A sociological study of the African American carnival revelers in New Orleans who dress in Native American-influenced costumes. One of the most dazzling elements of the Mardi Gras celebrations, the Mardi Gras Indians receive the attention and respect of carnival-goers for their elaborately beaded costumes and entertaining dances. But what few realize about the groups is that the parading is more than just for show. Costuming, dancing, and all the rituals of these groups are acts of cultural preservation that date back more than a century. In this book, author Michael P. Smith addresses the sociological issues surrounding the mislabeled and rarely understood Maroon groups now known as “Mardi Gras Indians.” His textual analysis of the culture examines its African origins and how the participants help to develop the African American cultural identity. He looks at how some African Americans resisted efforts to suppress traditions that are re-emerging in modern society. Researched and documented by generations of oral and written history, this work clearly outlines the mistaken identification of the Mardi Gras Indians as just an entertainment element of the carnival season. It also shows the vital role this traditional culture plays in the community, much as the black Spiritual Churches do, in preserving an authentic base for the unique cultural heritage of blacks in New Orleans. This work illustrates how the Mardi Gras Indians are a part of the New Orleans second-line tradition. A dynamic element of this book is the collection of more than one hundred color photos. These prints capture the striking beauty of spectacles with a purpose far greater than entertaining. Combined with authoritative text by Smith, the visual images round out this examination of the roots of the Mardi Gras Indians and current practices of the whole range of African American cultural societies and parading groups in the Crescent City.

This book was written by the creator of the first definitive, award-winning documentary film on the Mardi Gras Indians: "The Black Indian of New Orleans" (1976). This historical novel allows students to experience the history of the Black Indians through its main character Samba Prudeaux. The reader will experience a firsthand account of slavery including hardships, a slave revolt, and the Seminole underground railroad to Mexico. Preserved in the traditions of the Black Indians of New Orleans, and passed through its elders to Dr. Maurice Martinez, this book also presents the evolution of the culture.

"This book presents a provocatively new interpretation of one of New Orleans's most enigmatic traditions--the Mardi Gras Indians. By interpreting the tradition in an Atlantic context, Dewulf traces the 'black Indians' back to the ancient Kingdom of Kongo and its war dance known as sangamento. He shows that good warriors in the Kongo kingdom were per definition also good dancers, masters of a technique of dodging, spinning, and leaping that was crucial in local warfare. Enslaved Kongolese brought the rhythm, dancing moves, and feathered headwear of sangamentos to the Americas in performances that came to be known as 'Kongo dances.' By comparing Kongo dances on the African island of Saao Tomae with those in Latin America, the Caribbean, and Louisiana, Dewulf demonstrates that the dances in New Orleans's Congo Square were part of a much broader Kongolese performance tradition. He links that to Afro-Catholic mutual-aid societies that honored their elected community leaders or 'kings' with Kongo dances. While the public rituals of these brotherhoods originally thrived in the context of Catholic procession culture around Epiphany and Corpus Christi, they transitioned to carnival as a result of growing orthodoxy within the Church. Dewulf's groundbreaking research suggests a much greater impact of Kongolese traditions and of popular Catholicism on the development of African American cultural heritage and identity. His conclusions force us to radically rethink the traditional narrative on the Mardi Gras Indians, the kings of Zulu, and the origins of black participation in Mardi Gras celebrations"--Provided by publisher.

Jason is frightened by his big brother's stories about the masked figures they will see in the Mardi Gras parade, but after seeing them for himself, Jason learns they are fun.

Tells the story of Big Chief Donald Harrison, Sr., the leader of the Guardians of the Flame Mardi Gras Indians in New Orleans.

In the early eighteenth century, a delegation of Iroquois visited Britain, exciting the imagination of the London crowds with images of the “feathered people” and warlike “Mohocks.” Today, performing in a popular Afrodiasporic tradition, “Mardi Gras Indians” or “Black Masking Indians” take to the streets of New Orleans at carnival time and for weeks thereafter, parading in handmade “suits” resplendent with beadwork and feathers. What do these seemingly disparate strands of culture share over three centuries and several thousand miles of ocean? Interweaving theatrical, musical, and ritual performance along the Atlantic rim from the eighteenth century to the present, Cities of the Dead explores a rich continuum of cultural exchange that imaginatively reinvents, recreates, and restores history. Joseph Roach reveals how performance can revise the unwritten past, comparing patterns of remembrance and forgetting in how communities forge their identities and imagine their futures. He examines the syncretic performance traditions of Europe, Africa, and the Americas in the urban sites of London and New Orleans, through social events ranging from burials to sacrifices, auctions to parades, encompassing traditions as diverse as Haitian Voudon and British funerals. Considering processes of substitution, or surrogation, as enacted in performance, Roach demonstrates the ways in which people and cultures fill the voids left by death and departure. The twenty-fifth anniversary edition of this classic work features a new preface reflecting on the relevance of its arguments to the politics of performance and performance in contemporary politics.

One of the first women's organizations to mask and perform during Mardi Gras, the Million Dollar Baby Dolls redefined the New Orleans carnival tradition. Tracing their origins from Storyville-era brothels and dance halls to their re-emergence in post-Katrina New Orleans, author Kim Marie Vaz uncovers the fascinating history of the "raddy-walking, shake-dancing, cigar-smoking, money-flinging" ladies who strutted their way into a predominantly male establishment. The Baby Dolls formed around 1912 as an organization of African American women who used their profits from working in New Orleans's red-light district to compete with other Black prostitutes on Mardi Gras. Part of this event involved the tradition of masking, in which carnival groups create a collective identity through costuming. Their baby doll costumes -- short satin dresses, stockings with garters, and bonnets -- set against a bold and provocative public behavior not only exploited stereotypes but also empowered and made visible an otherwise marginalized female demographic. Over time, different neighborhoods adopted the Baby Doll tradition, stirring the creative imagination of Black women and men across New Orleans, from the downtown Trem area to the uptown community of Mahalia Jackson. Vaz follows the Baby Doll phenomenon through one hundred years with photos, articles, and interviews and concludes with the birth of contemporary groups, emphasizing these organizations' crucial contribution to Louisiana's cultural history.

This scholarly study demonstrates “that while post-Hurricane Katrina New Orleans is changing, the vibrant traditions of jazz . . . must continue” (Journal of African American History). An examination of the musical, religious, and political landscape of black New Orleans before and after Hurricane Katrina, this revised edition looks at how these factors play out in a new millennium of global apartheid. Richard Brent Turner explores the history and contemporary significance of second lines—the group of dancers who follow the first procession of church and club members, brass bands, and grand marshals in black New Orleans’s jazz street parades. Here music and religion interplay, and Turner’s study reveals how these identities and traditions from Haiti and West and Central Africa are reinterpreted. He also describes how second line participants create their own social space and become proficient in the arts of political disguise, resistance, and performance.

Ninety-six colors are barely enough for Spy Boy on Mardi Gras Day! Eight-year-old Spy Boy is hard-headed and smart, and this year is the first year he is masking in his father's Mardi Gras Indian tribe! He worked all year on his beaded and feathered suit. When Spy Boy gets lost, he has only his spirit guide, Cheyenne, and his box of crayons to help him find his way. Spy Boy uses the lessons his dad, Big Chief, has taught him as he looks for the Laser Lemon and Granny Smith Apple suits of his tribe.

In the Lower Ninth Ward of New Orleans, Ronald W. Lewis has assembled a museum to the various worlds he inhabits. Built in 2003, the House of Dance & Feathers represents many New Orleans societies: Mardi Gras Indians, Social Aid and Pleasure Clubs, Bone Gangs, and Parade Krewes. More than just a catalogue of the artifacts in the museum, this full-color book is a detailed map of these worlds as experienced by Ronald W. Lewis.