All semester I have been returning to Dr. McCoy’s word of caution about the seduction of scorn and by extension, returning to the scorn many communities receive in the wake of natural disasters for not leaving before disaster strikes. To start, I want to go all the way back to the “Dear Facebook Nation” post that Dr. McCoy shared early in the semester, a sort of “listicle” rant to those who pass harsh judgement on individuals who didn’t evacuate the effected areas of Hurricane Irma. These “rules” remind readers of the intricacies surrounding evacuation to remind fellow Facebookers from making scornful, snap judgments about the individuals who decided to stay (and I use the word decided very loosely).
Parades – all of us have been to one or two at a point in our lives; they’re fun. But why do we enjoy parades, and what is the significance of them? Well, the answer to both of these questions is subjective, but to aid in understanding it is important to look at the etymology and what it means to celebrate a parade. A parade is defined as “[a] large public procession, usually including a marching band and often of a festive nature, held in honor of an anniversary, person, event, etc” by Dicitonary.com. But if we look at the origin of the word, there’s a difference in meaning. According to etymonline.com, the present-day use of the word derives from the 15th century French word “parade,” which is an “assembly of troops for inspections.” Modern displays of parades are an agency to the performance of memory; and in the context of contemporary New Orleans and its famous Mardi Gras parade(s), the militaristic connotation of the word can be traced back to the French Quarter of the city. When we talk of the French Quarter and parades in New Orleans, we must also talk of the “Krewe du Vieux.”
During this course I have noticed more the use of Hurricane language to sell things in our capitalist market. Enter in the wonderfully awkward HurryCane commercial. (The link provided is the commercial, however, it is recorded on a phone from a television.)The commercial is an advertisement for a tool used to help, in the case of the commercial, old men walk (hurry) to catch up to gorgeous women they are missing out on. This commercial is a performance of freedom using language that has a deep juxtaposition of its actual meaning.
One of the first thing Beth told us when we started The Tempest by William Shakespeare was, contrary to fellow academics, Shakespeare is difficult for her, and for many others. I put myself in that category, and was very grateful to hear that from a professor. The Tempest is not simple for me, however, I have prior knowledge that I definitely utilized from the children’s show, Wishbone. Wishbone, was probably the most influential television show of my childhood. It was all about books, and not just any books, the classics or “the cannon.” Books educated people assume you have read if you are also “properly educated.” Continue reading “Shakespaw, A Wishbone Tale – The Tempest”
A while back I had created a post called, “Making a “True” Statement vs. Stating the ‘Whole Truth’ in Photo-Journalism”. As I was going through some of the blog posts other people have created on this page, I noticed that one of my classmates, Neha had responded to the question I asked at the end of my post which had asked, “Is it reasonable for the media to mix opinions in with facts if it serves to make a statement, or should all media be factual, regardless of whether or not it gets a point across?”. Continue reading “Making a “True” Statement vs. Stating the “Whole Truth” in Photo-Journalism: Expanded”
The English historian Horace Walpole once declared, “The next Augustan age will dawn on the other side of the Atlantic.” In response, Joseph Roach includes in Cities of the Dead: Circum-Atlantic Performance the following quote: “The conception of history as a vast performance of diaspora and surrogation haunts intercultural musings such as Walpole’s, which transform invented pasts into gloriously catastrophic futures.” Colson Whitehead’s Zone One and the genre it is a part of are proof that these kind of transformations are still very much alive. Continue reading ““Gloriously Catastrophic Futures””
New Orleans is traditionally considered the home of the genre of bounce music. The city is designated as both the genre’s origin point and its continuing center. To some degree, this is true. Artists considered at the foundation of bounce music all hail from New Orleans. Bounce music maintains its prominence in the region through concerts and festivals. However, treating the genre as an entirely autochthonous product overlooks the rich network of places and identities that have shaped the musical form as we know it today. Continue reading “New Orleans Bounce: A Circum-Atlantic Performance”
I have been trying to write this post for a while now, but only recently did Professor McCoy provide me with the lens to critically think about what I am attempting to discuss in this post- containment.
I grew up on boats, yet I am terribly afraid of drowning. Starting at age four, my father and I went on canoe camping trips every year in the Adirondacks. I started sailing with him at age six, and at age ten, I learned to sail on my own. My family vacations always include water, usually going to the Thousand Islands or the Adirondacks and bringing a few of our eleven and a half boats (my dad is currently building one) with us. To add insult to injury, I was a competitive swimmer in high school. What I am trying to say is that I have absolutely no reason to be afraid of drowning. Continue reading “On Boats and Containment”
When Dr. DeFrantz guest lectured our class on Friday, I was ecstatic to learn more about dance. As a die-hard theater kid who was called “allergic to moving with any sense of purpose” by my high school theater teacher, I was excited to be included in a dancer’s environment in any capacity. Before the class started, I saw Dr. DeFrantz pull up Beyonce’s “Formation” video and I saw the room buzz with anticipation and speculation. Continue reading “Big Freedia and Queer Erasure”
I suppose the time has come and gone (or at least shifted) from our focus on Blood Dazzler by Patricia Smith. However, I have been moved by her words ever since, particularly those of “Katrina” and “11 A.M., Wednesday, August 24, 2005,” in which Smith personifies Hurricane Katrina. This led to our classes’ exploration on the significance of naming. I’ll admit, I’m a huge poetry nerd, and since then, I’ve even been inspired by Smith to write several different poems on names and origins.