Picturing Black New Orleans

The visual legacy of Florestine Perrault Collins, who documented African American life in New Orleans Florestine Perrault Collins (1895-1988) lived a fascinating and singular life. She came from a Creole family that had known privileges before the Civil War, privileges that largely disappeared in the Jim Crow South. She learned photographic techniques while passing for white. She opened her first studio in her home, and later moved her business to New Orleans’s Black business district. Fiercely independent, she ignored convention by moving out of her parents’ house before marriage and, later, by divorcing her first husband.  Between 1920 and 1949, Collins documented African American life, capturing images of graduations, communions, and recitals, and allowing her subjects to help craft their images. She supported herself and her family throughout the Great Depression and in the process created an enduring pictorial record of her particular time and place. Collins left behind a visual legacy that taps into the social and cultural history of New Orleans and the South.  It is this legacy that Arthé Anthony, Collins's great-niece, explores in Picturing Black New Orleans. Anthony blends Collins's story with those of the individuals she photographed, documenting the profound changes in the lives of Louisiana Creoles and African Americans. Balancing art, social theory, and history and drawing from family records, oral histories, and photographs rescued from New Orleans in the wake of Hurricane Katrina, Anthony gives us a rich look at the cultural landscape of New Orleans nearly a century ago.  Publication of the paperback edition made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.

NEW ORLEANS IN BLACK & WHITE: This album is a fascinating collection of historical, archival-like photographs of New Orleans. It shows scenes of the city's diverse character: the activities of its people, their energy and their art. From street performers to jazz musicians, from outrageous exhibitionists to ordinary town folks, these pictures -- spanning decades of New Orleans' contrasting lifestyles -- capture the very nature and flavor of the Big Easy.

Reissued for the first time in over thirty years, Black New Orleans explores the twenty-year period in which the city’s black population more than doubled. Meticulously researched and replete with archival illustrations from newspapers and rare periodicals, John W. Blassingame’s groundbreaking history offers a unique look at the economic and social life of black people in New Orleans during Reconstruction. Not a conventional political treatment, Blassingame’s history instead emphasizes the educational, religious, cultural, and economic activities of African Americans during the late nineteenth century. “Blending historical and sociological perspectives, and drawing with skill and imagination upon a variety of sources, [Blassingame] offers fresh insights into an oft-studied period of Southern history. . . . In both time and place the author has chosen an extraordinarily revealing vantage point from which to view his subject. ”—Neil R. McMillen, American Historical Review

People of African descent have shaped New Orleans from its earliest days into the vibrant city it is today. From the slaves and indentured servants who drained the swamps, erected the buildings, constructed the levees, and dug the canals to the Freedom Riders who fought for racial equality in a segregated South, New Orleans' history and black history in America are intricately connected. Historian Keith Weldon Medley recounts the rich history of African and African-American cultural influence on one of America's most-beloved cities. This in-depth account is one of personal significance for the author, who was raised in New Orleans' Faubourg Marigny and whose family history is tied to the area. Through fifteen self-contained chapters, Medley takes a chronological and focused look at some of New Orleans' most prominent people and places. Rife with detailed histories of Faubourg Tremi1/2, Congo Square, and many other pivotal locations, Medley's subjects include the Mardi Gras Indians, the Zulu Parade, and Louis Armstrong and his upbringing in black Storyville. Tales of many other prominent New Orleanians also fill the pages, such as educator and civic leader Fannie C. Williams, founder of the People's Defense League Ernest Wright, and civil rights attorney A.P. Tureaud.

This original anthology of noir fiction set across the Big Easy includes new stories by Ace Atkins, Laura Lippman, Maureen Tan, and more. New Orleans has always the home of the lovable rogue, the poison magnolia, the bent politico, and the heartless con artist. And in post-Katrina times, it’s the same old story—only with a new breed of carpetbagger thrown in. In other words, it’s fertile ground for noir fiction. This sparkling collection of tales, set both before and after the storm, explores the city’s gutted neighborhoods, its outwardly gleaming “sliver by the river,” its still-raunchy French Quarter, and other hoods so far from the Quarter they might as well be on another continent. It also looks back into the city’s darkly colorful, nineteenth century past. New Orleans Noir includes brand-new stories by Ace Atkins, Laura Lippman, Patty Friedmann, Barbara Hambly, Tim McLoughlin, Olympia Vernon, David Fulmer, Jervey Tervalon, James Nolan, Kalamu ya Salaam, Maureen Tan, Thomas Adcock, Jeri Cain Rossi, Christine Wiltz, Greg Herren, Julie Smith, Eric Overmyer, and Ted O’Brien. A portion of the profits from New Orleans Noir will be donated to Katrina KARES, a hurricane relief program sponsored by the New Orleans Institute that awards grants to writers affected by the hurricane.

This collection of six original essays explores the peculiar ethnic composition and history of New Orleans, which the authors persuasively argue is unique among American cities. The focus of Creole New Orleans is on the development of a colonial Franco-African culture in the city, the ways that culture was influenced by the arrival of later immigrants, and the processes that led to the eventual dominance of the Anglo-American community. Essays in the book's first section focus not only on the formation of the curiously blended Franco-African culture but also on how that culture, once established, resisted change and allowed New Orleans to develop along French and African creole lines until the early nineteenth century. Jerah Johnson explores the motives and objectives of Louisiana's French founders, giving that issue the most searching analysis it has yet received. Gwendolyn Midlo Hall, in her account of the origins of New Orleans' free black population, offers a new approach to the early history of Africans in colonial Louisiana. The second part of the book focuses on the challenge of incorporating New Orleans into the United States. As Paul F. LaChance points out, the French immigrants who arrived after the Louisiana Purchase slowed the Americanization process by preserving the city's creole culture. Joesph Tregle then presents a clear, concise account of the clash that occurred between white creoles and the many white Americans who during the 1800s migrated to the city. His analysis demonstrates how race finally brought an accommodation between the white creole and American leaders. The third section centers on the evolution of the city's race relations during the nineteenth and twentieth centuries. Joseph Logsdon and Caryn Cossé Bell begin by tracing the ethno-cultural fault line that divided black Americans and creole through Reconstruction and the emergence of Jim Crow. Arnold R. Hirsch pursues the themes discerned by Logsdon and Bell from the turn of the century to the 1980s, examining the transformation of the city's racial politics. Collectively, these essays fill a major void in Louisiana history while making a significant contribution to the history of urbanization, ethnicity, and race relations. The book will serve as a cornerstone for future study of the history of New Orleans.

Antebellum New Orleans was home to thousands of urbane, educated and well to do free blacks. The French called them "les gens de couleur libre", the free people of color; after the Civil War they were known as the Creoles of color, shortened today to simply Creoles. Theirs was and ambiguous status, sharing the French language, Catholic religion and European education of the elite whites, who were often blood relatives, but also keeping African and indigenous American influences from their early heritage. - back cover.

"New Orleans Portrayed is a photographic tableau that offers a body of work portraying the cityscape and its citizens. It is a window into their existence at this point in time-both a broad-brush view as well as a pointillist approach into what makes New Orleans unique"--

Situating historical inquiry alongside contemporary practices of Black image-making in New Orleans, SEEING BLACK: Black Photography in New Orleans 1840 and Beyond engages the photographic grammars, textures, multiplicities, and visual sounds of Black life in and outside the city. SEEING BLACK features over two hundred images by nearly ninety Black photographers whose work embraces the camera's visual power—discerning, beholding, and documenting people, places, events, collective memories, encounters, and ever-present moments of blackness. From the invisible to the obvious, the mundane to the spectacular, the overlooked to the seen, the erased to the remembered, the artists explore a range of photographic frequencies, styles, and rhythmic scores. SEEING BLACK invites us to explore historical and contemporary archives of Black life while challenging dominant viewing practices, asking who is taking the picture, who is in or missing from the frame, and how to shift our interactions with the visual image through an intentionally embodied Black gaze.