“They Got To Sew, Sew, Sew”: Mardi Gras Indians Uptown and Downtown

The traditional Mardi Gras parades can be fun, but my favorite part of carnival is in the ‘hoods and backstreets, where the gangs of Mardi Gras Indians appear in their elaborate costumes, beating drums, chanting and marching through the streets. Despite an ostensibly First Nations frame of reference, the Indians, who call their organizations “gangs” rather than “tribes”, seem far more an American reading of an African tradition, or perhaps one from the Caribbean. There are both “uptown” gangs and “downtown” gangs, as this is the broad division that once defined the difference between “Creoles” and “American Blacks,” but on this particular Mardi Gras Day, all of the gangs I saw were from Uptown, even the Black Flame Hunters which I encountered downtown under the I-10 bridge on North Claiborne Avenue.
My homeboy Darren Towns went with me briefly as I went to encounter the Indians, even though he didn’t particularly want to. Like a lot of Black New Orleanians I have met, he didn’t particularly want to see the Indians, as he remembered seeing someone’s head get split open one Mardi Gras Day when they didn’t get out of the way of a gang that was coming. Fear of violence seems to be the main reason for negative views of the gangs, even though violence in the Indian subculture has been decreasing steadily since the 1950’s. Nowadays, the bulk of the battles are ritual confrontations that consist of dancing and drumming in known places where the tribes meet, such as Second and Dryades, an uptown corner which is important to the Indian tradition. One bar on the corner, the Sportsman’s Lounge, is the headquarters for the gang known as the Wild Magnolias. Behind it is a large brick building called Handa Wanda, where I attended my first Indian practice ever a few years ago.
The gangs are accompanied by drummers, generally playing bass drums, or occasionally tenor drums, and tambourines are also used. After beginning their day with a “ritual prayer” called “My Indian Red”, the gang may run through a number of call-and-response chants, such as “Shallow Water O Mama”, “Shoo Fly, Don’t Bother Me”, “They (or Somebody) Got To Sew, Sew, Sew”, “Get the Hell Out The Way” or “Two Way Pocky Way.” The Big Chief may engage in a considerable amount of boasting and bragging, some of which may include words from an “Indian language” that might include French, Spanish, Creole or African terms. The drumming, chanting and brilliant-colored costumes all create an atmosphere that is quite reminiscent of the Caribbean, and unlike anything elsewhere in America. The men in these tribes will wear their elaborate outfits only twice more this year, once on St. Joseph’s Night in March, and once again during uptown or downtown events called Super Sundays that occur toward the end of March. In the past the suits would have been burned, but a number of them have ended up in museums nowadays, which is quite appropriate, as they are intricate works of art. At the end of the day, I was quite tired, and when I caught back up with Darren and his wife and kids, we decided to head uptown to Pizza Domenica, which we knew was open from previous years. It was crowded, but we managed to get in, and enjoyed some delicious pizza there, before heading out to City Park for coffee and beignets at Morning Call. It was truly a Mardi Gras for the ages.

The Zulus and Rex Uptown on Mardi Gras Morning

I was exhausted enough that I didn’t wake up early on Mardi Gras morning, and I barely stirred when my friend’s wife got the kids dressed to take them to her mother’s condo uptown so they could watch the parades. I had hoped to go to breakfast with Darren, assuming we could find a place open, which is not easy to do on Mardi Gras Day, but when I saw that he was not going to wake up any time soon, I got dressed and headed down the road to an IHOP that was open near the Oakwood Mall at the border between New Orleans and Gretna. I felt sorry for the people there having to work, but it was nice to be able to get some coffee and a good bacon and cheese omelette. After breakfast, I called Darren and found that he had woken up, but the price I paid for my breakfast was missing the Zulu Parade. But Darren and I headed across the bridge and uptown, and on Washington Avenue, we actually caught up with a portion of the Zulu Parade. Even though rain had been predicted, instead the sun was out, and the temperature was a pleasant 72 degrees. In fact, it seemed as if we had gone from winter to spring in 12 short hours. There were huge crowds along the parade route, and to my disappointment, the float riders in the Zulu parade were quite stingy with their throws, perhaps because they were getting to the end of the parade route. We still managed to catch 30 or so of the Zulu floats, and then we made our way down to the corner of 6th and St. Charles, where we were able to park at Darren’s mother-in-law’s condominium complex in order to catch the Rex parade. Although there were a few bands in the Rex parade, it was less bands and more floats, but the floats were interesting, as they had to do with New Orleans and Louisiana history. It seemed as if there were more beads being thrown in the Rex parade, and eventually, due to the hot weather, I got thirsty, so I walked across the street to the Gracious Bakery and Cafe, which surprisingly was open, and I got an iced coffee. When the Rex parade was over, it was immediately followed by a truck parade sponsored by the Krewe of Elks, but that parade soon came to a halt and stayed stopped for nearly an hour. We didn’t know it at the time, but there had been a shooting along the parade route on St. Charles Avenue, and a teenager had died. But I was not as interested in the truck parade, and hoped to run into the gangs of Mardi Gras Indians, so Darren and I left St. Charles Avenue and headed to the vicinity of Second and Dryades, a known location for the Indian tribes.

“Won’t Bow Down On That Dirty Ground”: The Mardi Gras Indians Uptown

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When I left the North Claiborne Avenue area, it was dark and I was hungry. I thought about heading on to find something open for dinner, but I decided to head Uptown first and see if I could find any of the Indians out and about on Mardi Gras evening. Thanks to my friends in the TBC Band, I had known exactly where to find the Downtown tribes of Indians, but I was not so sure about the Uptown tribes. There were two places where I thought it likely that I might run into Indians; one of these, Shakespeare Park proved to be a disappointment, as it was mostly dark and unoccupied, as were the streets of the neighborhood around it. There were lots of cars parked in some blocks, but they represented private indoor house parties rather than any outdoor activities. But the other one, the area around 2nd & Dryades is a known hotbed of Indian activities, and is the location of a club called Handa Wanda, where Indian practices take place in the months leading up to Mardi Gras. Sure enough, I was not disappointed, although finding a place to park the car proved difficult. At least three different tribes of Indians were visible, with fair-sized crowds on the sidewalk of First and of Dryades. These Indians seemed a little wilder than those Downtown, the confrontations between tribes a little more heated, the drumming a little rawer and more insistent. At least one encounter between tribes looked as if it was going to become a fight, but somehow tempers were cooled and the tribes parted amicably. Unfortunately, the night’s activities were marred by a girl from the Ninth Ward that had come with one of the tribes. She kept starting an argument with a girl from Uptown, and the argument escalating into fighting. She refused to stop, even when asked to do so by a Big Chief. The recurring fight darkened the mood of those gathered, and the tribes started walking away and getting in cars to go home. A New Orleans police car came through shortly after, but the combatants had already left. It started raining, and I headed down on Magazine to eat at Pizza Domenica, which I had seen open when we passed by on the Jefferson City Buzzards’ bus earlier in the afternoon. The pepperoni pizza was absolutely amazing.

Under The Bridge on Claiborne on Mardi Gras Afternoon

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It took me nearly an hour to get from Metairie to the North Claiborne Avenue area where TBC Brass Band was supposed to be playing, and where, incidentally, Darren had told me I might run into some of the Mardi Gras Indians. I was afraid that I wouldn’t be able to find any parking, but out north of the Interstate bridge, I found a vacant lot across from a church where nobody was charging any money and lots of people were pulling in and parking. It meant a long walk across a long, vacant commons towards the new Lafitte Project, but the sun had come out and the weather seemed a bit warmer. Under the I-10 bridge, the crowds were truly massive. There was a large stage on St. Bernard Avenue, where bounce rappers were performing, but I could not find any of the TBC Brass Band members anywhere. Since it was more than an hour after they were supposed to start playing, I might have missed them. There were vendors and food trucks, a DJ spinning on a street corner, people zooming around on motorcycles and four-wheelers, and up at the far end, elaborately-costumed Mardi Gras Indians, as I had hoped. I soon found, however, that eager crowds pressed around them so that it was hard to shoot pictures or capture video. But still, seeing the Indians in their beautiful costumes up close was amazing in itself, and I was able to follow one tribe and its drummers down into the Treme neighborhood as they were on their way home, and got some better pictures and footage there.
Choosing the area under an interstate bridge for a festival site may seem strange, but the evidence is that the neutral ground of Claiborne Avenue was a festive site for New Orleans’ Black community long before the interstate was built. Community leaders in the Treme neighborhood had tried to halt the interstate construction, but had failed. More recently, since Hurricane Katrina, some activist white kids had suggested removing the interstate in that area, redesignating I-610 as I-10, and restoring the neutral ground of Claiborne as the grassy, tree-lined site it once was, but with the Superdome so nearby, that is unlikely. Black residents resent the overhead interstate, but continue to use the space during Mardi Gras and also after second-lines, when large crowds often gather there. The one positive thing that I’ve had people tell me about the bridge is that brass bands sound really good under there.
Gradually, it got dark, and the crowds began to gradually disperse, so I left as well, headed Uptown to see if I could find any of the Uptown Mardi Gras Indian tribes.

“The Whole Wild Creation”: Mardi Gras Indian Practice at Handa Wanda

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The Black Indians of New Orleans have always fascinated me. I read about them long before I had ever seen one. Their culture is ancient (perhaps as far back as the 19th century), and fairly secret, although the recording of musical albums shed some light on the otherwise mysterious subculture, and the Indians seem less shy of the cameras and spotlights these days, perhaps recognizing public awareness as a potential ally in helping to preserve the culture.
Certainly, in the old days, I would not have been able to attend an Indian practice. Such events were unpublicized, held in obscure neighborhood bars and generally closed to outsiders unless one was invited. But nowadays, some of the practices are listed on the events boards for WWOZ, Gambit or OffBeat, and one of the early arrivers for the morning’s second-line had mentioned that a practice would be going on that night at a club called Handa Wanda, so I knew that I didn’t want to be anywhere else.
The Mardi Gras Indians (really a misnomer, since the gangs of Indians exist year-round) are groups of working-class Black men who “mask Indian” and are organized into what they call “gangs” rather than “tribes.” At one time, before Hurricane Katrina, there were said to be 25 of these gangs, with names like the Wild Magnolias, the Wild Tchoupitoulas, the Creole Wild West and so on. They traditionally appeared on Mardi Gras day, and on St. Joseph’s Night, a Catholic holiday associated with working men. By the early 1970’s, a third holiday had been added called Super Sunday in March, held on different weekends for the Uptown and Downtown tribes, giving them an opportunity to show off their elaborate, homemade costumes. The tradition would seem to be ancient. Earliest references to Black men masquerading as Indians in New Orleans can be found in newspapers from the late 19th century, and through the first five decades of the 20th century, confrontations between these gangs of Indians could occasionally grow violent. Much of the violence began to subside during the 1960’s, and the emphasis shifted to beautiful, intricate costumes, and following a protocol of danced combat when gangs meet in the streets.
But Hurricane Katrina had devastated the Indian tradition, much like she devastated every other aspect of New Orleans. Prior to the storm, most Indian gangs had separate practices in their neighborhood bars, but the practice I was attending tonight was billed as a “Unified Indian Practice”, meaning a practice at which members of multiple tribes could participate, at least in part perhaps because there are fewer tribes and fewer practices these days. Like all Black Indian activities, the practice began with the singing of “My Indian Red”, a song that Indians refer to as a prayer. Its lyrics state “Indians of the nation, the whole wild creation, we won’t bow down, on that dirty ground” setting forth the bravery and pride that characterized the tradition’s earliest years. After that, there were about five or six drummers on stage, with two bass drums, congas and bongos, and to the insistent rhythm they started, the Indians in the hall began to run through their traditional chants, all of them structured in typical African call-and-response, and including many fragments of an Indian language that is rather mysterious. Such words as “handa wanda, hoo-don-day, two-way-pock-e-way, jockamo fin-na-nay” are all examples of this language that are likely familiar to New Orleans music fans through their incorporation into popular song. Just exactly what these phrases actually mean, however, is something of a mystery. Scholars have suggested links with Spanish or French words, but many of their conclusions are far-fetched, and cannot be proven anyway.
On occasions, the big chief who was presiding over the practice grew annoyed when he didn’t feel enough people were singing the words. “You should know these songs. This is the reason a lot of big chiefs don’t hold practices anymore,” he said. “The culture is dying, and we are trying to keep it alive.” But the culture didn’t seem dead on this particular night. It seemed as alive as ever. The room had been somewhat chilly before the practice, but it was downright hot now. The drummers’ faces were covered with sweat, the Indians in the middle of the room danced and jumped to the rhythm with enthusiasm, and those around the edges of the room and upstairs cheered them on. Aesthetically, it could have been a scene from the Caribbean or even from Africa, but it was actually right in the 3rd Ward of New Orleans, not a block from where our second-line had passed earlier in the afternoon. All too soon, the practice came to an end. If it hadn’t, I probably would have remained there all night.

Walking Behind A Rara Procession Through Little Haiti

The start of the Friday night rara procession on the week that I was in Miami was delayed because of the Miami Heat’s playoff game, and so the procession really didn’t get underway until around 9:30. Led by the musicians, it picked up participants as it proceeded through the residential streets of Little Haiti. Some of the more enthusiastic dancers ran a block ahead of the musicians to do dance poses low to the ground. People came outside on their porches and gathered along the sidewalks in some areas, and the whole scene became very familiar to me (aside from it being night), for this was very much like a New Orleans second-line. Even the vendors and food trucks that pulled up along the route were exactly like what one would have seen in New Orleans. Actually I shouldn’t have been surprised, since the Haitian Revolution of 1804 brought a number of French loyalists to New Orleans from Haiti, and also since many of the Africans brought to Louisiana were from the same regions of West Africa as those brought to Haiti. The rara bands share some aspects of the second-line tradition, such as using horns as well as drums, and leading the processions in which dancers and celebrants parade behind. But the raras also have points in common with Mardi Gras Indian practices, including the importance of drums and percussion, and also (at least in Haiti) the ritualized confrontations between different rara bands when they meet in the streets.
By the time we crossed over North Miami Avenue, we had assembled a fairly good-sized crowd, but my friend Jackson stated that the crowd was much smaller than average due to the ball game. Suddenly, all too soon, we arrived back at the corner of Northeast 2nd and 60th Street where it had all begun. I had not eaten since about 4 PM, so as everyone started to go their separate ways, I started trying to find a restaurant that wasn’t already closed, as it was almost 11 PM.