The Big Easy: Literary New Orleans and Intangible Heritage

Background

I teach at a public magnet program for the arts. Dance, music, visual arts and theatre arts are the interests of the majority of our students. Apparel Development and Costume design are my areas of speciality. I have learned and grown into my role over ten years through countless (literally) costumes and theatre productions, four "Fashion Tours of New York City", ten runway shows and a recent show at The Bechtler Museum of Modern Art, Charlotte, North Carolina where my students designed and built garments inspired by a piece from the museum's collection (the culmination of my first Charlotte Teachers Institute unit-The Influence of Modernism on Fashion-2010). ³

My school has an audition process and is open to all Middle and High School students in our district. Approximately 1,000 students attend. There are 13 shuttle stops for students needing transportation (two years ago we had district wide busing involving 32 buses arriving with students daily).Charlotte Mecklenburg Schools has more than 133,600 students in kindergarten through 12th grade in 178 schools. Our school population is: 43.7% economically disadvantaged, 71.4 % limited English proficiency, 46.4% Black, 41% White, 5.3% Hispanic, 5% Multi-cultural, 2.2% Asian and .4% American Indian. My particular program attracts 92% female. 92% of Mardi Gras Indians are male (Joe Roach), and interesting contrast.

Costume Design students are required to research the background of a play, interpret the characters, understand their social status, explore colors and their effect on the characters role as well as the textiles and adornments used on costumes. The Apparel curriculum introduces similar concepts with the exception of: character interruption. With this unit I will try to show the cultural and artistic relevance of the craft creating costumes for the parades of the Mardi Gras Indians. I will present my students the opportunity of creating something that is meaningful to their culture using the model of the people of New Orleans. Lessons are adaptable across curriculums.

Masking hides ones essence within a socially acceptable way. What Jean Baidrillard (French sociologist) suggests is that costumes have the power to influence not only contemporary society or fashion but also history. The significance for costume in fashion and power can be understood in three main ways:-the power of costume to influence society and history,-the power of costume to influence fashion,-the power of costume to function as art, where roles and conventional boundaries are tested. ⁴ We can also look at masking as an important form of self expression.

Turkey and chicken feathers were first used as Mardi Gras costume decoration. Beads, feathers, velvet, satin, sequins and gems make up Mardi Gras Indian suits today. We will look into some of the oldest parade participants and compare and contrast differences in costumes, techniques and leadership. Every night for ten days before Mardi Gras, parades take place with different groups being focused. The celebration culminates with Carnival (good bye to the flesh) Day. It is the big blow- out before lent. At twelve o'clock midnight the celebration abruptly ends. Period. Crowds are cleared, streets are cleaned. The suits; "Invoke a heightened, otherworldly consciousness and an alternative experience of power." ⁵

Apparel and Costume Design use textiles. Textiles / fabrics represent the threads that are woven together as the foundation. Adding style and details create the effect. I will relate this to the culture of a society and its people. Mardi Gras Indian (MGI) costumes can weight up to 150 pounds, cost up to $10,000, and are made of beads, feathers, sequins, jewels, satin and velvet. They are assembled, sewn by the skilled hands of a black man whose occupation might be, mechanic, postal server or dish washer. Learning about New Orleans is "like pulling a string on a sweater", stated Tom Smith author of: The Crescent City Lynchings, in a recent phone interview as we discussed my experiences of discovery. Relating this culture and especially that of the Mardi Gras Indians within the realm of textiles and quilts is so appropriate.

I planned to focus of this unit on New Orleans culture and costumes without addressing hurricane Katrina, before and after, since the after seems to have overshadowed the before. For months I have been trying to interview our school custodian, Mr. Johnson who came to Charlotte, North Carolina, being forced out of New Orleans because of Katrina. "Because of Katrina", it's said as naturally as "9-11." A part of American history; and what is history but a record of the past that is left to be discussed, analyzed, taught and learned from others (hopefully). It's what we do from here that really matters. When I finally pinned Mr. Johnson down before school ended he apologized to me but said he would not be able to talk with me because this time of the year (early June) was too painful for him. The beginning of hurricane season has him fighting depression and breaking down easily at news of natural disasters around the country, especially if they involve water. He stated that the memories come alive this time of the year and though he will never forget, he struggles to put the memories aside. When I told him I wanted to only discuss his annual return for Mardi Gras and his knowledge of costumes and the Indians, he eased up. When I mentioned Tootie Montana-he lit up and the information I sought was no longer threatening.

With this, I realized that I have to address Katrina. I've found through that it is the essence of what I am seeking. Survival, building, rebuilding, a blending of people in a city unlike any other. People rebuilt bead by bead and the city continues, six years later, to weave together its foundation. Music and craft brought the city back to life. The struggle continues as re-gentrification threatens to change forever what was once there as the poor are forced further from their homes and homeland. After Katrina is the city and the people now. The cultural will survive, with changes. Like the housekeeper from Peru, Monica told me one afternoon, "It is the tourists that want things to remain the same, our people believe that culture grows and changes with the people and the times". (Monica was the president and remains active in "Somos Peru", an organization of Peruvian people in New Haven Connecticut whose mission is to share the culture of Peru through dance and music) and I unfortunately do not have her last name.) ⁶ Mardi Gras Indians exemplify the soul of this city. Through beauty, determination, craft, artistic excellence and healthy competition.