{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/d50ft8g503/manifest","type":"Manifest","label":{"en":["The Circulation of Mardi Gras Indian Music in New Orleans"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Matt Sakakeeny (Presenter)","Gary Galo (Chair)"]}},{"label":{"en":["Date"]},"value":{"en":["2010-05-21 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Audio"]}},{"label":{"en":["Description"]},"value":{"en":["The performance traditions of the Mardi Gras Indians have thrived in New Orleans for a century or more, as generations of African Americans have paraded through the streets of the city dressed in elaborate hand-sewn costumes and chanting songs to the beat of tambourines and cowbells. Beginning in the 1950s, the sounds and images of Indian parades became the basis for popular recordings, such as the Dixie Cups' \"Iko Iko\" and Professor Longhair's \"Big Chief.\" Since the 1970s, Mardi Gras Indians themselves have brought their music into recording studios and concert halls, where the chants have been rear- ranged in the popular styles of R\u0026amp;B, funk, and hip-hop. Recordings and performances have brought extraordinary recognition to the tradition, alerting a large public to what was a secretive community practice. The music of the community gatherings was also transformed by the recordings, which entered into networks of cultural transmission that were formerly based on oral communication. Mardi Gras Indian music thus represents a continuous dialogue between community-level performances and mass-mediated recordings in a way that questions the primacy of \"the folk\" as prior to secondary mediations and commodifications. Rather, there has been a fluid back-and-forth between \"the street\" and \"the studio,\" with chants inspiring non-Indians to compose and record popular songs, which then circulate \"back\" to the neighborhoods, where Indians may modify their chants or produce their own arrangements. The endurance of tradition is dependent on its restless reinvention as it circulates in various forms."]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["Copyright Association for Recorded Sound Collections"]}}],"summary":{"en":["The performance traditions of the Mardi Gras Indians have thrived in New Orleans for a century or more, as generations of African Americans have paraded through the streets of the city dressed in elaborate hand-sewn costumes and chanting songs to the beat of tambourines and cowbells. Beginning in the 1950s, the sounds and images of Indian parades became the basis for popular recordings, such as the Dixie Cups' \"Iko Iko\" and Professor Longhair's \"Big Chief.\" Since the 1970s, Mardi Gras Indians themselves have brought their music into recording studios and concert halls, where the chants have been rear- ranged in the popular styles of R\u0026amp;B, funk, and hip-hop. Recordings and performances have brought extraordinary recognition to the tradition, alerting a large public to what was a secretive community practice. The music of the community gatherings was also transformed by the recordings, which entered into networks of cultural transmission that were formerly based on oral communication. Mardi Gras Indian music thus represents a continuous dialogue between community-level performances and mass-mediated recordings in a way that questions the primacy of \"the folk\" as prior to secondary mediations and commodifications. Rather, there has been a fluid back-and-forth between \"the street\" and \"the studio,\" with chants inspiring non-Indians to compose and record popular songs, which then circulate \"back\" to the neighborhoods, where Indians may modify their chants or produce their own arrangements. The endurance of tradition is dependent on its restless reinvention as it circulates in various forms."]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["Copyright Association for Recorded Sound Collections"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128100/file/239783","type":"Canvas","label":{"en":["Media File 1 of 1 - ARSC_conf_2010_Sakakeeny_audio.mp3"]},"duration":1926.64313,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128100/file/239783/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128100/file/239783/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/239/783/original/ARSC_conf_2010_Sakakeeny_audio.mp3?1714147899","type":"Audio","format":"audio/mpeg","duration":1926.64313,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128100/file/239783","metadata":[]}]}],"annotations":[]}]}