen Sport
Zur Ökonomik von Spitzenleistungen im internationalen Sport Martin-Peter Büch, Wolfgang Maennig und Hans-Jürgen Schulke (Hrsg.) EDITION HWWI Hamburg University Press Zur Ökonomik von Spitzenleistungen im internationalen Sport Reihe Edition HWWI Band 3 Zur Ökonomik von Spitzenleistungen im internationalen Sport Herausgegeben von Martin-Peter Büch, Wolfgang Maennig und Hans-Jürgen Schulke Hamburg University Press Verlag der Staats- und Universitätsbibliothek Hamburg Carl von Ossietzky Impressum Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Die Online-Version dieser Publikation ist auf den Verlagswebseiten frei verfügbar (open access). Die Deutsche Nationalbibliothek hat die Netzpublikation archiviert. Diese ist dauerhaft auf dem Archivserver der Deutschen Nationalbibliothek verfügbar. Open access über die folgenden Webseiten: Hamburg University Press – http://hup.sub.uni-hamburg.de PURL: http://hup.sub.uni-hamburg.de/HamburgUP/HWWI3_Oekonomik Archivserver der Deutschen Nationalbibliothek –https://portal.dnb.de/ ISBN 978-3-937816-87-6 ISSN 1865-7974 © 2012 Hamburg University Press, Verlag der Staats- und Universitätsbibliothek Hamburg Carl von Ossietzky, Deutschland Produktion: Elbe-Werkstätten GmbH, Hamburg, Deutschland http://www.ew-gmbh.de Dieses Werk ist unter der Creative Commons-Lizenz „Namensnennung- Keine kommerzielle Nutzung-Keine -
5555 Bullard Ave New Orleans, LA Investment Advisors
JDS Real Estate Services Bullard Corporate Center 5555 Bullard Ave New Orleans, LA Investment Advisors ENRI PINTO VP of National Sales CONFIDENTIALITY Miami Office AND DISCLOSURE Phone: 305-924-3094 [email protected] The information contained in the following Offering Memorandum (“OM”) is proprietary and strictly confidential. It is intended to be reviewed only by the party receiving it from Apex Capital Realty and should not be made available to any other person, entity, or affiliates without the written consent of Apex Capital Realty. By taking possession of and reviewing STEVEN VANNI the information contained herein the recipient agrees to hold and treat all such information Managing Director in the strictest confidence. The recipient further agrees that recipient will not photocopy or Miami Office duplicate any part of the offering memorandum. If you have no interest in the subject prop- Phone: 305-989-7854 erty at this time, please return this offering memorandum to Apex Capital Realty. This OM has been prepared to provide summary, unverified information to prospective purchasers, [email protected] and to establish only a preliminary level of interest in the subject property. The information contained herein is not a substitute for a thorough due diligence investigation. Apex Capital Realty has not made any investigation, and makes no warranty or representation, with respect to the income or expenses for the subject property, the future projected financial per- TONY SOTO formance of the property, the size and square footage of the property, the physical condition of the improvements thereon, or the financial condition or business prospects of any tenant, Commercial Advisor or any tenant’s plans or intentions to continue its occupancy of the subject property. -
Remembering Bamboula
Mississippi State University Scholars Junction CoE Publications College of Education 7-1-2015 Remembering bamboula Robert J. Damm Follow this and additional works at: https://scholarsjunction.msstate.edu/coe-publications Recommended Citation Damm, R. J. (2015). Remembering bamboula. Percussive Notes, 53(3). This Article is brought to you for free and open access by the College of Education at Scholars Junction. It has been accepted for inclusion in CoE Publications by an authorized administrator of Scholars Junction. For more information, please contact [email protected]. Remembering Bamboula By Robert J. Damm oday, Louis Armstrong Park in New Orleans (just north of the BAMBOULA RHYTHM French Quarter) features the “Roots of Music” sculpture garden, We can only imagine what the drumming sounded like in Congo a permanent installation of six sculptures that celebrate the mu- Square during its heyday, circa 1800. There is evidence that a specific Tsical heritage of the Crescent City. Here you will see a life-size foundational rhythm, still pervasive in contemporary New Orleans statue of Allison “Tootie” Montana, the chief of the Yellow Pocahontas drumming, was prevalent in the neo-African drumming in Congo Mardi Gras Indians. You will also find a cast-bronze relief called “Spirit of Square. While attending the 2014 Congo Square Rhythms Festival, I Congo Square” by Nigerian artist Adewale Adenle [see Figure 1]. spoke to Luther Gray about the bamboula rhythm. Gray was a founding member of the Congo Square Preservation Society, which led the cam- paign to put Congo Square on the National Register of Historic Places. A percussionist, Gray is also the leader of a New Orleans band called Bam- boula 2000; he facilitates a drum circle on Sundays in Congo Square and established the annual Congo Square Rhythms Festival in 2007. -
Professional Sports, Hurricane Katrina, and the Economic Redevelopment of New Orleans
A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Baade, Robert A.; Matheson, Victor A. Book Part Professional sports, hurricane Katrina, and the economic redevelopment of New Orleans Provided in Cooperation with: Hamburg Institute of International Economics (HWWI) Suggested Citation: Baade, Robert A.; Matheson, Victor A. (2012) : Professional sports, hurricane Katrina, and the economic redevelopment of New Orleans, In: Büch, Martin-Peter; Maennig, Wolfgang; Schulke, Hans-Jürgen (Ed.): Zur Ökonomik von Spitzenleistungen im internationalen Sport, ISBN 979-3-937816-87-6, Hamburg University Press, Hamburg, pp. 123-146 This Version is available at: http://hdl.handle.net/10419/61514 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte. may exercise further usage rights as specified in the indicated licence. http://creativecommons.org/licenses/by-nc-nd/2.0/de/ www.econstor.eu Reihe Edition HWWI Band 3 Robert A.