Producing Africa at the New Orleans Jazz &amp; Heritage Festival

Regis, Helen A.

doi:10.1162/afar_a_00067

Cited by 21 publications

(4 citation statements)

References 11 publications

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“…Their curatorial practices constitute a curriculum: this is what New Orleans and Louisiana heritage looks like. Many fans follow this tradition, drawing on their affection for Black music and culture for their personal and collective identities (Regis 2013). This affective orientation to Black cultural expression pervades the festival.…”

Section: Racialized Belonging At Jazz Festmentioning

confidence: 99%

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Laugh—cry, eat—drink, dance! Tracing belonging through cartographies of joy

Regis

Walton

2023

Anthropology and Humanism

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SummaryThis article explores joy, identity, and belonging at the New Orleans Jazz and Heritage Festival through an ethnographic project inviting festgoers and staff members to draw, sketch, or map their experiences and journeys through festival landscapes. Building on scholarship in visual, humanistic, and post‐humanist anthropology, we view map‐making as an emergent strategy for performative epistemology, a way of making and thinking together. In a festival with a strong visual culture that centers African American music and cultural heritage, drawings often reflect racialized landscapes and subjectivities. Maps reveal the centrality of affect in festival experiences while affording insights into what makes joy complicated. For some, festival sociality brings those tensions to the fore while making it possible for others to imagine a world otherwise.

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Section: Racialized Belonging At Jazz Festmentioning

confidence: 99%

“…Douglas Redd, whose designs shaped the area, told oral historian Kalamu ya Salam that this was deliberate. Visitors entering the gates of Congo Square could feel that they had exited the United States (Salaam 2006; see also Regis 2013). Festival space can be deliberately unsettling.…”

Section: Racialized Belonging At Jazz Festmentioning

confidence: 99%

Laugh—cry, eat—drink, dance! Tracing belonging through cartographies of joy

Regis

Walton

2023

Anthropology and Humanism

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“…As a part of the United Nations, which oversees the Universal Declaration of Human Rights-developed to protect individuals and nations who may be targeted for discrimination, displacement, and forced assimilation in the states where they reside-UNESCO could be a leader in developing infrastructure to support the land rights of living communities, yet often the economics of the designation interfere with supporting the living communities who are intimately connected to the sites (Kirchenblatt-Gimblett 2006;Regis 2013).…”

Section: Carving Out Space: Genealogies Of the Landmentioning

confidence: 99%

Decolonizing Ways of Knowing: Heritage, Living Communities, and Indigenous Understandings of Place

Breunlin

2020

Genealogy

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In “Decolonizing Ways of Knowing: Heritage, Living Communities, and Indigenous Understandings of Place”, we build on the scholarly and artistic practice of deep memory work to present a collection of articles, films, and artwork that contribute critical genealogies from the United States, Africa, and the South Pacific. In this introduction, examples from Antoinette Jackson’s work in the American South and Rachel Breunlin’s work with the Neighborhood Story Project in New Orleans and Western Australia are used to build the special issue’s framework around public scholarship and art. With a particular emphasis on polyvocality, visual ethnography and creative nonfiction, the introduction argues that the work of decolonizing genealogy can be supported by respecting epistemologies that are deeply connected to place. Collectively, the contributors to the special issue demonstrate that creative practices around personal and collective histories can be an important way of reconnecting ties that may have been severed during years of colonialism.

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“…Festivals attract different audiences according to their nature, purpose, and programs (Thedens 2001;Leenders, et al 2005), as well as to their economic capacities and geographic location. As it is highlighted in the festival literature, there are also many variables to evaluate the homogeneity or the heterogeneity and the diversity of festivalgoers − from geographical, social, ethnic, religious, and economic standpoints (Adelt 2010;Djakouane 2012Djakouane , 2014Regis 2013;Ruethers 2013). Here, I restricted my analysis to two parameters, making the distinction between local and international public on the one hand, and between Jewish and non-Jewish festivalgoers on the other.…”

Section: D) Publicmentioning

confidence: 99%

Klezmer Music and Jewish Festivals in Urban Europe

Kiman

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for their guidance, support, and contribution in bringing this research to fruition. I would also like to thank Professors Roger Matthew Grant, as well as Professors Charry and Zheng, for nurturing my intellectual curiosity and challenging my knowledge about music throughout and beyond the two years of my coursework. I thank Professors Kate Galloway and Kim Diver for nurturing my topophilia through their seminars on ArcGIS and mapping music. I thank all the graduate students in the Department of music -Suhail Yusuf, Marvin McNeil, Judith Berkson, Simba Kamuriwo, and Bianca Iannitti, among others -with whom I shared many agreeable musical moments and stimulating conversations, within and beyond the classrooms, and who helped me to grow as a student and as an ethnomusicologist. I also would like to thank music librarians Alec MacLane, Aaron Bittel, Jody Cormack Viswanathan, and Jennifer Thom Hadley for their guidance while I was working on the precious sound archive collections at Wesleyan. Since I entered today's klezmerland, and throughout my fieldwork, I had the privilege to meet with dedicated actors of Yiddish culture in France, Europe, and the United Statesmusicians, scholars, makers of Jewish festivals, record producers, and journalists. I thank all my respondents for taking the time to answer my questions and for sharing their unique perspectives, insights, and stories. I am particularly thankful to Laurence Haziza, director of the Jazz'n Klezmer festival, as well as to pianist Denis Cuniot and Yiddish professor Lise Gutman for their friendship since I got involved in klezmer music. I would like to mention Claude Hampel, who is unfortunately no longer with us.Between 2013 and 2016, as the director in chief of the Cahiers Bernard Lazare, he had the 2 kindness to publish my articles on Yiddish and klezmer music, giving me the strength and the confidence to move forward with my academic achievements. I am heavily indebted to my partner Anya Weinstock, who supported me during the challenging times of a doctoral student, and who consistently lifted my spirit and illuminated many days that were obscured with doubts and worries.My eternal gratitude goes to my parents, Daniel Kiman and Catherine Kuchman, as well as to my brother Scott, for their unconditional encouragement and love. I would have never been able to complete this dissertation, and everything that preceded it, without them.To my grandparents, Marcel, Maurice, Aline, and Claudine, I dedicate this work as a homage to their lives, struggles, accomplishments, and heritage. Since their passing, klezmer music has been a way to connect with them. I hope that this work, as modest as it is, will make them as proud as I am to be their grandchild.

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Producing Africa at the New Orleans Jazz & Heritage Festival

Cited by 21 publications

References 11 publications

Laugh—cry, eat—drink, dance! Tracing belonging through cartographies of joy

Laugh—cry, eat—drink, dance! Tracing belonging through cartographies of joy

Decolonizing Ways of Knowing: Heritage, Living Communities, and Indigenous Understandings of Place

Klezmer Music and Jewish Festivals in Urban Europe

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