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St. Charles Avenue. New Orleans - 1926

In the early 1960s, the McDonogh 19 school was the site of fierce opposition to racial integration. The building is now owned by one of the

"They were known as “the McDonogh Three,” and unlike many stories of the tumultuous civil rights era, this one has a hopeful ending.

On May 4, 2022, Leona Tate, Gail Etienne and Tessie Prevost are scheduled to cut the ribbons around the front door of the former McDonogh 19 Elementary School.

Located in New Orleans’ Lower 9th Ward, the school was the scene of some of the nation’s fiercest anti-integration school battles in the early 1960s.

At the time, Tate, Etienne and Prevost were 6-year-old Black girls who wanted to attend first grade." They faced racist harassment and the threat of real violence from white parents determined to hoard educational privileges for themselves.

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““I wish you could have emancipated me when you was last in New Orleans for that is a matter I deserve to have arranged as early as possible and if you could do it without putting me to the expense of returning to New Orleans, I should much prefer it for life you know is very uncertain and you might die before I can see you.””

—

Lucile Tucker to Rice Ballard, 1847

(Green, 31)

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“As part of his defense, Jupiter told the story of a young female slave who belonged to his master’s economic partner. Her owner forced her to swallow the vegetables she had not managed to sell…Despite the autonomy they enjoyed, enslaved hucksters were no less brutalized and exploited than other plantation slaves working in the fields.”

Cécile Vidal, Caribbean New Orleans

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Part One: Roots and Rhythms

The New Orleans brass band tradition got its start after the Civil War when military bands inspired the creation of numerous civilian bands in the city. These brass bands performed for a variety of events, including parades and funeral processions held by fraternal orders, labor unions, and benevolent associations. “Roots and Rhythms” traces these 19th-century roots of social aid and pleasure clubs’ annual parades and explores the rhythmic foundations that give today’s brass band music its distinctive sound.

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Map

[François Chéreau]. Le Mississipi ou la Louisiane dans l’Amérique septentrionale. Circa 1720. Département estampes et photographie. EST VD-21 (2). Courtesy of Bibliothèque Nationale de France. Paris via Cécile Vidal’s Caribbean New Orleans

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VIDEO: #SlaveryArchive Book Club with #WickedFlesh

The #Slaveryarchive Book Club video on #WickedFlesh is live:

We will meet on August 12 (WEDNESDAY), via Zoom, from 5:00 PM to 7:00 PM to discuss the book Wicked Flesh: Black Women, Intimacy and Freedom in the Atlantic World by our colleague historian Jessica Marie Johnson (Johns Hopkins University).

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INTERVIEW: “Bulbancha is Still A Place” with Dr. Jeffery U. Darensbourg

“Bulbancha is Still A Place: Indigenous Culture from New Orleans is a new collaborative Native zine under the umbrella of the POC Zine Project. Issue #1, The Tricentennial Issue, is jammed with art, essays, history, family lore, and poetry; but superb layout ensures it never feels overwhelming. If, like me, you aren’t very conversant with the indigenous history of our region (even if, like me, you’d sort of thought you were), reading Bulbancha is like being invited into a wide-ranging conversation full of new ideas, new words, new perspectives, and new voices. “Contributing Editor-Who’s-Not-a-Chief ” Dr. Jeffery U. Darensbourg, a member of the Atakapa-Ishak Nation of Southwest Louisiana and Southeast Texas, kicks off the issue with a piece titled “Decolonizing the Tricentennial of New Orleans.” His essay firmly, unequivocally rejects the idea of New Orleans’ 300th anniversary—and even the name New Orleans. This bracing refusal carves out an immense psychogeographical space for the rest of the zine to unfold and expand into. As Darensbourg says, before the colonists tried to name this place, it was already a place… and it’s still a place. I spoke with Dr. Darensbourg about the zine and its ideas.”

Read: REVIVING INDIGENOUS HISTORIES with BULBANCHA IS STILL A PLACE – Antigravity Magazine https://ift.tt/3hgHIH3

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jmjafrx

“As part of his defense, Jupiter told the story of a young female slave who belonged to his master’s economic partner. Her owner forced her to swallow the vegetables she had not managed to sell…Despite the autonomy they enjoyed, enslaved hucksters were no less brutalized and exploited than other plantation slaves working in the fields.”

Cécile Vidal, Caribbean New Orleans

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jmjafrx

The next session of the #Slaveryarchive book club will be held on August 12, 2020 from 5:00 to 7:00 PM with Wicked Flesh: Black Women, Intimacy, and Freedom in the Atlantic World (Penn Press, August 2020).

UPDATE: To get the book sooner than Amazon, go to Penn Press https://www.upenn.edu/pennpress/book/16139.html and add the book to the cart & use the discount code (40% + free shipping) SHEAR40-FM valid until 8/19!

More details: slaveryarchive.wordpress.com

(via Aug 12: #WickedFlesh & @jmjafrx in the #SlaveryArchive Book Club – #WickedFlesh)

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It seems like a small thing with a global pandemic happening right now, but if you’ve the means and/or enjoy reading, please do support the books being published this spring and summer. For the authors, it’s a bit of good news in the midst of a lot of chaos, but I suspect that many of us have or will lose opportunities to meet you readers in person, read work in the communities we wrote the books for, and otherwise build with you. And that goes for academics, but also poets, fiction writers, essayists–anyone engaged in the printed word. Plus with so much in crisis, book releases feel a little bittersweet.

(via #WickedFlesh Available for Pre-Order!! – #WickedFlesh)

#Repost @cane_curate (@get_repost)

・・・

#Repost @dukefsp

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Join us Friday, Sep 6, at 6 pm for the opening night of Southbound: Photographs of and about the New South @ppgduke. Southbound is presented by the Power Plant Gallery in collaboration with Duke’s Forum for Scholars and Publics (@dukefsp) and the Gregg Museum of Art & Design (@ncstategreggmuseum) at NC State. In this iteration, guest curator Randall Kenan (@darkwolf13), author and NC native, organizes the many framed photographs of the exhibition around the twin themes of Flux, on display at the Power Plant Gallery, and Home, on display at the Gregg Museum. The full program of events includes slow tours, film screenings, “Sit + Chat” sessions, and FSP@PPG panel discussions that engage with the issues in and around the works of art and explore the topics, places, and styles of Southbound.

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Event schedule: powerplantgallery.com

Exhibit website: southboundproject.org

More info: https://fsp.trinity.duke.edu/blog/southbound-photographs-and-about-new-south

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Southbound: Photographs of and about the New South was organized by the Halsey Institute of Contemporary Art at the College of Charleston School of the Arts in Charleston, South Carolina, and curated by Mark Long and Mark Sloan.

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Cover photo: Stacy Kranitz, Island Road, 2010, from The Island series, Isle de Jean Charles, Louisiana

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#powerplantgallery #greggmuseum #durham #durhamnc #raleigh #duke #dukestudents #artstigators #dukearts #southbound #photography #NewSouth

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"New Orleans’ Italian and Irish communities didn’t used to be considered white; they were only accorded whiteness by the descendants of the planter class as necessary leverage against the formerly enslaved. The story of the Cajuns is similar. "

BLANC LIKE ME: CAJUNS VS. WHITENESS – Antigravity Magazine http://www.antigravitymagazine.com/2019/07/blanc-like-me-cajuns-vs-whiteness/

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Calinda by Dumoulin

via François Aimé Louis Dumoulin, ou les images d’un Suisse aux Caraïbes – par Claire Brizon – Journal18: a journal of eighteenth-century art and culture http://bit.ly/2W7METF

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(Not My) ghost meme #slavery

Bayou Goula, Darkey Quarters at Sugar Plantation Title written in ink below photograph on mount “Unusual double exposure” (x)

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Third Coast

Golfe du Mexique / Delineabat F. Le Maire… Author : Le Maire, François (16..-17..). Cartographe Publication date : 1716 (×)

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