Walking Raddy

Contributions by Jennifer Atkins, Vashni Balleste, Mora J. Beauchamp-Byrd, Ron Bechet, Melanie Bratcher, Jerry Brock, Ann Bruce, Violet Harrington Bryan, Rachel Carrico, Sarah Anita Clunis, Phillip Colwart, Keith Duncan, Rob Florence, Pamela R. Franco, Daniele Gair, Meryt Harding, Megan Holt, DeriAnne Meilleur Honora, Marielle Jeanpierre, Ulrick Jean-Pierre, Jessica Marie Johnson, Karen La Beau, D. Lammie-Hanson, Karen Trahan Leathem, Charles Lovell, Annie Odell, Ruth Owens, Steve Prince, Nathan "Nu'Awlons Natescott" Haynes Scott, LaKisha Michelle Simmons, Tia L. Smith, Gailene McGhee St.Amand, and Kim Vaz-Deville Since 2004, the Baby Doll Mardi Gras tradition in New Orleans has gone from an obscure, almost forgotten practice to a flourishing cultural force. The original Baby Dolls were groups of black women, and some men, in the early Jim Crow era who adopted New Orleans street masking tradition as a unique form of fun and self-expression against a backdrop of racial discrimination. Wearing short dresses, bloomers, bonnets, and garters with money tucked tight, they strutted, sang ribald songs, chanted, and danced on Mardi Gras Day and on St. Joseph feast night. Today's Baby Dolls continue the tradition of one of the first street women's masking and marching groups in the United States. They joyfully and unabashedly defy gender roles, claiming public space and proclaiming through their performance their right to social citizenship. Essayists draw on interviews, theoretical perspectives, archival material, and historical assessments to describe women's cultural performances that take place on the streets of New Orleans. They recount the history and contemporary resurgence of the Baby Dolls while delving into the larger cultural meaning of the phenomenon. Over 140 color photographs and personal narratives of immersive experiences provide passionate testimony of the impact of the Baby Dolls on their audiences. Fifteen artists offer statements regarding their work documenting and inspired by the tradition as it stimulates their imagination to present a practice that revitalizes the spirit.

The Golden Crown: A Story of Black New Orleans. Henderson Brooks, the youngest of three New Orleans brothers, is a riverfront foreman with a wife and three children. He is also chief of the Downtown Warriors, a Mardi Gras Indian tribe that parades every Mardi Gras Day. His tribe is in competition with at least thirty tribes about the city for splendor and innovation in costume design. His father and grandfather were Downtown Warrior chiefs before him, and his grandfather founded the tribe in

“The traditions, the secret societies and the history of how New Orleans and Mardi Gras came to be as integral to each other as red beans and rice” (Blogcritics). New Orleans is practically synonymous with Mardi Gras. Both evoke the parades, the beads, the costumes, the food—the pomp and circumstance. The carnival krewes are the backbone of this Big Easy tradition. Every year, different krewes put on extravagant parties and celebrations to commemorate the beginning of the Lenten season. Historic krewes like Comus, Rex, and Zulu that date back generations are intertwined with the greater history of New Orleans itself. Today, new krewes are inaugurated and widen a once exclusive part of New Orleans society. Through careful and detailed research of over three hundred sources, including fifty interviews with members of these organizations, author and New Orleans native Rosary O’Neill explores this storied institution, its antebellum roots and its effects in the twenty-first century. Includes photos! “[A] spirited and richly illustrated account.” —New York Theatre Wire

For many, December 26 is more than the day after Christmas. Boxing Day is one of the world’s most celebrated cultural holidays. As a legacy of British colonialism, Boxing Day is observed throughout Africa and parts of the African diaspora, but, unlike Trinidadian Carnival and Mardi Gras, fewer know of Bermuda’s Gombey dancers, Bahamian Junkanoo, Dangriga’s Jankunú and Charikanari, St. Croix’s Crucian Christmas Festival, and St. Kitts’s Sugar Mas. One Grand Noise: Boxing Day in the Anglicized Caribbean World delivers a highly detailed, thought-provoking examination of the use of spectacular vernacular to metaphorically dramatize such tropes as “one grand noise,” “foreday morning,” and from “back o’ town.” In cultural solidarity and an obvious critique of Western values and norms, revelers engage in celebratory sounds, often donning masks, cross-dressing, and dancing with abandon along thoroughfares usually deemed anathema to them. Folklorist Jerrilyn McGregory demonstrates how the cultural producers in various island locations ritualize Boxing Day as a part of their struggles over identity, class, and gender relations in accordance with time and space. Based on ethnographic study undertaken by McGregory, One Grand Noise explores Boxing Day as part of a creolization process from slavery into the twenty-first century. McGregory traces the holiday from its Egyptian origins to today and includes chapters on the Gombey dancers of Bermuda, the evolution of Junkanoo/Jankunú in The Bahamas and Belize, and J'ouvert traditions in St. Croix and St. Kitts. Through her exploration of the holiday, McGregory negotiates the ways in which Boxing Day has expanded from small communal traditions into a common history of colonialism that keeps alive a collective spirit of resistance.

As the US entered World War I in 1917, a burst of patriotism in New Orleans collided with civil liberties. The city, due to its French heritage, shared a strong cultural tie to the Allies, and French speakers from Louisiana provided vital technical assistance to the US military during the war effort. Meanwhile, citizens of German heritage were harassed by unscrupulous, ill-trained volunteers of the American Protective League, ordained by the Justice Department to shield America from enemies within. As a major port, the wartime mobilization dramatically reshaped the cultural landscape of the city in ways that altered the national culture, especially as jazz musicians spread outward from the vice districts. Whiskey, Women, and War: How the Great War Shaped Jim Crow New Orleans surveys the various ways the city confronted the demands of World War I under the supervision of a dynamic political machine boss. Author Brian Altobello analyzes the mobilization of the local population in terms of enlistments and war bond sales and addresses the anti-vice crusade meant to safeguard the American war effort, giving attention to Prohibition and the closure of the red-light district known as Storyville. He studies the political fistfight over women’s suffrage, as New Orleans’s Gordon sisters demanded the vote predicated on the preservation of white supremacy. Finally, he examines race relations in the city, as African Americans were integrated into the city’s war effort and cultural landscape even as Jim Crow was firmly established. Ultimately, the volume brings to life this history of a city that endured World War I in its own singular style.

The Oxford Handbook of American Folklore and Folklife Studies surveys the materials, approaches, concepts, and applications of the field to provide a sweeping guide to American folklore and folklife, culture, history, and society. Forty-three comprehensive and diverse chapters delve into significant themes and methods of folklore and folklife study; established expressions and activities; spheres and locations of folkloric action; and shared cultures and common identities. Beyond the longstanding arenas of academic focus developed throughout the 350-year legacy of folklore and folklife study, contributors at the forefront of the field also explore exciting new areas of attention that have emerged in the twenty-first century such as the Internet, bodylore, folklore of organizations and networks, sexual orientation, neurodiverse identities, and disability groups. Encompassing a wide range of cultural traditions in the United States, from bits of slang in private conversations to massive public demonstrations, ancient beliefs to contemporary viral memes, and a simple handshake greeting to group festivals, these chapters consider the meanings in oral, social, and material genres of dance, ritual, drama, play, speech, song, and story while drawing attention to tradition-centered communities such as the Amish and Hasidim, occupational groups and their workaday worlds, and children and other age groups. Weaving together such varied and manifest traditions, this handbook pays significant attention to the cultural diversity and changing national boundaries that have always been distinctive in the American experience, reflecting on the relative youth of the nation; global connections of customs brought by immigrants; mobility of residents and their relation to an indigenous, urbanized, and racialized population; and a varied landscape and settlement pattern. Edited by leading folklore scholar Simon J. Bronner, this handbook celebrates the extraordinary richness of the American social and cultural fabric, offering a valuable resource not only for scholars and students of American studies, but also for the global study of tradition, folk arts, and cultural practice.

During the international coronavirus lockdowns of 2020–2021, millions of children, youth, and adults found their usual play areas out of bounds and their friends out of reach. How did the pandemic restrict everyday play and how did the pandemic offer new spaces and new content? This unique collection of essays documents the ways in which communities around the world harnessed play within the limiting frame of Covid-19. Folklorists Anna Beresin and Julia Bishop adopt a multidisciplinary approach to this phenomenon, bringing together the insights of a geographically and demographically diverse range of scholars, practitioners, and community activists. The book begins with a focus on social and physical landscapes before moving onto more intimate portraits of play among the old and young, including coronavirus-themed games and novel toy inventions. Finally, the co-authors explore the creative shifts observed in frames of play, ranging from Zoom screens to street walls. This singular chronicle of coronavirus play will be of interest to researchers and students of developmental psychology, childhood studies, education, playwork, sociology, anthropology and folklore, as well as to toy, museum, and landscape designers. This book will also be of help to parents, professional organizations, educators, and urban planners, with a postscript of concrete suggestions advocating for the essential role of play in a post-pandemic world.

Contributions by Constance Adler, Karen Celestan, Alison Fensterstock, Kathy Finn, Helen Freund, Cheryl Gerber, Anne Gisleson, Cherice Harrison-Nelson, Karen Trahan Leathem, Katy Reckdahl, Melanie Warner Spencer, Sue Strachan, Kim Vaz-Deville, and Geraldine Wyckoff New Orleans native Cheryl Gerber captures the vibrancy and diversity of New Orleans women in Cherchez la Femme: New Orleans Women. Inspired by the 2017 Women’s March in Washington, DC, Gerber’s book includes over two hundred photographs of the city’s most well-known women and the everyday women who make New Orleans so rich and diverse. Drawing from her own archives as well as new works, Gerber’s selection of photographs in Cherchez la Femme highlights the contributions of women to the city, making it one of the only photographic histories of modern New Orleans women. Alongside Gerber’s photographs are twelve essays written by female writers about such women as Leah Chase, Irma Thomas, Mignon Faget, and Trixie Minx. Also featured are prominent groups of women that have made their mark on the city, like the Mardi Gras Indians, Baby Dolls, and the Krewe of Muses, among others. The book is divided into eleven chapters, each celebrating the women who add to New Orleans’s uniqueness, including entertainers, socialites, activists, musicians, chefs, entrepreneurs, spiritual leaders, and burlesque artists.