MARDI GRAS INDIAN CULTURE
The devastation of
Hurricane Katrina & Hurricane Rita [not to mention the abysmal government
recovery effort] in August/September 2005 has resulted in massive relocations of
African Americans and other people from New Orleans to other cities within the
United States. One perhaps not so minor cultural consequence of this relocation
is that there is likely to be significant changes to {if not the complete end
of} the pre-Katrina New Orleans Mardi Gras Indian culture.
This page as well as the
Cocojams page on Mardi Gras Indian chants is dedicated to the memories of all
those persons {members of Mardi Gras Indian nations or not} who lost their lives
as a result of Hurricane Katrina/Rita and the US government's lack of recovery
efforts.
Special thanks to all the
online sources featured on this page. My purpose for doing so is to share
information about this unique & creative African American cultural tradition.
click here to submit commentary about or links to videos about the Mardi
Gras Indians
Mardi Gras Indian Hall Of Fame
Thanks to Cherice
{4/11/2007} for sending Cocojams this link to
http://www.mardigrasindianhalloffame.org/
See this comment from the Mardi Gras Hall of
Fame website:
"Mardi Gras Indians have been scattered by Hurricanes Katrina & Rita, but are
still beading, masking and regrouping to bring our powerful cultural community
home.
This website will feature photos, music, news and information about how to
support the artists who keep Mardi Gras Indian traditions vibrant."
-snip-
Don't forget to visit this website which includes photos, information, and sound
clips of Mardi Gras Indian songs!
Also, see this excerpt from an article about the Mardi Gras Indian Hall of Fame:
Honoring Ike
Influential Mardi Gras Indian Isaac 'Ike' Edwards joins the Mardi Gras Indian
Hall of Fame
By Geraldine Wyckoff
"Isaac "Ike" Edwards was quite surprised when he learned that he will be honored
this Wednesday at the Fourth Annual Mardi Gras Indian Hall of Fame ceremony at
Oretha Castle Haley Elementary School. "I was a person who never liked to be up
front," says the 78-year-old Edwards, who masked Indian in the 1940s and '50s.
"I was always a person who stayed quiet in the background."
While Edwards never aspired to be an Indian chief, he filled Indian ranks for a
dozen years, with some of the most notable gangs in New Orleans' Mardi Gras
Indian annals. As a teenager, he masked with the first Indian gang, the Creole
Wild West (then led by the renowned Brother Tillman), and rose to the position
of flagboy with the tribe...
But Edwards, along with about 15 or 20 other Indians, became discouraged with
the Creole Wild West as their aging chief began hitting the streets later and
later on Carnival day.
"You know, we were young and we wanted to come out early in the morning,"
explains Edwards, who along with the others left the gang to join the Golden
Blades. That association lasted just one year before Edwards left and formed the
White Eagles with the now-legendary Robert "Robbe" Lee and Lawrence Fletcher.
Edwards is perhaps most noted for co-founding the influential gang, which
originated at an Uptown barroom in 1948. The White Eagles once boasted as many
as 50 to 60 members, and spawned a host of other gangs. It has been led by such
notables as the late big chiefs Robbe, Fletcher, Donald Harrison Sr. and the
recently deceased Big Chief Jake Millon.
"Everybody from the neighborhood used to mask with us," remembers Edwards. His
role in the revered gang is one of the reasons he is receiving the distinguished
Crystal Feather award.
"In West Africa it is a tradition to honor the elders," says Cherice
Harrison-Nelson, teacher and Mardi Gras Indian Hall of Fame curator.
(Harrison-Nelson is also Big Queen of the Guardians of the Flame Indian gang and
daughter of the Guardians' late big chief, Donald Harrison Sr.) "It is important
to honor those who went before," she says of Edwards' induction. Nelson believes
it is valuable for the students to celebrate the Mardi Gras Indians as cultural
heroes. In turn, the Indians have the opportunity to share their traditions in
an academic setting..."
-snip-
Read the entire article at
http://www.bestofneworleans.com/dispatch/2002-03-26/ae_feat.html
In addition, visit this website also provides information about the Mardi Gras
Hall of Fame:
http://www.louisianaweekly.com/weekly/news/articlegate.pl?20050328k
Here's an excerpt from that article:
Mardi Gras Indian Hall of Fame event mesmerizes students with pageantry,
heritage
By Jay Mazza, Contributing Writer
March 28, 2005
"The 7th annual Mardi Gras Indian Hall of Fame Induction Ceremony and Awards
Ceremony was held on March 23rd at Oretha Castle Haley Elementary School. The
event, which showcases the costume-making, singing and musical talents of the
Mardi Gras Indians, recognized leaders in the Indian community with an
oftentimes raucous presentation held in the school yard of the downtown school.
The ceremony and induction ceremony was presided over by Cherise-Harrison Nelson
under the auspices of the school's principal, Cordelia Lamb.
Harrison-Nelson, a Big Queen herself, is the driving force behind the Mardi Gras
Indian Hall of Fame, which was established in the memory of her father, the late
Big Chief Donald Harrison, Sr. of the Guardians of the Flame. Her son, Brian
Nelson and her mother Herreast Harrison played significant roles in last
Wednesday's event. Nelson's sister Cara Harrison designed and hand-beaded the
awards presented to the honorees...
The Mardi Gras Indian Hall of Fame Induction and Awards Ceremony is part of an
overall effort at the Haley School to teach the children to appreciate the
culture of New Orleans and the traditions of the Mardi Gras Indian community,
which is more than a century old...
Following the role call, all of the Indians participated in a spirited
call-and-response musical celebration. Some of the children joined in while
others remained spellbound as the Indians, complete with tambourines and hand
drums, danced and sang the age-old songs including "Shallow Water," and the
traditional Indian prayer, "Indian Red." A reception was held in the school's
cafeteria following the event.
The Mardi Gras Indian Hall of Fame is sponsored by a grant from Tulane
University's Deep South Regional Humanities Center as well as numerous other
community organizations, businesses and individuals".
****
Historical Overview On Mardi Gras Indians
Mardi Gras Indians are African American men, women, and children from New
Orleans area who belong to specific competing groups {referred to as "tribes"
and gangs}. During a few specific times a year, the tradition is {was ?} for
members to "masks up" {put on usually hand sown intricately feathered and beaded
suits} and chant while promenading throughout certain streets of New Orleans,
Louisiana.
See this excerpt from an online article written before Hurricane Katrina:
"The Mardi Gras Indians
revel in revealing their elaborate creations in beadwork, feathers and plumes
inspired by the ceremonial and war suits and headdresses of the Plains Indians
of the 19th century. They thrive in New Orleans today as the living
manifestation of an age-old ritual, preserved and practiced by the descendants
of African slaves held captive in America, which goes back to the perambulating
societies of West Africa and their call-and-response chants, and to the secret
societies of masked warriors which are common to both African and native
American cultures.
It's a ritual which continues to live in the mean streets of 21st-century New
Orleans and in the hearts of the people of the most run-down, destitute,
stripped-bare-and-left-for-dead underclass neighborhoods of the city, where the
Wild Indians of Mardi Gras perennially represent the triumph of spirit,
creativity, and beauty of song and dance over every obstacle placed in their
arduous path.
There's nothing like seeing the Wild Indians in their natural habitat, emerging
like eye-popping apparitions in all their magnificent finery out of the doorways
of dilapidated inner-city houses and project apartments to strut and swagger
down the middle of the beat-up streets where they struggle just like everyone
else to make a living and somehow survive the crime, violence, joblessness and
grinding poverty of their neighborhoods throughout the rest of the year. That's
the real-life context of the Wild Indians of Mardi Gras, and year after year
they manage to rise above the morass of daily life to make themselves over as
creatures of immense power and beauty.
Every year, starting around Thanksgiving and continuing every Sunday evening
until Mardi Gras, the members and followers of each Wild Indian gang meet up at
their favorite neighborhood bar to conduct "Indian practice," a torrid ritual
where the traditional chants are rehearsed and refreshed, new chants are
introduced and prepared for the streets, the thrilling Indian dances and
man-to-man confrontations are tried out and tested in action, old friendships
are celebrated and warm new alliances may be formed.
The Indian practices are conducted or supervised by each tribe's Big Chief, who
generally leads the singing and directs the course of action in this familiar
setting. Other lead singers, either tribe members (Spy Boys, Flag Boys, Trail
Chiefs, Wild Men) or second-line regulars and one-time Indians who know how it
goes, spell the Big Chiefs throughout the evening, showing off their vocal
prowess, firm grasp of the idiom, and strength of performance..."
Source:
http://www.furious.com/perfect/sinclair/mardigrasindians.html
-posted by Azizi, 1/21/06
****
Commentary On Mardi Gras
Songs
"Generally, each tribe has a Big Chief who is the heart and soul of his people.
He is followed by a Second Chief, Wildman, Flagboy, and Spyboy The Spyboy is the
tribes scout. He precedes the group and hunts for other parading rivals. When
two tribes collide, the maskers face off, starting with the Spyboys, and
continuing up the ladder until it's chief vs. chief.
On The Battle Front
As they face off, the suits, the posture, the presence of each combatant
determine the winner. Words, chants, dancing, beading, attitude, and bravado are
the weapons in this battle. At some point during the Big Chiefs face off, a
winner is acknowledged and the two tribes move on to find new adversaries.
Battle Anthems
Another weapon Mardi Gras Indians posses is music. Tribes march to the funky
groove of a bass drum surrounded by other drummers and tambourine players. Some
parades include a street brass band. They step down the road chanting "Injuns
Here Dey Come", "Shoo Fly Don't Bother Me", "Get Out Da Way", and "Hey Pocky
Way", among other anthems.
Behind the elders and the band is the Second Line. These are friends, family and
bystanders who join the parade. Everywhere else in America, you sit and watch a
parade pass. In New Orleans, you join a Mardi Gras Indian parade and accompany them on
their search for rivals. "Second liners", famous for wild dancing and extreme
boogie-age, are not tactically involved in battle, but they are integral to the
party.
Some tribes have recorded their songs and chants. The Wild Magnolias, with Big
Chief Bo Dollis, are the world ambassadors of Mardi Gras Indian music. Big Chief
Jolly and the Wild Tchoupitoulas were the beginnings of the Neville Brothers.
Brass bands like the Rebirth Brass Band and the Treme Brass Band keep the groove
alive..."
http://blues.about.com/cs/bluesinschools/a/aa052103indians_2.htm
posted by Azizi, 1/22/06
****
The Wild Magnolias-Life Is A Carnival
"...Today there are about 20 different Mardi Gras Indian tribes in New
Orleans. Members spend a good portion of the year designing and creating
elaborate costumes, made out of large plumes, beads, rhinestones and sequins for
the annual Mardi Gras Parades held throughout
New Orleans'
African-American neighborhoods.
The Wild Magnolias have not only been shaking their tail feathers on the streets
for the last three decades but have produced some of the most energetic, yet
nationally unrecognized, funk records this side of George Clinton's Mothership.
Locals in the Crescent City, however, have known this since the release of their
gritty 1974 self-titled debut album.
Now, exactly 25 years since that recording, the Magnolias are on the musical
warpath again on their latest album, Life Is A Carnival. On it they are joined
by a bevy of special guests from their hometown such as Dr. John (who penned six
of the titles), Cyril Neville (from the Neville Brothers), soul-singer Marva
Wright and composer Allen Toussaint, as well as out-of-towners Bruce Hornsby and
Robbie Robertson, Levon Helm and Rick Danko from The Band.
The album opens up with the gritty, soulful vocals of Bo Dollis over a sweaty,
heavy funk rhythm on "Pock-A-Nae". The down-n-dirty fun(k) continues through "Coochie
Molly", "Shanda Handa", with it's percolating percussions and call-and-response
vocals, as well as the explosive "Party", guaranteed to jump-start any
house-soiree. The skeletal, rawness of Dollis' vocals combined with Marva
Wright's meaty gospel warblings on the rousing R&B number "Hang Tough"
accentuate Allen Toussaint's boogie piano rolls, while The Black Bottom Brass
Band strut their stuff all the way from their home of Osaka, Japan to add a
'second line' parade frenzy to "All On A Mardi Gras Day". Dr. John's duet with
with Dollis on the laid back "Blackhawk" and his barrelhouse piano on the
infectious R&B number "Herc-Jolly-John" prove to be just what the voodoo doctor
ordered.
Although all the guests are welcome additions to the party, it's the original
American-Indian, African rhythms and inner-city funk of The Wild Magnolias core
band that puts the POW! in this pow-wow. "
http://www.concertlivewire.com/cdarchives/wild.htm
{Note this article was written
in 1999}; -posted by Azizi, 1/22/2006
****
Excerpt from: "A Brief History Of The Mardi Gras Indians"
Independently researched by Willie W. Clark Jr. 11-16-1999
"...The Black Indian nation
is loosely organized into, what was originally called, "gangs", now called and
known as "tribes", which labor all year long in some loose secretive way,
creating magnificent "suits" consisting of intricate hand beading , false gems
and stones, and decorative feathers and plumes as well as symbolic accouterments
like rifles sticks (staffs), shields and tribal flags. They wear long braided
wigs or wear tied bandanas on their heads to shield the headpieces from body oil
and dirt. They also wear crowns to the beaded and feathered costumes and use
moccasin-style footwear. Some now wear the same color " tights ", where possible
to aid in keeping cool...
The secularization of the public ritual parading in New Orleans took many
decades to disappear, so much time was taken, in fact, that much of the original
symbolism in the parading attire and the unique cult language of the Sunday
tribes has been lost or very difficult to retrieve via oral sources. ..
Many Indians have remarked that the dancing traditions only mimic what was once
ritualistic warfare. they have also stated that the craft of producing the
costumes have all changed dramatically in the past few decades. The formal
etiquette that surrounded Indian street activities for at least a century has
lost much of its continuity and detail. In later decades, the distain finally
gave way to a less physical way of resolving these conflicts of who were the
best tribes. The method: Who could sew the most beautiful costume...
In the late 1940's the
Indians began to realize that the killing of each other was not the way and by
the late 1960's, the wave of violence has pretty much given way to a whole new
form of showdown on the Bayou of St. John. Enter the costume pose down!
As to the stoning and beading of costumes-- these brilliant spectacles are made
of colorful ostrich plumes, feathers, sequins, rhinestones, ribbons, and beads.
Each suit represents many hundreds of hours of effort by the individual Indian
and other helpers and is worn only one season before it is broken down. This
hand sewn suit contains specific parts. A vest usually covers the chest and back
and sometimes a dickey is worn around the neck. Under the arms are wings that
open up when the arms are extended. Once the wrists may have been additional
decorative "sleeves." Below the waist--both in the front and back--is a large
apron the last often being the most elaborate. Designs are sketched on canvas
"patches" and painstakingly beaded and "stoned" into the costume. Each patch or
design tells a story and must be in harmony with the dominant color of the
costume. The beaded patches which are the base of many suits, are works of art,
and worthy of preservation as a form of true indigenous folk art.
Although each suit is a spectacular visual manifestation of the Black Indian
culture, it is by no means the sole method of expression. Individual members of
the tribe exhibit extraordinary skills in confrontational posturing, music
singing, and role playing.
One by one, dancing in toe/heel fashion, each member of a tribe meets his
counterpart. Spyboy first meets Spyboy. Flagboy meets Flagboy. Wildman, then
first, second, and third chiefs, queen(s) and children, all meet and play out
their traditional roles. And finally one big chief faces another. Knees bent,
arms outspread, swaying from foot to foot, and turning in a circular motion the
chiefs slowly size up each other. This preening proves especially effective for
showing off the costumes. Prestige for the tribe is garnered through the beauty
and intricacy of the suits role playing and the strength of its presence in the
community.
This ritualized dance, and miniature competition, drawing both from the African
and Native American heritage, occurs only when one tribe meets another. The
competition is to exhibit the most beautiful suit. Elaborately plumed and
intricately beaded costumes are the distinguishing features of the Mardi Gras
Indians. Each year on Mardi Gras Day, St. Joseph's Day and Super Sunday, with
some other appearances during the year, neighborhood tribes display their
dazzling, colorful costume artistry. The tribes move through the community in
informal competition with a call -and-response chant punctuated by drums,
tambourines and makeshift instruments. When opposing tribes meet, there is
dancing and general "showing off," all with a shared pride in "suiting up as
Indian." Participants in this street theater - with accompanying percussive
rhythms, creolized song texts, and colorful feathered explosions - reflect
respect and homage to the American Indian and the African ancestral legacy.
Since the tribes have no set routes for their day's "journeys" whether they meet
each other, or not, is sometimes entirely a matter of chance. To witness this
procession, it is the custom to wait- perhaps from dawn-outside the house of one
of the big chiefs. Song lyrics, are accompanied by "percussive instrument" ...
the banging drums cow bells and tambourines are customarily "called" by the big
chief. The tribe and its crowd of enthusiastic followers "respond" sometimes
chanting a traditional chorus of words that have no common meaning and often
derived from the early Creole language. These songs, although similar are
rarely,-if ever- sung, in just the same way by all the tribes although they lay
claim to the same repertoire. The tempo may be relaxed or fast depending upon
the mood of the singers, but it remains consistent throughout the song.
Competition is nurtured in a creative climate that awards prestige and respect
to the person, who is able to out-sew, out-dress, and out-sing" another Black
Indian of equal rank from another tribe."
Source:
http://www.mardigrasdigest.com/Sec_mgind/history.htm
-posted by Azizi, 1/22/06
****
Big Chief And Other Roles In Mardi Gras Indian Culture
Here's a listing of the roles held by various members of Mardi Gras Gras
Indian tribes:
- Big Chief: the leader of a
particular Indian tribe, and often the oldest member; "The tribes have names
like the Yellow Pocahontas, White Eagles, the Golden Star Hunters and the Wild
Magnolias. The Big Chiefs are not born, but work their way up through the ranks.
Only the best sewers and singers become Big Chiefs."
http://www.pulitzer.org/year/1996/feature-writing/works/mardigras.html
-Second Chief, next in
importance to the Big Chief
- Wild Man: member of the tribe responsible for clearing a way through the crowd
for the Big Chief, identifiable by horns on his suit and/or staff
- Flag Boy: member that carries the large, usually feathered staffs who conveys
contact with rivals tribes spotted by the Spy Boy to the rest of the tribe
- Spy Boy: member responsible for locating rival tribes and alerting his tribe
to their whereabouts, so a battle may ensue; often carries a decorated facsimile
of a rifle..."
-snip-
There is also an Indian Queen. Member's children may also be masked.
I'm uncertain of the impact of Katrina and its aftermath on the members and
families of Mardi Gras Indians groups, and on the traditions of Mardi Gras
Indian masking and chanting {not to mention Zydeco music, and New Orleans jazz
and blues}. I'm afraid that the impact is likely to have been devastating.
This is a low down cryin disgrace for a nation that prides itself on being the
most civilized in the world.
Source material from: "Super Sunday: Weekend parades
showcase dozens of Mardi Gras Indian gangs";
Tuesday March 16, 2004; By Alex Oliver; NOLA.com
-posted by Azizi, 1/21/06
****
Super Sunday; Traditional Street Locations For The Mardi Gras Indians
"On Sunday, New Orleanians experience one of the city's most colorful and
unique celebrations when the Downtown Mardi Gras Indian parade runs its
traditional route from Bayou St. John to Hunter's Field. The annual parade,
assembled by the Tambourine and Fan organization, is one of two "Super Sunday"
parades; the other, organized by the Mardi Gras Indian Council featuring Uptown
Indian gangs, also parades Sunday at A.L. Davis Park at Washington and
LaSalle"...
To witness this special piece of New Orleans' living history, head to Bayou St.
John at Orleans Avenue
at about noon. After the gangs are suited up they march to parade formation on
Orleans Ave., where the parade continues to Claiborne Ave., takes a left heading
downtown and winds up at Hunter's Field at St. Bernard and Claiborne. For the
Uptown parade, arrive at
A.L.
Davis
Park
on LaSalle St. near Washington at about noon. That parade makes a
loosely-defined loop around the C.J. Peete housing development and concludes
back at A.L.
Davis
Park.
Source: excerpt from "Super Sunday: Weekend parades
showcase dozens of Mardi Gras Indian gangs";
Tuesday March 16, 2004;
By Alex Oliver; NOLA.com
-snip-
Are these streets, housing
developments and parts even there any more in post-Hurricane Katrina New
Orleans? New Orleans as we knew it, is gone.
See this additional commentary about Super Sunday:
"Personally, I never saw the Indians first hand. At least not until my roommate
and I walked to the shores of Bayou St. John and witnessed the Indians coming
out to celebrate "Super Sunday".
Now I have to confess that I had never heard of "Super Sunday". I am familiar
with Mardi Gras, Jazz Fest, and other like events. But on this typically New
Orleans
day (hot and humid for those who not familiar with the weather here), I walked
into a wonder world of tribal chieftains, queens, and indigenous brass music.
Almost by instinct I took out my camera and readied myself for my first
photo-op.
While wandering through the assembly grounds populated with meandering locals
and tourists, I promised myself not to miss this event ever again. Because as I
heard the music playing, the drums thumping, and the Indians chanting I was
mesmerized at the intricacy of the costumes and the mysticism behind this native
culture of New Orleans. I realized that this tradition is a special piece of the
historical jigsaw puzzle that defines this city's past. As traditions go, this
one's uniquely New Orleans...
...the tradition of the Mardi Gras Indians evolved into a ritualistic display of
cultural pride and ceremony. A new heritage was manufactured by a people who had
all their badges of culture stripped away from them by slavery.
However the origins of the Indians don't necessarily start in the 1880's. Before
the emancipation of slaves, many slaves escaped and sought refuge in the nearby
Indian villages that dotted the surrounding areas of New Orleans.
Nations like the Choctaw and the Coshatta would welcome the escapees into their
tribes. As slaves and Native Americans inter-married and fought side-by-side
against the white colonials, a strong bond developed. So with respect for a debt
of gratitude, the Mardi Gras Indian tradition became a symbolic "thank you" to
the Native Americans who once sheltered them...While Mardi Gras became a nova of
pre-Lenten celebrations, the Mardi Gras Indians tradition started to change as
it incorporated many of the Caribbean traditions into its dances, costumes, and
music. As more clubs were formed, the Indians started to make their mark on the
cultural face of New Orleans.
The Indians can be seen strutting around the city during Mardi Gras, "Super
Sunday", or the New Orleans Jazz and Heritage Festival...
Source: American Dreams; Super Sunday; by Carlos Salazar
-snip-
To read the entire article and view photographs by that author, click
http://www.g21.net/amdream57.html
- posted by Azizi; 1/21/06
****
A Listing of Mardi Gras Indian Tribes
A {pre-Katrina] partial listing of tribes of the Mardi Gras Indian Nation:
7th Ward Hunters
9th Ward Hunters
Black Eagles
Black Hawk Hunters
Black Feathers
Black Seminoles
Blackfoot Hunters
Carrollton Hunters
Cheyenne Hunters
Comanche Hunters
Congo Nation
Creole Osceola
Creole Wild West
Fi-Yi-Yi
Flaming Arrows
Geronimo Hunters
Golden Arrows
Golden Blades
Golden Comanche
Golden Eagles
Golden Star Hunters
Guardians of Flames
Mohawk Hunters
Morning Star Hunters
Red Hawk Hunters
Seminole Hunters
Seminole
Skull & Bones
White Cloud Hunters
White Eagles
Wild Apache
Wild Bogacheeta
Wild Tchoupitoulas
Wild Magnolias
Yellow Pocahontas
Young Navaho
Young Brave Hunters
Young Monogram Hunters
Young Cheyenne
7th Ward Hard Headers
Source:
http://www.mardigrasdigest.com/Sec_mgind/indian_mainpg.htm
Mardigrasdigest.com
indicates that there are 40 known Mardi Gras Indian tribes
[pre-Hurricane Katrina]. Information about the specific tribe can be accessed on
that website by clicking on the name of the tribe.
See this excerpt from that
online source:
"They capture the colors of God's Rainbow.....
Then mask with Pride &
Walk with Spirit....
The Mardi Gras Indian Nation "
"The 40 (Last Count) Known Tribes of the Mardi Gras Indian Nation have a long
and varied history, even among the Indians themselves, (if the truth be known)
the exact history of the nation is not fully remembered.
This may be the result of many years of history pass down by word of mouth from
tribe to tribe, brave to brave. Some of these magnificently garbed men still
refer to themselves by the old outdated term of "gang". The now proper term is
"Tribe".
Much of this terminology is left over from the days the Indians would use Mardi
Gras Day as a day to settle old scores with one another with gangs of roving
members, sometimes coming to fists and knife fights and even worse, shootouts.
The then, "gangs", would use the confusion of Mardi Gras Day to take advantage
of the "weaken state", of the New Orleans Police dept. The NOPD, back in the
1970's, 80"s and the last of the 90's were at some critical times, stretched to
the point of it's operational limit to contain the festivities, events and
crowd. It was at this, "window of opportunity", that the Indians took to masking
what they had to do to hold on to their territory and defend against any
intrusion by rival "tribes".
They would roam their
territory and sometimes stray into other areas that were "disputably", in their
control.
There is a certain order to this march, but unless you knew about these "tribes"
and their society, you would most definitely miss it. The order was as hard to
follow, with some tribes, as some of their "routes", are today... "
-snip-
That same online source
indicated that "We are working hard to identify, and catalog, then lists the
tribes, this takes time as it is often difficult to make contact in some
instances. Be patience, it may take years, but we will list them all".
-snip-
Where are the members of these tribes and their families now? God only knows.
Families have been scattered across the entire USA. And there are still more
than three thousands people missing from Hurricane Katrina. God have mercy on
their souls.
posted by Azizi; 1/21/06
See this Cocojams page on Mardi Gras Indian culture:
http://www.cocojams.com/mardi_gras_indian_chants1.htm
****
See this thread on Mudcat Discussion Forum about the Mardi Gras Indian song "Iko
Iko" and other directly and tangentially related topics:
http://www.mudcat.org/thread.cfm?threadid=88125
****
Mardi Gras Indians
and Jonkanoo Troupes-Same Same?
[posted by Azizi;
10/31/2006]
After reading
http://www.bahamatravelnet.com/culture/junkanoo.html ,
http://www.geographia.com/BAHAMAS/junkanoo.htm and other online & print
articles about Jonkanoo, it seems to me that Jonanoo troupes and Mardi Gras
Indian tribes are very much the same. Judge for yourself. Here's some excerpts
from those websites:
Excerpt from "Bahamas Junkanoo Festival" {link #1}:
"The Bahamian festival of Junkanoo is an energetic, colourful parade of brightly
costumed people gyrating and dancing to the rhythmic accompaniment of cowbells,
drums and whistles...
Junkanoo is reminiscent of
New Orleans'
Mardi Gras and Rio de Janeiro's Carnival, but it is distinctly Bahamian and
exists nowhere else. Parade participants - arranged in groups of up to 1,000 -
are organized around a particular theme. Their costumes, dance and music reflect
this theme...
The Junkanoo festival is a community-wide effort. Families, friends and
neighbours gather within groups - usually from 500 to 1,000 members - who
perform together at the parade.
As Junkanoo traditions have evolved, so, too, have the costumes. Sea sponges,
leaves, fabric and shredded paper have at one time or another played their part
in costume construction.
Costumes today are made out of crepe paper that is meticulously glued to fabric,
cardboard or wood. They usually consist of a headdress, shoulder piece and
skirt, which are elaborate and brilliantly coloured. Group members make their
own costumes and it may take them up to a year to complete the intricate
creations.
Costume design is tied to a theme and is a carefully guarded secret. Themes vary
greatly - they can be contemporary, based on the past or anything the group
chooses.
-snip-
Compare the similarities between the drawings of Jonkanoo dancers found on that
page and photographs and videos of Mardi Gras Indians.
-snip-
Excerpt from "Jonkanoo In
The Bahamas" {link #2}
"Christmas celebrations in The Bahamas would not be complete without Junkanoo
bands "rushing" in the streets. Venture down to Bay Street in Nassau during the
early morning hours of Boxing Day (the day after Christmas) and New Year's Day
and behold this cornucopia of color and sound. The darkness of the early morning
adds to the bewitching atmosphere. Overhead streetlights highlight the hues of
the costumes and banners intricately designed and patterned from minute strips
of crepe paper of all colors glued to clothing, cardboard and wood.
Among the Junkanoo troupes are the "Saxons," "Valley Boys" and "Roots."
Competition amongst them is fierce--thousands of dollars in prize money are at
stake--and costume designs are a closely-guarded secret until they are finally
unveiled.
Each troupe selects a theme for its costumes and members are dressed in
variations of that theme. It could be something as archaic as Vikings or as
contemporary as astronauts. The groups short-step or merengue along the street,
depending on the music they play with their goat-skin drums, cowbells,
conchshell horns and whistles. Revelers on the sidelines cavort with the same
abandon, singing and dancing along, "We're rushin', we're rushin', we're rushin
through the crowd ... K-k-kalik, k-k-kalik, k-k-kaliking k-k-kalik, k-k-kalik,
k-k-kalik, k-k-kalik, yeah."
-snip-
Also see online information on "kunering" such as these websites:
http://www.findarticles.com/p/articles/mi_m2278/is_1_24/ai_58411663/pg_6 ;
http://library.uncw.edu/web/collections/manuscript/MS009.html
For example, see this excerpt from
http://72.14.209.104/search?q=cache:iBMq0edafHoJ:www.ipsonet.org/congress/5/papers_pdf/hwf.pdf+kunering&hl=en&gl=us&ct=clnk&cd=6
"African
Roots Of Stepping"
Dr. Hayward “Woody” Farrar; History Department Virginia Tec
"A most elaborate version of the cake walk was a ceremony called John Kunering
(or Canoeing). This ceremony celebrated the ancestors, and various holidays,
such as Christmas. Originating with the Kuner people of West Africa. John
Kunering was an elaborate parade of enslaved blacks led by a heavily disguised
dance leader known as the “ragman.” The singing was led by a character called
“Number Two” was not so elaborately made up. Other characters in a John Kunering
ceremony wore various costumes to inspire fear and awe in audiences. They were
each “arrayed fantastically in ribbons, rags, and feathers, and bearing between
them several so-called musical instruments or ‘gumba-boxes’ with tanned
sheepskins.” According to observers of one John Kunering ceremony the “ragman
and character number two ‘entered upon a dance of the most extraordinary
character,’ structured yet allowing for freedom of invention, “a combination of
bodily contortions, flings, kicks, gyrations, and antics of imaginable
description, seeming acting as partners, and yet each trying to excel the other
in the variety and grotesqueness of his movements. Along with the dance did
Number Two in sing an extemporaneous song in an ironic fashion:
Juba! Juba! Juba!
O, ye juba!
De darkeys lubs de hoe-cake,
juba! Take de “quarter” for to buy it, juba!
Fetch him long, you white folks, juba!
juba! Krismas come but once a year, juba Juba! juba!
O, ye juba!
John Kunering ceremonies were based in the Carolinas, which had the highest
percentage of blacks during the era of slavery. Because of that African rituals
survived in a relatively undiluted form longer there than elsewhere.."
-snip-
If you have any information about the history of Jonkanoo, and kunering and the
customs associated with these traditions, please share them with Cocojams
readers.
Thanks!
****
click here to submit
commentary about Mardi Gras Indians and related subjects or to submit links to YouTube or other
online videos about the Mardi Gras Indians or Jonkanoo.
Correction/Information Sharing
Hurricane Katrina happened in 2005. You site stated 2006. I always thought
Marraine and Parraine meant Godmother and Godfather in french. In New Orleans we
call our Godfather Parriane(spelling may not be correct). Peace
-Cassandra W.; 6/21/2007
Editor:
Thanks, Cassandra, for catching that. I've corrected my error. Thanks also for
that information on the word "Parraine".m
****
INTERNET LINKS TO VIDEOS
ABOUT MARDI GRAS INDIANS
1.
http://www.youtube.com/watch?v=usElyQNT8go&search=mardi%20gras%20indians%20st.%20joseph%20night
title: Super Sunday 2002; Added [to YouTube]
September 02, 2006 From mmcabee
2.
http://www.youtube.com/watch?v=mnPR1gmFl6w&mode=related&search=mardi%20gras%20indians%20st.%20joseph%20night
title: St. Joseph's Night 2006; Added [To YouTube]
June 19, 2006; From cdowdellb
cdowdellb's comment: "Mardi Gras Indians gather on this night every year to have
one last party in their new suits before sewing another for the next Mardi Gras.
This year's celebration included a prayer for Tootie Montana, the great big
chief who died right before Katrina".
3.
http://www.youtube.com/watch?v=mA8f8KFyHJM&mode=related&search=Buckwheat%20Zydeco%20Lee%20Allen%20Neville%20Brothers%20Herbie%20Hancock%20New%20Orleans
title: The Dixie Cups & The Neville Brothers - Bro.
John - Iko Iko"
{with Herbie Hancock and Dennis Quaid at Storyville Jazz Hall, New Orleans,
Dec.18.1988}:
Added [to YouTube} June 30, 2006 From yosh95
