Signed in as:
Signed in as:
Our connections to sound in everyday life are important to our survival, pain, pleasure and evolution. Throughout this workshop I ask us to explore the sound history of our everyday objects. Including but not limited to who invented them and how they became a part of our lives. What do our rituals, spaces, and practices say about us?
In this workshop we will create hybrid sonic objects that we can connect to our rituals, spaces and cultural and socio identities.
Make this sonic object half repurposed and imagined or fabricated. Create a metaphor with this new sonic object in an action such as a performance or interaction with another human.
Below, I have some information that is related to my own sonic lineage and my own identity. I share these things primarily so that you have a good understanding about what types of rituals and practices inform my work. Please take some time to read some of the information and watch and listen to some of the media below.
Reading and video material (If you can read all three books and read all of the articles.)
This is free for students and it has a phone app.
Note from Marcus Brown:
Some of my family members and relatives are practicing Mardi Gras Indians and Baby Dolls from The Wild Tchoupitoulas and The Original Wild Tchoupitoulas tribes. Groups like the Baby Dolls are all Women groups that created their own Black masking groups.
My family’s lineage comes from the African Native American and European diasporas. These tribal practices inform my work and my connections to sound objects and instruments.
Anthony Bennett (Grand Marshal), Oswald Jones (Grand Marshal), Mark Braud (trumpet), Clive Wilson (trumpet), Charlie Gabriel (clarinet), Tom Fischer (tenor saxophone), Maynard Chatters (trombone), Freddie Lonzo (trombone), Ronell Johnson (sousaphone), Benny Jones (snare drum), Kerry Hunter (snare drum) and Gerald French (bass drum) perform a two-song jazz funeral, demonstrating traditional brass band funeral attire, Grand Marshal attire, and the transition between the mournful dirge "Old Rugged Cross" into an uptempo spiritual, "Just a Little While to Stay Here." This video is part of Preservation Hall’s free online lesson plans. You can view this video in context with the complete Mardi Gras in New Orleans lesson at https://lessons.preshallfoundation.or... K–12 educational resources, complete lesson plans and extended video content from the musicians of Preservation Hall are available now at lessons.preshallfoundation.org. For more information or permission to use the video, please contact firstname.lastname@example.org.
In a rare gathering, New Orleans Mardi Gras Indian chiefs tell the story of masking traditions through their lived experience. The conversation, moderated by Bruce “Sunpie” Barnes, addresses the origins of Black masking traditions and the history of each of the chiefs’ tribes, the year-round community responsibilities of a chief, and the future of the Mardi Gras Indians. Next, the program dives into Mardi Gras Indian music, exploring how each gang performs traditional chants. The program culminates in a performance by the 79rs Gang, a group founded by two young chiefs from opposing gangs who came to together and updated Mardi Gras Indian songs with New Orleans funk and hip hop. FEATURING Big Chief Jermaine Bossier Big Chief Romeo Bougere Big Chief Clarence "Delco" Dalcour Big Chief Victor Harris Moderator: Bruce “Sunpie” Barnes and Efrem Z. Boles Tariq Harris Eric Heigle Edwin Mayo Kelly Pearson Wesley P. Phillips Jack Robertson The Historic New Orleans Collection acknowledges that the land upon which the city of New Orleans sits has been, and is known as, Bulbancha, a Choctaw word for “a place of other languages.” We would also like to acknowledge the indigenous history of New Orleans, where our organization and the Toulouse Theatre are located, and strive to bring awareness of the real lived history of Indigenous peoples and nations who have inhabited this area. Please visit Native Land Digital’s website for more information: https://native-land.ca/about/why-it-m... FURTHER READING and RESOURCES Backstreet Cultural Museum https://www.backstreetmuseum.org/ “From the Kingdom of Kongo to Congo Square: Kongo Dances and the Origins of Mardi Gras Indians” Jeroen Dewulf (2017) Guardians Institute, home of the Donald Harrison, Sr. Museum and Legacy Performance Pavilion http://www.guardiansinstitute.org/don... “Indian Traditions at Mardi Gras” Native America Calling podcast with Art Hughes featuring Big Queen Mary Kay Stevenson with the Original Wild Tchoupitoulas Indians, Lora Ann Chaisson, tribal council for the United Houma Nation, and Dr. Jeffrey Darensbourg, Alligator Band Council Member of the Atakapa Ishak Nation (2019) https://www.nativeamericacalling.com/... “Mardi Gras Indians, a story” African American Registry (2022) https://aaregistry.org/story/the-mard... Neighborhood Story Project https://www.neighborhoodstoryproject.... ABOUT THE SYMPOSIUM The Historic New Orleans Collection presents The 26th Williams Research Center Symposium Months before the scent of fresh king cake, the glow of flambeaux, and the driving beat of marching bands fill New Orleans, artists, makers, and culture bearers across the city are planning, designing, and building. Their inspiration, hard work, and collaboration result in awe-inspiring creations. Much more than just a celebration, Carnival and its rich, diverse, and complicated history invite the world to our streets. This year’s Williams Research Center Symposium, presented in conjunction with the exhibition Making Mardi Gras, celebrates the makers who carry the history and traditions forward, who shape their evolution, and who, every year, bring us “The Greatest Free Show on Earth.” This year's event is generously sponsored by Blaine Kern’s Mardi Gras World and Kern Studios. Please visit https://www.hnoc.org/symposium-2022 for the full schedule. © The Historic New Orleans Collection 2022 All rights reserved. No part of this video may be reproduced or transmitted in any form or by any means whatsoever without express written permission from The Historic New Orleans Collection.
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