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How Cajun women have creatively refashioned the tradition of rural Mardi Gras runs
Cajun Women and Mardi Gras is the first book to explore the importance of women’s contributions to the country Cajun Mardi Gras tradition, or Mardi Gras “run.” Most Mardi Gras runs--masked begging processions through the countryside, led by unmasked capitaines--have customarily excluded women. Male organizers explain that this rule protects not only the tradition’s integrity but also women themselves from the event’s rowdy, often drunken, play. Throughout the past twentieth century, and especially in the past fifty years, women in some prairie communities have insisted on taking more active and public roles in the festivities. Carolyn E. Ware traces the history of women’s participation as it has expanded from supportive roles as cooks and costume makers to increasingly public performances as Mardi Gras clowns and (in at least one community) capitaines. Drawing on more than a decade of fieldwork interviews and observation in Mardi Gras communities, Ware focuses on the festive actions in Tee Mamou and Basile to reveal how women are reshaping the celebration as creative artists and innovative performers.
Mimi visits her cousin Jean-Paul during the celebration of Cajun Mardi Gras in Louisiana.
A study of Cajun Mardi Gras and its traditional mask making
Introduces a Louisiana Cajun family and their celebration of Mardi Gras including the music, the food, and the costumes.
USA Today–bestselling author Southern charm meets the dark mystery of the bayou as a hundred-year flood, a malicious murder, and a most unusual Mardi Gras converge at the Crozat Plantation B&B It’s Mardi Gras season on the bayou, which means parades, pageantry, and gumbo galore. But when a flood upends life in the tiny town of Pelican, Louisiana—and deposits a body of a stranger behind the Crozat Plantation B&B—the celebration takes a decidedly dark turn. The citizens of Pelican are ready to, “Laissez les bon temps rouler”—but there’s beaucoup bad blood on hand this Mardi Gras. Maggie Crozat is determined to give the stranger a name and find out why he was murdered. The post-flood recovery has delayed the opening of a controversial exhibit about the little-known Louisiana Orphan Train. And when a judge for the Miss Pelican Mardi Gras Gumbo Queen pageant is shot, Maggie’s convinced the murder is connected to the body on the bayou. Does someone covet the pageant queen crown enough to kill for it? Could the deaths be related to the Orphan Train, which delivered its last charges to Louisiana in 1929? The leads are thin on this Fat Tuesday—and until the killer is unmasked, no one in Pelican is safe. A simmering gumbo of a humorous whodunit, Mardi Gras Murder is the fourth piquant installment in USA Today–bestselling author Ellen Byron’s award-winning Cajun Country mysteries.
Correlates rituals from ancient and medieval Europe to modern day Mardi Gras in Mamou.
In the aftermath of Hurricane Katrina, as the citizens of New Orleans regroup and put down roots elsewhere, many wonder what will become of one of the nation's most complex creole cultures. New Orleans emerged like Atlantis from under the sea, as the city in which some of the most important American vernacular arts took shape. Creativity fostered jazz music, made of old parts and put together in utterly new ways; architecture that commingled Norman rooflines, West African floor plans, and native materials of mud and moss; food that simmered African ingredients in French sauces with Native American delicacies. There is no more powerful celebration of this happy gumbo of life in New Orleans than Mardi Gras. In Carnival, music is celebrated along the city's spiderweb grid of streets, as all classes and cultures gather for a festival that is organized and chaotic, individual and collective, accepted and licentious, sacred and profane. The authors, distinguished writers who have long engaged with pluralized forms of American culture, begin and end in New Orleans—the city that was, the city that is, and the city that will be—but traverse geographically to Mardi Gras in the Louisiana Parishes, the Carnival in the West Indies and beyond, to Rio, Buenos Aires, even Philadelphia and Albany. Mardi Gras, they argue, must be understood in terms of the Black Atlantic complex, demonstrating how the music, dance, and festive displays of Carnival in the Greater Caribbean follow the same patterns of performance through conflict, resistance, as well as open celebration. After the deluge and the finger pointing, how will Carnival be changed? Will the groups decamp to other Gulf Coast or Deep South locations? Or will they use the occasion to return to and express a revival of community life in New Orleans? Two things are certain: Katrina is sure to be satirized as villainess, bimbo, or symbol of mythological flood, and political leaders at all levels will undoubtedly be taken to task. The authors argue that the return of Mardi Gras will be a powerful symbol of the region's return to vitality and its ability to express and celebrate itself.
Dive into Cajun Mardis Gras, where the party goes down with a wholly different flourish Everyone knows about Louisiana Mardi Gras and its glitz, glam, parades and masquerades. But in Cajun County, the festival turns communities into stage shows of wild revelry. Called Courir de Mardi Gras in the rural parishes, you'll find masked runners and horsemen bedecked in colorful, tattered clothing, cavorting through the countryside on a begging quest for gumbo ingredients. It's an outrageous celebration--derived from the French medieval Festival of Begging--on the eve of Lenten season's fasting. In exchange for neighborly generosity, the revelers sing, dance, act a fool, chase chickens and unite the community with an abundance of mirth that reverberates year-round. Join author Dixie Poche and take part in the wild spectacle and otherworldly whimsy of Courir de Mardis Gras.