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The living folklore of Louisiana returns in this new edition of the classic Gumbo Ya-Ya. Long considered the finest collection of Louisiana folk tales and customs, Gumbo Ya-Ya chronicles the stories and legends that have emerged from the bayou country. Meet the Krewe of Zulu, New Orleans' most colorful all-black Carnival club, and the many tribes of Indians who help celebrate Mardi Gras with their fierce pageantry. Listen to the street criers entice customers to buy their goods. Produce peddlers hawk watermelon, cantaloupe, snap and butter beans, and strawberries. The charcoal man sells fuel to stoke the wash-day fires, while the kindling man offers to saw two cords for a dollar and dinner. Zabette and Rose Gla dispense the choicest coffee available in the French Quarter of New Orleans. The bottle man collects old bottles, rags, and bones, driving a hard bargain with the children who expect handfuls of peppermints, whistles, horns, and rattles for their hoards of treasure. All aspects of society are detailed in this wonderful album of Louisiana tradition: the Vieux Carr Creoles, with their strict codes of family honor; the burly Irish Channel immigrants; the lively Italians who still honor St. Joseph and St. Rosalia with all the pomp of the Old Country; and the fun-loving Cajuns, with their curious family names and spirited fais do do. There's no escaping superstition and voodoo in Louisiana. Several sections explain the customs and beliefs that have sprung up over the centuries. Always burn onion peels to ensure a steady supply of money. Sprinkle nutmeg in a woman's left shoe every night at midnight to drive her crazy. Kiss your elbow to change your sex. Gumbo Ya-Ya ( Everybody Talks at Once ) is a charming look at the legends and practices of Louisiana, particularly New Orleans. Originally written as part of the WPA's Louisiana Writers' Program, it has endured as a classic of its genre and is again available in a beautiful Pelican edition.
Social Production and Reproduction at the Interface of Public and Private Spheres
In this elegantly written inquiry into the function and purpose of illness, Duff reflects upon her own experience with Chronic Fatigue and Immune Dysfunction Syndrome (CFIDS) and offers a fresh perspective on recovery and healing. While we are conditioned to think of health as the norm, the author reveals that illness has its own geography, laws and commandments.
First Published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.
Creating Their Own Image marks the first comprehensive history of African-American women artists, from slavery to the present day. Using an analysis of stereotypes of Africans and African-Americans in western art and culture as a springboard, Lisa E. Farrington here richly details hundreds ofimportant works--many of which deliberately challenge these same identity myths, of the carnal Jezebel, the asexual Mammy, the imperious Matriarch--in crafting a portrait of artistic creativity unprecedented in its scope and ambition. In these lavishly illustrated pages, some of which feature imagesnever before published, we learn of the efforts of Elizabeth Keckley, fashion designer to Mary Todd Lincoln; the acclaimed sculptor Edmonia Lewis, internationally renowned for her neoclassical works in marble; and the artist Nancy Elizabeth Prophet and her innovative teaching techniques. We meetLaura Wheeler Waring who portrayed women of color as members of a socially elite class in stark contrast to the prevalent images of compliant maids, impoverished malcontents, and exotics "others" that proliferated in the inter-war period. We read of the painter Barbara Jones-Hogu's collaboration onthe famed Wall of Respect, even as we view a rare photograph of Hogu in the process of painting the mural. Farrington expertly guides us through the fertile period of the Harlem Renaissance and the "New Negro Movement," which produced an entirely new crop of artists who consciously imbued their workwith a social and political agenda, and through the tumultuous, explosive years of the civil rights movement. Drawing on revealing interviews with numerous contemporary artists, such as Betye Saar, Faith Ringgold, Nanette Carter, Camille Billops, Xenobia Bailey, and many others, the second half ofCreating Their Own Image probes more recent stylistic developments, such as abstraction, conceptualism, and post-modernism, never losing sight of the struggles and challenges that have consistently influenced this body of work. Weaving together an expansive collection of artists, styles, andperiods, Farrington argues that for centuries African-American women artists have created an alternative vision of how women of color can, are, and might be represented in American culture. From utilitarian objects such as quilts and baskets to a wide array of fine arts, Creating Their Own Imageserves up compelling evidence of the fundamental human need to convey one's life, one's emotions, one's experiences, on a canvas of one's own making.
This edited volume, including contributions from scholars with different areas of specialization, investigates a broad range of methodologies, ideologies and pedagogies focusing on the study of the art of Africa, using theoretical reflections and applications from primitivism to metamodernism. Chapters break the externally imposed boundaries of Africa-related works beyond the conventional fragments of traditional, contemporary and diaspora. The contributions are significantly broad in their methodologies, ideologies and pedagogical coverage; yet, they all address various aspects of African artistic creativity, demonstrating the possibilities for analytical experiments that art history presents to scholars of the discipline today. The Ìwà (character) of each approach is unique; nevertheless, each is useful toward a fuller understanding of African art studies as an independent aspect of art historical research that is a branch or bud of the larger family of art history. The volume respects, highlights and celebrates the distinctiveness of each methodical approach, recognizing its contribution to the overall character or Ìwà of African art studies. The book will be of interest to students in undergraduate or graduate, intermediate or advanced courses as well as scholars in art history and African studies.
Featuring the stories of fourteen Black women scholars, Black Womanist Leadership: Tracing the Motherline offers a culturally based model of Black women's leadership practices, and examines the mother-daughter transmission of these skills. The personal narratives fit into a storytelling tradition that reveals the ways Black mothers and women of the community—the Motherline—teach girls the "ways women lead." The essays present a range of different practical and theoretical issues of leadership and development, including mother nurture, emulation of and divergence from core values, internalized oppression, self determination, representation of the physical self, guardianship/governance of the body, cooperative economics, activism, contentiousness with or differentiation from the mother, and negotiation of leadership across public and private spheres. Together, they make a compelling argument for the necessity of continuing to teach the cultural and gender-specific resistance to oppression that has been passed along the Motherline, and to adapt this Motherline tradition to the lives and needs of women and girls in the 21st century.
One of the first women’s organizations to “mask” in a Mardi Gras parade, the “Million Dollar Baby Dolls” redefined the New Orleans carnival tradition. Tracing their origins from Storyville brothels and dance halls to their re-emergence in post-Katrina New Orleans, author Kim Vaz uncovers the fascinating history of the “raddy-walking, shake-dancing, cigar-smoking, money-flinging” ladies that strutted their way into a predominantly male establishment. The Baby Dolls formed around 1912 as an organization for African American women who used their profits from working in New Orleans’s red-light district to compete with other black women in their profession on Mardi Gras. Part of this competition involved the tradition of masking in which carnival groups create a collective identity through costuming. Their baby doll costumes—short satin dresses, stockings with garters, and bonnets—set against their bold and provocative public behavior not only exploited stereotypes but also empowered and made visible an otherwise marginalized demographic of women. In addition to their subversive presence at Mardi Gras, the Baby Dolls helped shape the sound of jazz in the city. The Baby Dolls often worked in and patronized dance halls and honky-tonks, where they introduced new dance steps and challenged house musicians to keep up the beat. The entrepreneurial Baby Dolls also sponsored dances with live jazz bands, effectively underwriting the advancement of an art form now inseparable from New Orleans’s identity. Over time, the Baby Doll’s members diverged as different neighborhoods adopted the tradition. Groups such as the Golden Slipper Club, the Gold Diggers, the Rosebud Social and Pleasure Club, and the Satin Sinners stirred the creative imagination of middle-class Black women and men across New Orleans, from the downtown Tremé area to the uptown community of Mahalia Jackson. Vaz follows the Baby Doll phenomenon through one hundred years of photos, articles, and interviews to conclude with the birth of contemporary groups such as the modern day Antoinette K-Doe’s Ernie K-Doe Baby Dolls, the New Orleans Society of Dance’s Baby Doll Ladies, and the Tremé Million Dollar Baby Dolls. Her book celebrates these organizations’ crucial contribution to Louisiana’s cultural history.