Carribean Influence on the Mardi Gras Indians: A History of Sound
Prodcast Script: Caribbean Influence on the Mardi Gras Indians: A History of Sound by Audria Keyes
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Today, we’ll be analyzing an interview done by Big Chief Larry Bannock and how the Caribbean has shaped the Mardi Gras Indian sound. We’ll also be discussing how their use of signals and deciphering play a part in what they do. The Mardi Gras Indians, or black masking Indians, is a tradition that stemmed from exclusion, hatred, and alliance in the days of slavery. When African Americans were excluded from participating in Mardi Gras celebrations with their white counterparts, they decided to pay homage to Native Americans for their help in hiding and aiding their ancestors to escape slavery. Although there are no genetic ties between the two groups, the love has transformed into a beautiful celebration with a very colorful history.
Chief Larry Bannock is an essential member of the Mardi Gras Indians tradition. He began masking as a spy boy, a person who goes before the chief to check for danger, in 1972. He became Big Chief in 1979 of the Indian gang called the Golden Star Hunters. He is mostly known for his original handcrafted regalia and suits. He would also teach others how to craft their own as well. Before we dive deeper into this episode, here’s another word from our sponsors: Have you ever spilled something on a couch or rug that you just can’t seem to get out? Call J. E cleaners and Co. They provide their customers with quality care. Use code scrub20 to get $20 off your first service. Now, back to our episode.
Now you may be wondering, what does this have to do with sound? Well, let me tell you. Every year during Mardi Gras, the black masking Indians take to the streets to show off not only their beautiful suits, but their vocals as well. R Murray Schafer’s term of signals is very present in their parades. He defines the term as “foreground sounds, and they are listened to consciously.” We hear signals for things all the time. I think that sometimes we may be too lost in the hustle and bustle of our daily lives to fully acknowledge them, but we know they’re there. For instance, first responders and police sirens. We hear these all the time. But we don’t acknowledge them every time we hear them, why? For me, it’s because I know they are part of life. I cannot actively remember the first time I heard one, but now that I’m 20 years old, their kind of second nature to me. One could say that it’s inevitable. My question is, would you care more if you heard them less? Growing up in a rural area meant I didn’t hear them as often as someone in an urban area would. So, when I do hear one, I pause for a moment. Make sure to write in to tell me about your thoughts on this. Another notable signal is the sound of our phone notifications. It signals us and directs our attention to whatever is trying to be conveyed. An example of a signal from the interview is when Bannock tells interviewer, Karen Morell of the University of Washington that the Indian’s song “Ma Day cootie fiyo” is to signal the Indians to pray. He also tells her of other signals for things such as rivals, danger, and Big Chief entry.
Description of nonverbal signals used.
We can use interviews and the Mardi Gras Indian tradition to help us to be able to interpret sounds and their meanings. Theorist, Roland Barthes developed 3 defining terms for how we listen to sound. The one that can be applied here is his term of deciphering. One definition of deciphering that can be found in Barthes’ text is, “-to adopt an attitude of decoding what is obscure, blurred, or mute, in order to make available to consciousness the “underside” of meaning” (Barthes, 249). The Black masking indians use deciphering for many reasons.
- To decipher song lyrics
- Dances/body language
These are just to name a few. We might use deciphering for many reasons as well, including:
- Baby sounds
- Animal sounds
During the interview, Morell uses deciphering to gain insight into different aspect of the tradition including the outfits, the origins, and the meanings of their songs. Morell tries to decipher what different aspects of the tradition are really about. One thing that does not need to be deciphered in the immense pride and love for masking, shown by Bannock.
Insert audio of Bannock talking about pride in their suits.
For example, Bannock mentions how earlier Indians used fish scales on their outfits. Morell uses decipher by asking, “Would you use them for an iridescent effect on the suit” (Bannock, 1986). This opens the conversation to how they put them on, to other things they used when money was scarce. Morell’s use of deciphering also garners comments about the Caribbean connections to the black masking Indians. Bannock is not very supportive of the idea that there is a connection between the black masking Indians and the Caribbean. He says, “everybody tries to hook up the Indians with the Caribbean thing” (Bannock, 1986). This mention, and all other mentions of the Caribbean follow this ideal from Bannock. He accredits the African country of Angola, saying “they never connect Angola with the Indian thing” (Bannock, 1986). Bannock believes that their songs derived from folk songs brought to American by enslaved Angolans. However, we know that the Caribbean has a great influence on the Mardi Gras Tradition. VanSpanckeren says, “the urban Indians’ lively syncopated songs emanate from the Afro-Caribbean world” (1990, pg.41). The rhythms form the Caribbean are kept alive in America by the black masking Indians. Their songs reflect how the sharing of cultures, and the passing down traditions through generations is able to preserve parts of history miles away from their origins. Many of the social clubs and the Indian gangs reflect this in that, “the dance has a more Afro-Caribbean or Latin tinge” (VanSpanckeren, 62). Influential people such as Dr. John, a New Orleans born singer, songwriter, and pianist says that “New Orleans music is Afro-Caribbean, Afro-Cuban, and Mardi Gras Indian” (Time, July 26, 1982)” (1990, pg.66).
This shows the everyone can recognize just how influential the Caribbean is on all aspects of the Mardi Gras Tradition. I think people sometimes forget the infleucnes that make them what they are. I know for a fact, that I have not always expressed my thanks to the many people who sacrificed so much for me to get to where I am today. So I send a special shoutout to my parents and grandparents. Thank yall for enstilling core values of faith, respect, and honor for our culture and where we come from. It is from the village of people who raise us that we learn important lessons about sound and listening. These values inspired me to want to learn and appreciate other cultures and traditions.
Sound plays an important role to out learning as well. It is the basis for how we start our lives. This also applies to those with auditory limitations as well. We can use sound waves and vibrations to reach those who have difficulty hearing. Mother put headphone to their bellies so that the child can hear music. Babies even learn the voices of people the mother has been around while in the womb. Listening and our abilities to process and interpret sound are essential parts of everyday life.
How can we use sound to better ourselves? How can we be better listeners? What are you going to pay more attention to? How will you decipher the sound you hear and the words others speak to you? How can sound and listening be used to make a difference in our appreciation of cultures, peoples, and places? Reflect on these questions and try to be a more active listener. Stop and take in the sounds of birds and other animals. Don’t just hear things, LISTEN TO THEM!
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The Caribbean, and others in the African diaspora, have a huge influence in those all around the world. Especially when it comes to Mardi Gras and the black masking Indian tradition, traces of Afro-Caribbean influence are seen all over. It’s influence on the Mardi Gras Indian sound, and how we view that sound can not be missed. Terms like signal and the use of the theory of deciphering truly help us to understand and break down these sounds. It also helps us to appreciate the Afro-Caribbean influence more. The history of their sound is one that will be celebrated for centuries to come.
Thank you all for listening to this episode about the History of sound as it connects to the Mardi Gras Indians and the Caribbean. I do hope that you learned something today and please (x3) don’t forget to share what you learned with someone else. That’s how we make this world go round. Its been a pleasure chatting with you today. As always, its your host Audria K signing off.
Bibliography
Bannock, L.E. (1986). Bannock, Larry, fall 1986 interviews, transcriptions. University of Washington Libraries. http://digitalcollections.lib.washington.edu/cdm/ref/collection/p16786coll8/id/207
Barthes, Roland. (1985). Listening, the responsibility of Forms, transl. Howard. Pp.245-257. https://ecu.instructure.com/courses/146718/files/16588206?wrap=1
Perry-Crawford, T., Page, E. (2018). Big chief Larry Bannock and the battle of Gert Town. New Orleans Historical. https://neworleanshistorical.org/items/show/1421
Pellett, Gail. (2013) Mardi Gras Indian- Larry Bannock. Gail Pellett Productions. https://gailpellettproductions.com/mardi-gras-indian-larry-bannock/
Pellet, Gail. (1984). Mardi Gras Indians
. Gail Pellett Productions. https://gailpellettproductions.com/mardi-gras-indian-larry-bannock/
Smith, M. P. (1994). Behind the Lines: The Black Mardi Gras Indians and the New Orleans Second Line. Black Music Research Journal, 14(1), 43–73. https://doi.org/10.2307/779458
Schafer, R.M. (1977). The Soundscape: the turning of the world. pp.3-28. https://ecu.instructure.com/courses/146718/files/16107004?wrap=1
VanSpanckeren, Kathryn. The Mardi Gras Indian song cycle: a heroic tradition, Melus, vol.16 (4), Winter 1989-1990, pp.41-56. https://doi.org/10.2307/467100