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Showing posts with label Masquerade traditions. Show all posts
Showing posts with label Masquerade traditions. Show all posts

Monday, May 1, 2023

Are Mardi Gras Indians (Black Masking Indians) Appropriating Native American Cultures? (video and comments)


CBS Mornings, Mar 26, 2022

Last weekend, Super Sunday was celebrated in New Orleans. It is the day when African American revelers, known as Mardi Gras Indians, parade through town in their hand-made costumes. Michelle Miller has more on the history of the group.

****
Edited by Azizi Powell

Latest revision - May 2, 2023

This pancocojams post showcases a 2022 segment from CBS Morning about the Mardi Gras Indians.

The comments quoted in this post focus on the question "Are Mardi Gras Indians appropriating Native American cultures?"

This post also presents my editorial notes about the meanings of "masking" as it refers to the Mardi Gras Indians.

Addendum #1 to this post presents a small segment from a 2021 Louisiana State Museum zoom discussion with the authors of the 2019 book Jockomo: The Native Roots of Mardi Gras Indians.

Addendum #2 presents a comments from another YouTube video about the African/Congo Square influences on Mardi Gras Indians.

Addendum #3 presents comments from another YouTube video from people who assert that Mardi Gras Indians aren't appropriating Native American cultures because Mardi Gras Indians (and most other Black people in the United States) are the true indigenous people in the United States. These commenters maintain that they were always here [in the Americans] and have nothing to do with Africa. 

Addendum #4 presents a complete reprint of an American Library Association online article entitled "Indigenous Tribes Of New Orleans And Louisiana [no publishing date is given for this essay.]   

For more of the subject of Native Americans and Mardi Gras Indians, read the comments that are found in the comment section of this pancocojams post.

The content of this post is presented for historical and socio-cultural purposes.

All copyrights remain with their owners.

Thanks to the Mardi Gras Indians and thanks to all those who were associated with this television segment. Thanks also to all those who are quoted in this post.
-snip-

Click https://pancocojams.blogspot.com/2023/05/jockomo-native-roots-of-mardi-gras.html for the closely related pancocojams post entitled “Jockomo: The Native Roots of Mardi Gras Indians" (YouTube Zoom Discussion With Some Quotes & Paraphrased Discussion).That post includes quotes and paraphrased statements about why the Mardi Gras Indians masked as Indians (indigenous people). 

Other pancocojams post about Mardi Gras Indians can be found by clicking the tags below or by googling Mardi Gras Indians pancocojams.

****

WHAT DOES "MASKING" MEAN FOR BLACK MASKING INDIANS (also known as "Mardi Gras Indians)?

The Mardi Gras Indians are also known as "Black masking Indians". Based on some YouTube discussion thread comments that I have read, since around 2020 "Black Masking Indians" appears to be the referent that is most favored by this population. 

In the context of the Black masking Indians", the word "masking" comes from the word "masquerade".

Here's a definition of the word "masquerade" from 
https://www.merriam-webster.com/dictionary/masquerade :

"a social gathering of persons wearing masks and often fantastic costumes"
-end of quote-

During New Orleans Mardi Gras, ",,,carnival groups create a collective identity through costuming". https://lsupress.org/books/detail/baby-dolls/#:~:text=The%20Baby%20Dolls%20formed%20around,Black%20prostitutes%20on%20Mardi%20Gras.

 "Masking" for Black masking Indians means wearing costumes that evoke [for them and their onlookers] Plains Indian ceremonial attire and/or West African ceremonial and Caribbean [carnival] attire.

One phrase that appears to be used for Mardi Gras Indian masking is "playing Indian". Here's an example of that phrase from https://www.youtube.com/watch?v=MY2E7hqBDbI "New Orleans Mardi Gras Day 2017 9th Ward Black Hatchets"

Chatawbraves, 2017,
"I LIKE TO SEE EVERYBODY PLAY INDIAN ECPECIALLY THE QUEEN'S YESS YESS  ! ALL QUEEN'S FROM  BOTH TRIBES PLAYED THEIR ROLE YESS YESS !"...
-end of quote-
In the context of Mardi Gras Indians, "playing Indian" means to dress like Plains Indians dressed during a period of time when those Indians-and not the Indians who lived in Louisiana wore feathered head dresses. Read https://www.quora.com/Did-all-Native-Americans-wear-feathers for comments about when Plains Indians wore feathers.

Here's an excerpt from https://en.wikipedia.org/wiki/Mardi_Gras_Indians about the history of Black people from New Orleans encounters with Plains Indians: 

As a major southern trade port, New Orleans became a cultural melting pot.

During the late 1740s and 1750s, many enslaved Africans fled to the bayous of Louisiana where they encountered Native Americans. Years later, after the Civil War, hundreds of freed slaves joined the U.S. Ninth Cavalry Regiment, also known as Buffalo Soldiers.[2] The Buffalo Soldiers fought, killed, forced, and aided the mass removal and relocation of the Plains Indians on the Western Frontier. After returning to New Orleans, many ex-soldiers joined popular Wild West shows, most notably Buffalo Bill's Wild West.[2] The show wintered in New Orleans from 1884 to 1885 and was hailed by the Daily Picayune as "the people's choice". There was at least one black cowboy in the show, and there were numerous black cowhands.[4]

On Mardi Gras in 1885, 50 to 60 Plains Indians marched in native dress on the streets of New Orleans. Later that year, it is believed the first Mardi Gras Indian gang was formed; the tribe was named "The Creole Wild West" and was most likely composed of members of Buffalo Bill's Wild West show.[2] However, the "Indian gangs" might predate their appearance in the City. A source from 1849 refers to black performers on Congo Square fully covered in "the plumes of the peacock.”[5]"...
-snip-
"Playing Indian" doesn't mean that these roles weren't (aren't) taking seriously. The 2022 YouTube video entitled https://www.youtube.com/watch?v=-Gx2WDAPwX4 "It's Your Glory -The Queens Of Carnival" includes this statement beginning at .28 from Queen Cherise Harrison-Nelson (Guardians of the Flame) :

"This tradition is a way for me to connect myself physically, mentally, emotionally, spiritually back to my ancestral homeland one bead at a time. You tried to sever those ties. But I found a way".
-snip-
In that quote, the phrase "my ancestral homeland" refers to Africa. The Guardians of the Flame" Mardi Gras Indian tribe is one that emphasizes their members' African ancestry. For the Black masking Indians that emphasize their Native American connections (through their bloodlines and/or as homage to Native Americans for helping enslaved people who fled slavery) Queen Cherise Harrison-Nelson's quote might be 
"This tradition is a way for me to connect myself physically, mentally, emotionally, spiritually back to my Native American ancestors and/or to Native Americans who helped those ancestors one bead at a time."    

This quote from https://en.wikipedia.org/wiki/Mardi_Gras_Indians refers to the ranked characters in Mardi Gras Indian groups:
..."The Mardi Gras Indians play various traditional roles. Many blocks ahead of the Indians are plain clothed informants keeping an eye out for any danger. The procession begins with "spyboys," dressed in light "running suits" that allow them the freedom to move quickly in case of emergency.[2] Next comes the "first flag," an ornately dressed Indian carrying a token tribe flag.[2] Closest to the "Big Chief" is the "Wildman" who usually carries a symbolic weapon.[2] Finally, there is the "Big Chief." The "Big Chief" decides where to go and which tribes to meet (or ignore). The entire group is followed by percussionists and revelers.[2]"...

-end of quote-

[Addition and corrections are welcome for this explanation.]

****

****

SELECTED COMMENTS FROM THIS VIDEO'S DISCUSSION THREAD

This compilation includes almost all of the comments that were posted in this discussion thread as of May 1, 2023 at 11:00 AM EDT

https://www.youtube.com/watch?v=awMFbUYF24Y

2022

Tasha w
"Isn't this cultural cultural appropriation? @Cbs Mornings. Why don't have invite real Native American chiefs to share their stories presently in 2022 as well?"

**
Reply
make it make sense
"Did you watch the piece? Obviously you didn't because if you had you would know the answer to your question!

It's your laziness for me

It's your desire for a gotcha moment for me

It's your racism"

**
Kate
"This an insult to real Native Americans to these America's"

**
Reply
make it make sense
"
How?"

**
Reply
The Dance Standard
"
For your information, some masking Indians are Native American by blood. Know what you say before you speak."

**
Reply
RealShahO
"
Actually it is not. This tradition began to honor the indigenous Americans who saved our ancestors that were runaway slaves. It dates back to the 1800s and many of the people who participate are Afro-indigenous themselves, including myself and my family. Please do your research. We have also been celebrated and thanked by Indigenous groups across the US for honoring their ancestors and showing the world our strength and survival despite colonialism."

**
Reply
MelaninGod504, 2023
"@The Dance Standard   you also have Black Indians from New Orleans and Louisiana that is the first Natives of this Land(i.e. Folsom People) before the Red man indian."

**
Reply
MelaninGod504, 2023
"It's an insult that the 5 civilized tribes. didn't compensate the reparations that was owed to the Black slaves the indians owned. descendants of Slaves is still waiting for their ancestors reservations,land,casinos,banks,etc.

1866 Indian  Treaties which was passed by Congress but never was established."

**
Reply
RealShahO, 2023
"
@MelaninGod504  IN THAT ORDERšŸ‘šŸ½šŸ‘šŸ½šŸ‘šŸ½"

**
make it make sense
" @Kate  how is the culture being stolen? Again did you watch the piece?

The American Descendant of Slaves community in New Orleans is honoring the native - specifically Seminole community - for their willingness to not only assist the enslaved ancestors of those who are Mardi Gras Indians current day to escape slavery but also for teaching the formerly enslaved how to survive in the bayous and swamps of lower Louisiana

It's not my fault, the American Descendant of Slaves community fault or the Indigenous People fault that Europeans decided to be barbarians and force the removal of native people and enslavement of Africans

Anyway don't get mad at history LEARN FROM IT"

**
Reply
make it make sense
"
@Kate  PS I'm a Descendant of the Seminole tribe of Louisiana and of the American Descendant of Slaves community and 3rd generation Mardi Gras Indian and have had my familes ancestry investigated by Dr. Henry Louis Gates of Harvard University

So not only do I have my receipts

But again whose stolen history my baby??"

****
ADDENDUM #1

This is a segment of a zoom discussion about the Mardi Grass Indians with Shane Leif and John McCusker, authors of the 2019 book Jockomo: The Native Roots of Mardi Gras Indians 
https://www.youtube.com/watch?v=-lzfqyHVd6k

1:00:05 - John McCusker's response [to a question about why these groups masked (wore costumes] as Indians.] 
…”Leaving off blood lines and DNA,…if we just go directly to “Why would an African American person in post-Reconstruction New Orleans -meaning 1878- choose on Mardi Gras to costume as an American Indian.   What’s going on around that time?...So what better way-and I’m definitely not one of those people that likes to make Black culture reactions to White people-but in terms of just personal pride, what better character, what character to take on then one who was in active armed conflict with the United States government.   You feel me on that? You are an uniquely American figure, but you were in armed conflict with the United States of American. Sounds like a fellow traveler. So it’s not about- I know there is still a lot of tension about is this a mimicry, is this a pantomime, is this really just a minstrelsy of Indians. But I think if you look at it in the context of the spirit of why those men first masked and would have dressed that way and chosen to conduct- It’s not just the costume, it’s ritualistic almost combative dance…and early on this was defending your neighborhood-…there was shooting, all kind of stories. People ended up in jail….So this was all about identity and pride and Mardi Gras being the vehicle perhaps to be that fellow traveler as a resistance figure"

1:12.15- Shane Leif's response [about this question]:
"One thing I’d like to add is that it’s not just the symbolism that we’re talking about, so to speak to your question about tribal affiliation vs. ancestry, I think that the difficulty there was that people were being told that they were one thing, and they’re actually many things.  In some cases, they may not have known and they may not know just like people with African ancestry won’t always know exactly where all the tribal affiliations or earlier affiliations their ancestors had…The reason why it’s so difficult is that the documentation is lacking there…But I think that the authenticity we might seek from someone who say has lighter skin and who is European American who makes claims about where they are from, the onus is a bit different than on someone who is African American who has a different history of being told that they’re not who they claim to be…For a long time people were told that you’re either this or you’re that. But there’s actually both at the same time. “

1:13:50 -John McCusker's response [about this question]
"Also, you had whole tribes that were actually wiped out….And like Shane said, it’s never one way or the other. …But among the stories that I read, they talk a lot about Eugene Honore in the book. Eugene Honore was 7ft tall. His father fought in the Civil War. He lived in the French Quarter.  And he’s credited by at least a couple of guys as the composer of “Indian Red” [song]. They said that he was mainly-whatever that means-Choctaw Indian and that they called his mom “Miss Choctaw”. And sometimes Eugene would disappear for weeks and go stay somewhere out by Baton Rouge…But it’s not either/or like Shane said. You can have both at the same time, or neither or not."

****
ADDENDUM #2
From https://www.youtube.com/watch?v=JlETXBzPgNk&t=489s "
Indian Tribes meet in the Treme on Mardi Gras Day", published by rabbitfist, Feb 25, 2012

Two Indian Tribes meet in the Treme area of New Orleans on Mardi Gras day 2012
-snip-

[selected comments with numbers added for referencing purposes only] 

1. salena gaines, 2012
"There not black native Americans its called African tribes like the Zulu"

**
Reply
2. Stevland Ambrose, 2023
"If that's the case you best go enlighten Wikipedia with your scholarly insight.

 https://en.wikipedia.org/wiki/Black_Indians_in_the_United_States

 **
3. 
504girl3. 2014
"I hate when people comment on videos about New Orleans but don't know our culture.  This has nothing to do with Africa. We pay tribute to the Native Americans for helping slaves that were escaping slavery, and that's the short version of an entire story."

**
Reply
4. Donald Harrison, Jr, 2014
"To 504girl3, Big Chief Donald Harrison Jr of The Congo Square Nation here responding to your comment. I appreciate and have respect for you idea of New Orleans culture but it is not the same as mine. With my participation in our culture I am paying respect to the African culture that took place in Congo Square and keeping an offshoot New Orleans born faction of those traditions alive. The suits I make is derivative of African traditions.When you look at this video you can see this African influence in my lime green and royal blue suit and the suit of the flag in red and black. The call and response chants we sing are derived from Africa. The drumming is derived of African origin. The dancing style is derived of African origin. The bead style is derived of African traditions. We call what we do Afro-New Orleans culture and many other culural participants share the same perspective as us. I was taught by a lot of older cultural participants including Donald Harrison Sr. who used African images on his suits. I know all these elders are happy that I am keeping this faction alive within our culture. Thank You, Donald Harrison"

**
5. steve boy, 2018
"change the name to black people appropriating native culture"

**
Reply
6. Donald Harrison, Jr, 2019
"The name of my culture is Afro-New Orleans, and

we honor African Americans. We are about Congo Sqaure and don't have anything to do with Native Americans. We respect Native Americans but our suits use plumes which come from Africa. We are Afro-New Orleans Culture which has nothing at all to do with you. Y'all don't play African drums."

****
ADDENDUM #3
https://www.youtube.com/watch?v=wZSNWvGj9Wg&t=5s " WE WON'T BOW DOWN" - Documentary Film", published by WeWontBowDown, June 28, 2020

1. hiddenfallsmystic, 2020
"If only some of the folks speaking in the video realize they're an American Aborigine and been lied too about coming from another place, they ancestors been here all along. A lot of what they are attributing in customs to Africa or being from there is not from there it's actually ancient and from right here in the Americas all along."

**
Reply
2. No Name3, 2020
"That's all we ARE"

**
Reply
3. Neaky Don’t Play, 2021
"Me too the feeling you get in your soul it conjures up our ancestors. I’m Choctaw family represent Creole Wide West Tribe My Auntie Retha The Queen I’m a artist some of my free hand drawing is on her suits. An also my cousin Lloyd suit my daddy sewed for both taught me to sew my mom sew too. Some Indian sticks my daddy wood work & stone art I grew up in this culture. bloodline Indian Choctaw some Cherokee relatives my family been here natives of the land no African slave trade here. We indigenous to America my great-grandmother spoke in her native tongue."

**
4.  No Name3, 2020
"I wish you would stop calling YOURSELVES AFRIKKKKKNS"

**
Reply
5. polly88, 2022
"Why?"

**
Reply
6. Chocolate Radiance, 2023
"You wouldn't be here if  it wasn't for your ancestors..this is not our land by choice and we are not Indians. Ya'll are so confused.  Europeans brought Africans to Louisiana and the Indians where already here so they enslaved and killed them also creole are ppl mixed with French and black. Either way black is black unless you 100% Indian or whatever else you black. No need ro deny our heritage"

**
7. Kalahari Jung, 2022
"Halito to all my Chickasaw, Choctaw, Cherokee, Seminole, and Creole. I love all of y’all. Our true history will NOT be lost. "

**
Reply
8. El Hajj Malik El, 2022
"Love it, bruh. I cringe so hard when they keep bringing up that African stuff because those are all lies. We have always been here and didn't come here on no damn slave ships, most of us."

**
Reply
9. Chocolate Radiance, 2023
"@El Hajj Malik El  you are black and desendants of Africans..the tradition is that Indians helped Africans escape their masters from slavery. You just can't pretend you aren't black 🤣🤣🤣🤣"

**
Reply
10. El Hajj Malik El, 2023
"@Chocolate Radiance  No, that's revisionist history. Trust me, I get why you're laughing, but that's not how history went down at all. It's a lot to get into."

****
ADDENDUM #4
From 
http://www.ala.org/aboutala/offices/nola-tribes, "Indigenous Tribes of New Orleans & Louisiana", American Library Association" April 13, 2018 [complete reprint except for acknowlegements]
"The Chitimacha Tribe of Louisiana, the Coushatta Tribe of Louisiana, the Jena Band of Choctaw Indians, and the Tunica-Biloxi Indian Tribe of Louisiana are the four federally-recognized tribes in Louisiana. The Coushatta Tribe of Louisiana, Jena Band of Choctaw Indians, and Tunica-Biloxi Indian Tribe of Louisiana are headquartered in the towns of Elton, Jena, and Marksville, respectively. In New Orleans, approximately 2700 people identify as having American Indian/Alaska Native background, comprising 0.7% of the city’s population. In Louisiana as a whole, the percentage is slightly higher, at 1.3%. The original inhabitants of the land that New Orleans sits on were the Chitimacha, with the Atakapa, Caddo, Choctaw, Houma, Natchez, and Tunica inhabiting other areas throughout what is now Louisiana.

The Chitimacha Tribe of Louisiana is the only Louisiana tribe to still live on a section of their original homeland, with a reservation located near the town of Charenton, approximately two hours from New Orleans. The Chitimacha exerted much influence over the southeast region at the time of contact with European settlers, but were embroiled in a twelve-year war against the French in the early eighteenth century. As a result, many members were enslaved, killed, and displaced south and west-ward. Throughout the late nineteenth and early twentieth centuries, the tribe pushed for land titles from the United States government but only a few hundred acres in the form of a trust were provided in 1916. Since that point, the Chitimacha have purchased additional land in the area and today own over 900 acres.

Since 1971, the Chitimacha have operated under a constitutional form of government and were the first tribe in Louisiana to adopt a constitution. The tribe owns and operates several businesses in the Charenton area, including a hotel, casino, grocery store, governmental contracting company, and construction company, and are the second-largest employer in St. Mary Parish. They have their own municipal services, clinic, assisted-living facility, and cultural and historical programs. Membership in the tribe is approximately 1300, with most residing in Louisiana.

In a discussion of indigenous history of the area, it is important to note one visible and controversial aspect of New Orleans culture, Mardi Gras Indians – hierarchical “tribes” comprised of African-American members who participate in performances and parades during the Carnival season. According to oral history, this tradition began in the eighteenth century and has several possible origins. Historically, local indigenous tribes hid runaway Black slaves, and some people view Mardi Gras Indians as honoring the history of the two cultures. Others point to the collective racism and violence that both Black and indigenous communities in the area faced as a shared experience. However, because of the exaggerated costumes that are meant to mimic some traditional indigenous dress, and the usage of “tribes,” there is a question of whether this is cultural appropriation. "  

 ****

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Visitor comments are welcome.




“Jockomo: The Native Roots of Mardi Gras Indians" (YouTube Zoom Discussion With Some Quotes & Paraphrased Discussion)


Louisiana State Museums, Jan 12, 2021

The Louisiana State Museum presented “Jockomo: The Native Roots of Mardi Gras Indians" with Shane Lief on Thursday, November 12, 2020 at 6pm via Zoom. This is a recording of that lecture. "Jockomo: The Native Roots of Mardi Gras Indians" celebrates the transcendent experience of Mardi Gras, encompassing both ancient and current traditions of New Orleans.

The Mardi Gras Indians are a renowned and beloved fixture of New Orleans public culture. Yet very little is known about the indigenous roots of their cultural practices. For the first time, this book explores the Native American ceremonial traditions that influenced the development of the Mardi Gras Indian cultural system. Jockomo reveals the complex story of exchanges that have taken place over the past three centuries, generating new ways of singing and speaking, with many languages mixing as people’s lives overlapped.

Contemporary photographs by John McCusker and archival images combine to offer a complementary narrative to the text. From the depictions of eighteenth-century Native American musical processions to the first known photo of Mardi Gras Indians, Jockomo is a visual feast, displaying the evolution of cultural traditions throughout the history of New Orleans.

By the beginning of the twentieth century, Mardi Gras Indians had become a recognized local tradition. Over the course of the next one hundred years, their unique practices would move from the periphery to the very center of public consciousness as a quintessentially New Orleanian form of music and performance, even while retaining some of the most ancient features of Native American culture and language. Jockomo offers a new way of seeing and hearing the blended legacies of New Orleans

****
Edited by Azizi Powell
 
Latest revision- May 3, 2023

This pancocojams post presents information about John McCusker's and Shane Lief's 2019 book Jockomo: The Native Roots of Mardi Gras Indians".

This post presents my editorial note about the meaning of "masking" as it refers to the Mardi Gras Indians.

This pancocojams post also showcases a YouTube Zoom discussion about that book with the authors of that book and other participants. Some time stamped quotes and my paraphrased examples of some of that discussion are also included in this post.

The content of this post is presented for historical and socio-cultural purposes.

All copyrights remain with their owners.

Thanks to the Mardi Gras Indians, and thanks to John McCusker and Shane Lief, the authors of this book. Thank also to t
he Louisiana State Museum for sponsoring and hosting this Zoom discussion and thanks to all those who are quoted in this post and thanks to the publisher of this Zoom discussion on YouTube.
-snip-
Click https://pancocojams.blogspot.com/2023/05/are-mardi-gras-indians-appropriating.html for a closely related pancocojams post entitled "Are Mardi Gras Indians Appropriating Native American Cultures? (video and comments)".

Other pancocojams post about Mardi Gras Indians can be found by clicking the tags below or by googling Mardi Gras Indians pancocojams.

****

WHAT DOES "MASKING" MEAN FOR BLACK MASKING INDIANS (also known as "Mardi Gras Indians)?

The Mardi Gras Indians are also known as "Black masking Indians". Based on some YouTube discussion thread comments that I have read, since around 2020 "Black Masking Indians" appears to be the referent that is most favored by this population. 

In the context of the Black masking Indians", the word "masking" comes from the word "masquerade".

Here's a definition of the word "masquerade" from 
https://www.merriam-webster.com/dictionary/masquerade :

"a social gathering of persons wearing masks and often fantastic costumes"
-end of quote-

During New Orleans Mardi Gras, ",,,carnival groups create a collective identity through costuming". https://lsupress.org/books/detail/baby-dolls/#:~:text=The%20Baby%20Dolls%20formed%20around,Black%20prostitutes%20on%20Mardi%20Gras.

 "Masking" for Black masking Indians means wearing costumes that evoke [for them and their onlookers] Plains Indian ceremonial attire and/or West African ceremonial and Caribbean [carnival] attire.

One phrase that appears to be used for Mardi Gras Indian masking is "playing Indian". Here's an example of that phrase from https://www.youtube.com/watch?v=MY2E7hqBDbI "New Orleans Mardi Gras Day 2017 9th Ward Black Hatchets"

Chatawbraves, 2017,
"I LIKE TO SEE EVERYBODY PLAY INDIAN ECPECIALLY THE QUEEN'S YESS YESS  ! ALL QUEEN'S FROM  BOTH TRIBES PLAYED THEIR ROLE YESS YESS !"...
-end of quote-
In the context of Mardi Gras Indians, "playing Indian" means to dress like Plains Indians dressed during a period of time when those Indians-and not the Indians who lived in Louisiana wore feathered head dresses. Read https://www.quora.com/Did-all-Native-Americans-wear-feathers for comments about when Plains Indians wore feathers.

Here's an excerpt from https://en.wikipedia.org/wiki/Mardi_Gras_Indians about the history of Black people from New Orleans encounters with Plains Indians: 

As a major southern trade port, New Orleans became a cultural melting pot.

During the late 1740s and 1750s, many enslaved Africans fled to the bayous of Louisiana where they encountered Native Americans. Years later, after the Civil War, hundreds of freed slaves joined the U.S. Ninth Cavalry Regiment, also known as Buffalo Soldiers.[2] The Buffalo Soldiers fought, killed, forced, and aided the mass removal and relocation of the Plains Indians on the Western Frontier. After returning to New Orleans, many ex-soldiers joined popular Wild West shows, most notably Buffalo Bill's Wild West.[2] The show wintered in New Orleans from 1884 to 1885 and was hailed by the Daily Picayune as "the people's choice". There was at least one black cowboy in the show, and there were numerous black cowhands.[4]

On Mardi Gras in 1885, 50 to 60 Plains Indians marched in native dress on the streets of New Orleans. Later that year, it is believed the first Mardi Gras Indian gang was formed; the tribe was named "The Creole Wild West" and was most likely composed of members of Buffalo Bill's Wild West show.[2] However, the "Indian gangs" might predate their appearance in the City. A source from 1849 refers to black performers on Congo Square fully covered in "the plumes of the peacock.”[5]"...
-snip-
"Playing Indian" doesn't mean that these roles weren't (aren't) taking seriously. The 2022 YouTube video entitled https://www.youtube.com/watch?v=-Gx2WDAPwX4 "It's Your Glory -The Queens Of Carnival" includes this statement beginning at .28 from Queen Cherise Harrison-Nelson (Guardians of the Flame) :

"This tradition is a way for me to connect myself physically, mentally, emotionally, spiritually back to my ancestral homeland one bead at a time. You tried to sever those ties. But I found a way".
-snip-
In that quote, the phrase "my ancestral homeland" refers to Africa. The Guardians of the Flame" Mardi Gras Indian tribe is one that emphasizes their members' African ancestry. For the Black masking Indians that emphasize their Native American connections (through their bloodlines and/or as homage to Native Americans for helping enslaved people who fled slavery) Queen Cherise Harrison-Nelson's quote might be 
"This tradition is a way for me to connect myself physically, mentally, emotionally, spiritually back to my Native American ancestors and/or to Native Americans who helped those ancestors one bead at a time."    

This quote from https://en.wikipedia.org/wiki/Mardi_Gras_Indians refers to the ranked characters in Mardi Gras Indian groups:
..."The Mardi Gras Indians play various traditional roles. Many blocks ahead of the Indians are plain clothed informants keeping an eye out for any danger. The procession begins with "spyboys," dressed in light "running suits" that allow them the freedom to move quickly in case of emergency.[2] Next comes the "first flag," an ornately dressed Indian carrying a token tribe flag.[2] Closest to the "Big Chief" is the "Wildman" who usually carries a symbolic weapon.[2] Finally, there is the "Big Chief." The "Big Chief" decides where to go and which tribes to meet (or ignore). The entire group is followed by percussionists and revelers.[2]"...

-end of quote-

[Addition and corrections are welcome for this explanation.]

****

REVIEW OF THE BOOK JOCKOMO-NATIVE ROOTS OF MARDI GRAS INDIANS

https://www.amazon.com/Jockomo-Native-Roots-Mardi-Indians/dp/1496825896

"Jockomo: The Native Roots of Mardi Gras Indians celebrates the transcendent experience of Mardi Gras, encompassing both ancient and current traditions of New Orleans. The Mardi Gras Indians are a renowned and beloved fixture of New Orleans public culture. Yet very little is known about the indigenous roots of their cultural practices. For the first time, this book explores the Native American ceremonial traditions that influenced the development of the Mardi Gras Indian cultural system. Jockomo reveals the complex story of exchanges that have taken place over the past three centuries, generating new ways of singing and speaking, with many languages mixing as people’s lives overlapped. 

Contemporary photographs by John McCusker and archival images combine to offer a complementary narrative to the text. From the depictions of eighteenth-century Native American musical processions to the first known photo of Mardi Gras Indians, Jockomo is a visual feast, displaying the evolution of cultural traditions throughout the history of New Orleans.

By the beginning of the twentieth century, Mardi Gras Indians had become a recognized local tradition. Over the course of the next one hundred years, their unique practices would move from the periphery to the very center of public consciousness as a quintessentially New Orleanian form of music and performance, even while retaining some of the most ancient features of Native American culture and language. Jockomo offers a new way of seeing and hearing the blended legacies of New Orleans.

Editorial Reviews

[...]

Lief and McCusker have produced a book that celebrates the tradition from the perspective of insiders and outside observers without privileging either side to the detriment of the other―a diplomatic feat of the first order. This book is a masterpiece and will revolutionize the field. -- Bruce Raeburn, curator emeritus of the Hogan Jazz Archive at Tulane University and author of New Orleans Style and the Writing of American Jazz History

The authors masterfully lay out a historical account of the origins of New Orleans Mardi Gras and the participation of the Indians and other black masking cultures. -- Dow Michael Edwards, aka “Spyboy Dow,” retired partner in the law firm of Irwin Fritchie Urquhart & Moore LLC and member of the Mohawk Hunters Mardi Gras Indian tribe."

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TIME STAMPED QUOTES AND PARAPHRASED DISCUSSIONS FROM THE EMBEDDED ZOOM VIDEO

https://www.youtube.com/watch?v=-lzfqyHVd6k

35.20 first photo of Mardi Gras Indians 1903

**
around 47:41 in this video- the founders of the Mardi Gras Indians in New Orleans were all veterans of the Civil War…

**
time stamp-around  1:03.52 viewer question- "Would you please elaborate about connection between Mardi Gras Indians and specific tribes." 

around 1:04.35 - Shane Lief's response:
"Native people have been making music in the street and people responding to it throughout the entire New Orleans history of all people hearing each other and responding to each other and incorporating that into their cultures.

1:04:56 - Shane Lief's response:
"In Louisiana you have all of these people both White and Black, but certainly in the Black community, people of Native ancestry, who it would be really hard to know necessarily what their tribal affiliations are. This isn’t to say that they don’t know…Some of them do. But specific tribal affiliations are quite hard to trace for a variety of reasons.”

But I would say that in terms of connections to Native Americans, it is there, not just in terms of their connections to family legacies, but the fact that you had Native people in New Orleans making music in the streets and people responding to that over the entire history of New Orleans. And once again we’re kinda blinded by assumptions that we have that somehow there was a time when all of a sudden Native Americans were no longer here or something like that. They’ve always been present. They’re always here …the processions in the street, people are hearing that and responding to that and incorporating that into their own musical traditions…So all these people were hearing each other and responding to each other. So in turns of Native Americans’ musical culture being a part of the city-it’s always been there. It’s just not as well documented and well recorded in various ways."

[The following comments are in response to a woman commenter's questions about the Mardi Gras Indian's Native American connections. [i.e. whether the Mardi Gras Indians blended Native American culture as one element of New Orleans Creole blending and whether Mardi Gras Indians were actually a part of an Indian "nation" or "tribe" [these references are her words]. She also mentioned that this Mardi Gras Indian blending occurred when the Plains Indians [who wore elaborate feathered headdresses] were being highlighted by mainstream American media instead of other Native Americans]. That woman said something to the effect that they [Mardi Gras Indians] could have called themselves “Mardi Gras Pirates” instead of Mardi Gras Indians, but that word “Indians” is there. What does Indians mean?"

1:00:05 - John McCusker's response
…”Leaving off blood lines and DNA,…if we just go directly to “Why would an African American person in post-Reconstruction New Orleans -meaning 1878- choose on Mardi Gras to costume as an American Indian.   What’s going on around that time?...So what better way-and I’m definitely not one of those people that likes to make Black culture reactions to White people-but in terms of just personal pride, what better character, what character to take on then one who was in active armed conflict with the United States government.   You feel me on that? You are an uniquely American figure, but you were in armed conflict with the United States of American. Sounds like a fellow traveler. So it’s not about- I know there is still a lot of tension about is this a mimicry, is this a pantomime, is this really just a minstrelsy of Indians. But I think if you look at it in the context of the spirit of why those men first masked and would have dressed that way and chosen to conduct- It’s not just the costume, it’s ritualistic almost combative dance…and early on this was defending your neighborhood-…there was shooting, all kind of stories. People ended up in jail….So this was all about identity and pride and Mardi Gras being the vehicle perhaps to be that fellow traveler as a resistance figure"

1:12.15- Shane Leif's response:
"One thing I’d like to add is that it’s not just the symbolism that we’re talking about, so to speak to your question about tribal affiliation vs. ancestry, I think that the difficulty there was that people were being told that they were one thing, and they’re actually many things.  In some cases, they may not have known and they may not know just like people with African ancestry won’t always know exactly where all the tribal affiliations or earlier affiliations their ancestors had…The reason why it’s so difficult is that the documentation is lacking there…But I think that the authenticity we might seek from someone who say has lighter skin and who is European American who makes claims about where they are from, the onus is a bit different than on someone who is African American who has a different history of being told that they’re not who they claim to be…For a long time people were told that you’re either this or you’re that. But there’s actually both at the same time. “

1:13:50 -John McCusker's response
"Also, you had whole tribes that were actually wiped out….And like Shane said, it’s never one way or the other. …But among the stories that I read, they talk a lot about Eugene Honore in the book. Eugene Honore was 7ft tall. His father fought in the Civil War. He lived in the French Quarter.  And he’s credited by at least a couple of guys as the composer of “Indian Red” [song]. They said that he was mainly-whatever that means-Choctaw Indian and that they called his mom “Miss Choctaw”. And sometimes Eugene would disappear for weeks and go stay somewhere out by Baton Rouge…But it’s not either/or like Shane said. You can have both at the same time, or neither or not."

1:15: 32- Shane Lief's response: -" And there are examples [cites another person with proven Choctaw ancestry], but the main point is that tribal ancestry is there and for such a long time people were assuming that it was merely a representation of [Native Americans]."

[Paraphrased question- Another woman participant asked about the [rather widely used] theory that Mardi Gras Indians were formed to honor Native Americans who took in runaway slaves.

1:16:40- Shane Lief's response:
"Sure, that’s true but it’s also such a mixed record in terms of who was doing what for whom because a lot of times there were native allies of the French who would actually track down run away slaves too. So it’s impossible to say this is what the relationship was between this group and that group of people based on something as broad as being Native or having African American ancestry. And it depends on the decade too. Of course, that happened as well, what you describing in terms of communities that were thrown in together and survived together.” That happened.”…

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Friday, January 18, 2013

Information & Videos About AbakuĆ” Traditions

Edited by Azizi Powell

This post presents information about and seven videos of AbakuĆ” traditional music & masquerade dancing traditions in Cuba and in the United States.

The content of this post is presented for historical, folkloric, cultural, and aesthetic purposes.

All copyrights remain with their owners.

INFORMATION ABOUT ABUKUA
From http://www.afrocubaweb.com/abakwa/abakua.htm
"AbakuĆ” - AbakwĆ” - AbacuĆ” – ƑƔƱigo

AbakuĆ” members derive their culture from the Efik and Efo of the Cross River region in Nigeria, which Cubans call Carabali. They are organized in a set of over 150 potencias (lodges) located mainly in Havana, Matanzas, and Cardenas.

The people of Big Qua Town in Calabar, the capital of Cross River State, Nigeria, are known as the Abakpa, the likely source for the name AbakuĆ”. Big Qua Town is the home of the president of the Calabar Mgbe or ƉkpĆØ.

The Cuban AbakuĆ” societies have a male-only membership, their ƉkpĆØ equivalent in the Cross River State are called lodges in English, they are fraternities. Both the Cuban and Nigerian lodges are ƉkpĆØ lodges.

There is also in Cuba an Efo cultural manifestation organized along family lines, the Brikamo, carried by the Calle family in Matanzas.

In 2001, the Efik National Association in the US began to have contact with Cuban AbakuĆ”. There is evidence of prior contacts between the AbakuĆ” and the Efik in Cuba, but the contact has not until now been sustained. Among such evidence is a plaque hanging on the walls of a potencia in Havana given by an Obong, a traditional leader of the Efiks.

The AbakuĆ” gave us the rumba, one of Cuba's principal musical traditions. The Calle family, for example, is of Efo origin and is said to have invented the guaguanco, a type of rumba.

We can also note that the Carabali culture in Santiago (cabildos) and in the center of Cuba is also derived from Calabar, Cross River State, Nigeria. The name Carabali is derived from the slave port of Calabar, as distinct from the Karabali people of the Niger Delta."...
-snip-
From http://en.wikipedia.org/wiki/Abaku%C3%A1
"Abakua or AbakuĆ” (various spellings are used) is an Afro-Cuban men's initiatory fraternity, or secret society, which originated from fraternal associations in the Cross River region of southeastern Nigeria and southwestern Cameroon. Known generally as Ekpe, Ngbe, or Ugbe among the multi-lingual groups in the region, these closed groups all used the leopard as a symbol of masculine prowess in war and political authority in their various communities...

The creolized Cuban term AbakuĆ” is thought to refer to the Abakpa area in southeast Nigeria, where the society was active. The first such societies were established by Africans in the town of Regla, Havana, in 1836.[1] This remains the main area of AbakuĆ” implantation, especially the district of Guanabacoa in eastern Havana, and in Matanzas where Afro-Cuban culture is vibrant. While AbakuĆ” eventually came to include members of European descent, this was not accomplished without conflict...

Members of this society came to be known as ƱaƱigos, a word used to designate the street dancers of the society. The ƱaƱigos, who were also called diablitos, were well known by the general population in Cuba through their participation in the carnival on the Day of the Three Kings, when they danced through the streets wearing their ceremonial outfit: a multicolored checkerboard dress, with a conical headpiece topped with tassels[3] Initially, the Abakua accepted only blacks as members; however, in the late nineteenth century the admission policies of the society were liberalized to include mulatos and whites.[4]"

FEATURED VIDEOS
Example #1 AbakuƔ (1962) Dir. BernabƩ HernƔndez



guarachon63, Uploaded on Oct 23, 2011
-snip-
Here's a comment from this video's viewer comment thread: http://www.youtube.com/watch?v=Py5KwcwQAtI
Dan Wilson, 2011
"amazing footage of the result of over 200 years of preserved culture"

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Example #2: YORUBA ANDABO ABAKUA



jgarcia1237,Uploaded on Sep 14, 2007

LA PROTESTA PERFORMED LIVE FILMED AT LA CECILIA IN lA HABANA BY WWW.ORISHAPRODUCTIONS.COM AND JOSEGARCIA1237
-snip-
"Yoruba Andabo" is a well known Cuban folkloric group. The English translation for the group's name is "friends of Yoruba (culture).

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Example #3 yoruba andabo 3 abakuá (1992)



guarachon63, Uploaded on Sep 28, 2011
Recorded 1992 at Quinta de los Molinos, Havana

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Example #4: Una rumba abakua



MusicAllVideo1, Uploaded on Aug 26, 2010
Una rumba AbakuĆ  nella plaza Jesus Maria in onore di Ignacio Pineiro fondatore del Septeto Nacional. Tra i protagonisti di questo homenaje troviamo "El Matador" Frank Oropesa e "El Goyo".
Regia: Roberto Ravenna
Riprese e montaggio video: Roberto Ravenna
-snip-
[The music starts at 3:30]

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Example #5: Roman Diaz at the abakua conference in brookling



jicamocubano, Uploaded on Sep 27, 2007
Roman Diaz perfoming for the abakua conference in new york
-snip-
Here's a comment from this video's viewer comment thread: http://www.youtube.com/watch?v=nHpxbrm3pks
eyenmmaba, 2010
"the moves and incantations very similar the those of the calabar people despite hundreds of years and thousands of miles of separation by slavery. amazing stuff"

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Example #6: Dia Del Abakua 2013 Miami, Fl



N'dibo Yeve N'go, Published on Jan 8, 2013
This is a brief depiction of an Abakúa masquerade portrayed by Angel Guerrero. Members from most of Cuba's Abaküa potencias (lodges), exiled in Miami are present at this gathering which happens once a year in commemoration of Colonial Cuba's Three Kings Day processions, where all the Cabildos, Potencias, Ile's and various mutual aid societies would bring out their finest regalia, drummers , dancers and chanters in order to win favor with the Governor who would then bestow upon their coffers the Aguinaldo( gift of gold coins) which the members of each society would then use to buy the freedom of their enslaved compatriots.

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Example #7: Echu Alabbony - Abakua en el Patio de la Rumba


atticchris, Uploaded on Mar 7, 2009
Echu Alabbony presenta el espectaculo de los Abakua llevado al arte.
Filmado en el Patio de la Rumba en 2007.
=snip-
My Spanish is poor, but what I believe a number of commenters wrote in this video’s viewer comment thread is that this Abakua music & dance performance is a production of a children’s folkloric group and therefore isn’t authentic (particularly with regards to the involvement of children and females), but still should be respected as the group’s attempt to learn about Nigerian traditions.

ACKNOWLEDGEMENT AND THANKS
Thanks to all members of the AbakuĆ” culture. Thanks also those who are featured in the AbakuĆ” videos that are presented in this post, and thanks to those whose information on AbakuĆ” I have quoted. My thanks also to the producers and uploaders of these videos.

Also, thank you for visiting pancocojams.

Viewer comments are welcome