1
20
105
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Moving Image
Videos
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
4:42 (4 minutes, forty-two seconds)
Producer
Name (or names) of the person who produced the video
Kyteyana Cox
Deshaina Strickland
Embre Martin
Devin Palmer
Zaire Allen
Director
Name (or names) of the person who produced the video
Dr. Shearon Roberts
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
<iframe width="560" height="315" src="https://www.youtube.com/embed/xf9TTNtXJWQ" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Transcription
Any written text transcribed from a sound
Intro Begins
(Music)
Embre Martin: So all of these paintings here are yours?
Louise Mouton Johnson: Yeah.
Embre: How many years have you been in Jazz Fest and do you think Jazz Fest is a good place to show off black artwork?
Louise: I have been in Jazz Fest for 20 years. I judged in 2019, marking down what I like and what I don't like, you know. I think Jazz Fest is a great place to show off any kind of work. Definitely for the black community. So I say do what all you want to do because you never know when you are going to be sitting on that death bed. Or something happened and you know that you're about to die. You don't want to have regrets or sit and think 'Oh, I should have did this' or 'I wish that I took better care of my child' or any other regrets. That's why it is about life. All you have left to think about are doubts. You don't have a lot of time.
-Interview Ends-
Devin Palmer: What what do you think about Jazz Fest as a whole and do you think it is important for the black community of New Orleans?
Vendor: Absolutely, Jazz Fest has been happening for over 50 years and if you guys got the chance to look around and see how many black owned businesses there are and culture being displayed. So now, I'm here with my mom, helping her out, and we are enjoying ourselves and a lot of customers have come through. So yes, I definitely think Jazz Fest is great for the black community.
-Interview Ends-
Embre: How do you feel about the representation at Jazz Fest? Do you feel like it is a good representation of black music?
Madonna: Ifeel like it is a good representation of black music since it is at home. I am from New Orleans and we have a lot of New Orleans acts. We have so many black owned businesses and vendors like the one over there. There's a shirt vendor, a fan vendor, etc. It's very cultural.
Embre: Since you guys are from New Orleans, could you rank JazzFest compared to the other festivals that occur here?
Joyce: I am not going to lie but I think that most people from New Orleans downplay New Orleans. It is mostly white people that come to Jazz Fest, and not our own people. We have a lot of great things here and that is why I come out to support my black community-
Madonna: I agree. It probably has a lot to do with the pricing. I understand that you have to pay for the acts and performances. For a child it is five dollars but for an adult, it is ninety-five dollars and higher. In this community, there's not a lot of income so I think if they would start considering that, there would be more black people coming to Jazz Fest.
-Interview Ends-
Outro Begins
(Music)
Credits
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
A Walk Around Jazz Fest
Format
The file format, physical medium, or dimensions of the resource
Video
Creator
An entity primarily responsible for making the resource
Deshaina Strickland
Zaire Allen
Devin Palmer
Embre Martin
Kyteyana Cox
Source
A related resource from which the described resource is derived
My Nola, My Story (Youtube)
Publisher
An entity responsible for making the resource available
Mass Communication Department at Xavier University of Louisiana
Date
A point or period of time associated with an event in the lifecycle of the resource
April 28, 2023
Contributor
An entity responsible for making contributions to the resource
Louise Mouton Johnson
Rights
Information about rights held in and over the resource
My Nola, My Story
Relation
A related resource
My Nola, My Story 2023 Exhibit
Language
A language of the resource
English
Type
The nature or genre of the resource
Video
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
A digital humanities project by Xavier University of Louisiana's Xavier Exponential students, led by Dr. Shearon Roberts.
Identifier
An unambiguous reference to the resource within a given context
https://youtu.be/xf9TTNtXJWQ
AWalkAroundJazzFest
JazzFest2023
LouiseMoutonJohnson
MyNolaMyStory
NolaVendors
-
Moving Image
Videos
Producer
Name (or names) of the person who produced the video
Tesiya McClary, Willow Jones, Nicholas Jones, Ja'Leaha Thornton
Director
Name (or names) of the person who produced the video
Dr. Shearon Roberts
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
6:34 (6 minutes and thirty-two seconds)
Transcription
Any written text transcribed from a sound
Ja'Leaha Thornton: Hi, you guys it's Ja'Leaha Thornton. I'm
reporting live from the French Quarter Festival, and as you can we have a lot of great things going on today but
today, in this video, you'll be watching us interview different people
this includes families and different business owners, as they tell us about their experience, time here if they're coming back and of course, about their product. So sit back and enjoy this tape.
[Music]
Tesiya McClary: Hi, I'm here with ...
Jenna A: Jenna
Tesiya McClary: Jenna, where are you from?
Jenna A: I'm from New Orleans
Tesiya McClary: okay and what are you excited about seeing in French Quarter fest this year?
Jenna A: I think I'm most excited about the music and the food
Tesiya McClary: Okay, so why do you think French Quarter Fest is important for the black community
Jenna A: I think it's very important because it brings all the families
together for family time, and they spend
time together and eat food and have fun.
Tesiya McClary: do you think French Quarter Fest will be a cultural shock to other people or other races
Jenna A: yes I do because our food is
different out here and also because
they're not used to the jazz music and
other stuff that comes with New Orleans.
Tesiya McClary: all right, and what would be a good tip for people who are just experiencing French Quarter Fest for the first time
Jenna A: a good tip to probably bring some chairs
Willow Jones: taking place at the center of New Orleans French Quarter Fest is the place to be to enjoy some great music.
[Music]
[Music]
oh yeah
[Music]
[Music]
thank you
[Music]
[Applause]
[Music]
Willow Jones: French Quarter Fest is a great place for
artists and vendors to display their
work and products
Ja'Leaha Thornton: all right hi so what brings you out today
James Alexander: It's Florida quarter Fest 2023 you know
Ja'Leaha Thornton : all right
James Alexander: doing my thing pushing my brand promoting my
shirts and my you know hats my artwork my lovely artwork
Against All Odds but I still stand you know
Ja'Leaha Thornton: what is your favorite part of the
experience just being out here ?
James Alexander: uh the people, the festivities of the
people the energy you know what I'm
saying just everybody having a good time
you know, showing some support to a local
artist and you know it's a good day it's
Sunday, it's good weather
Ja'Leaha Thornton: all right so will you be back out here next year?
James Alexander: oh definitely I'll be out here next week
[Music]
Tesiya McClary: hi I'm Tesiya and I'm here with ?
Hailey R: Hi I'm Hailey
Tesiya McClary: all right Hailey where are you from?
Hailey R: New Orleans
Tesiya McClary: all right, it's your first time experiencing French Quarter Fest
Hailey R: yes it actually is
Tesiya McClary: Okay, so what are you most excited about this year
Hailey R: I'm actually most excited about the food I
believe um people say the music is great but I really want to try the food
Tesiya McClary: okay okay so why do you think French Quarter
Fest is important for the black community?
Hailey R: it feels like it brings everyone together like if you know New Orleans guys you just really know um they're not really friendly so I feel like the festivals bring people together not just French Quarter but like all of them together
Tesiya McClary: okay so and my last
question would be as a tip to people who
aren't from New Orleans what do you feel
like would be the best thing for people
to do as they experience this Festival
Hailey R: um maybe going on Bourbon at nighttime
something like that if you're not from here people actually love it
Willow Jones: French Quarter Fest brings together family and friends to have a great time let's hear from more New Orleans why
they come to French Quarter Fest and all
that it has to offer
Tesiya McClary: hi, my name is Tesiya and am here with ...
Marvin Jones: Marvin Jones
Tesiya McClary: so where are you from
Marvin Jones: Typical Louisiana
Tesiya McClary: okay okay this is your first
time experience at first quarter Fest
Marvin Jones: Typical no no, it's every year,
Tesiya McClary: okay, and my first question is what would you say it
would be a good tip for people who are
come out here for the first time
Marvin Jones: uh pace yourself and try Foods everywhere
Tesiya McClary: Okay, were you excited about anything
this year
Marvin Jones: uh no just the atmosphere that's it all right
Tesiya McClary: and my last question would be why do you feel like French quarter fest is important for the black community
Marvin Jones: um just part of everybody getting along seeing how others do it
[Music]
Tesiya McClary: all right this is Tesiya and I'm here with
Christina Malden : Christina Malden
Tesiya McClary: all right Christina what are you most
excited about for French quarter fest this year
Christina Malden: I'm definitely excited to try
all the good food and just to have a good time in this weather with my
friends
Tesiya McClary: okay so why do you think French
Quarter Fest is important for New Orleans culture
Christina Malden: I feel like the French
Quarter Fest definitely brings the
community together as a whole just to
celebrate the food diversity and just
the culture of our city that we live in
and also it brings a lot of tourists
just to represent our city well for just
a nice joyful fun, and festive weekend
Tesiya McClary: all right Aye you gonna be
seeing any bands this weekend on this uh
event or what
Christina Malden: um I'm not particularly here for the
bands more for the food but I'm definitely gonna have my ear open and listen to it in the background
Willow Jones: as you can see French Corner Fest is a
festival that is celebrated by all of
its residents and visitors we hope you
can attend next year thanks for watching
[Music]
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
French Quarter Fest 2023
Format
The file format, physical medium, or dimensions of the resource
Video
Creator
An entity primarily responsible for making the resource
Tesiya McClary, Willow Jones, Ja'Leaha Thornton
Source
A related resource from which the described resource is derived
My Nola My Story via YouTube
Publisher
An entity responsible for making the resource available
Xavier Exponential at Xavier University of Louisiana
Date
A point or period of time associated with an event in the lifecycle of the resource
April 16, 2023
Relation
A related resource
My Nola, My Story 2023 Exhibit
Language
A language of the resource
English
Type
The nature or genre of the resource
iMovie, video
Subject
The topic of the resource
In this video, we provide an overview of the 2023 French Quarters Fest by interviewing vendors, performers, and attendees.
Description
An account of the resource
The following video presents a detailed video showcasing the much-awaited French Quarters Fest. The video comprises extensive interviews with various individuals, including vendors, performers, and attendees. By watching this video, you'll gain an in-depth insight into the different aspects and experiences that await you at this thrilling event.
Rights
Information about rights held in and over the resource
My Nola, My Story
Identifier
An unambiguous reference to the resource within a given context
https://youtu.be/T5lOpqzIMOs
Culture
Festivals
French Quarter
French Quarter Fest
New Orleans
New Orleans Art
New Orleans Food
-
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eef4c7f637a99126232d359360590895
Moving Image
Videos
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
<iframe width="560" height="315" src="https://www.youtube.com/embed/ZSssAPeEMT8" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
13:26 (thirteen minutes and twenty-six seconds)
Producer
Name (or names) of the person who produced the video
Ariel Shorter, Keziah Smith, Brandon Dixon, Kaleb Macklin, and Darren Metoyer
Director
Name (or names) of the person who produced the video
Dr. Shearon Roberts
Transcription
Any written text transcribed from a sound
Mardi Gras Indian 1 - Super Sunday started in 1970, by Jerome Smith. Civil rights activist, Jerome Smith. And it was for commemoration in support of the four girls that were killed in 1964 in the bombing of the church in Atlanta. And his friend was Tootie Montana. So, he had a parade, and he asked his friend Tootie Montana to come with his Indian gang. And it started like that. And then over time it became more and more Indians, and then, it became the Indian parade. It started as a support and protest for those girls; Four girls killed in the bombing. 1970 was the first parade. Jerome Smith. Jerome Smith was one of the guys who sat at the counter at the Woolworths on Canal Street. He's still alive. If you have a chance, you should find Jerome there.
[Music]
Attendee 1 - Right! Then understanding like it's more history then just running to Canada. Running to New York. You know what I'm saying. It's more like what about the hidden, and the fact that they used to do it as a secret because of [inaudible] right but that was cool to me to so all that kind of stuff is like interesting and that's why we out here, yeah.
Keziah Smith - So how did you head about the event?
Attendee 1 - Well we from Chicao. We here to visit and realizing that its more to the city than just the French Quarter. I started investigating, and I found out about this. And I'm like we eating there and that's it. You know.
[Indian chants]
Maine - My name is Maine. Kelly Dynamite. They call me Maine. We love Super Sunday. This is us. This week is Super Sunday in the 3rd Ward. Next week is Super Sunday in the 7th Ward. And the week after that is going to be Super Sunday in the... across the river, Algiers.
Darren Metoyer - How long have you been attending...
Maine - All my life. All my life.
Darren Metoyer - And how old are you?
Maine - I'm 69.
Darren Metoyer - What makes this different from Mardi Gras or any other New Orleans event? What makes it special?
Maine - It's always special. Anything going in New Orleans is special. We thank our Lord for our blessings that we get when we ever do our thing here. We love it.
Kaleb Macklin - So do you have any children or anybody that you would like to pass this event along to or anything like that?
Maine - I just want people to be safe. Come here, enjoy yourself, and be safe. Keep your eye on your surroundings. Everything is dangerous here. But this our thing. This our 3rd Ward. This our 3rd Ward. We representing this three. We representing this three! Make ‘em know that!
Keziah Smith - How has Super Sunday changed over the years?
Maine - Well this don't change that much. It's always the same. Third Ward thing is a third Ward thing, and when its downtown, its a downtown thing. And when it's across the river, it's an across the river thing.
Brandon Dixon - Have you noticed any like forms of assimilation throughout the years with the parades or anything like in your community.
Maine - Like what?
Brandon Dixon - Assimilation. Like white people taking over.
Maine - I ain't gon’ say that. We all. We love each other. We don't care about white folks. White or black, we can all enjoy yourself. Look at that. That’s the Baby Dolls. It’s about enjoying yourself. Nobody got no hate out here.
Brandon Dixon - Nobody got hate out here?
Maine - Nah. Unless it’s some clown that come out here and start dumb s***. Other than that, everything is good.
Uncle Clyde - They call me Uncle Clyde. Those Baby Doll Girls just passed by, all them call me Uncle Clyde. My niece is the queen of the original wild Tchoupitoulas Indians. Her mom was the queen, and she was a Baby Doll Girl. She masked ‘till she was 91 years old. Then, she passed on, and three years later, she passed it to her daughter. Then she called, and she said “Uncle Clyde, I need you”. But when she said Uncle Clyde, they need me. They know that means they're in trouble. And all I say is “where at”. They say “You better tell him. He gone be here 15 minutes.” Which they knew I was. She said, “I'm sorry.” She said, “I'm the queen now, and I had a vision of you being my ambassador.” No other Indian tribe has an ambassador. This about nine years ago. I said, “You got it baby”. I said, “What about the suit?” She said, “No. I want you to dress just like I know my Uncle Clyde. He always dressed sharp. So you come. Whatever color I say, you put it on.” So I said “Yes, I'll do that. Call the color.” Every year, the Indians pick a new suit? That's their song. They pick a new suit or you pick the colors. Our colors this year was royal blue and cream, and this is what you pick so I just throwed this together. Even the shoes.
Brandon Dixon - Does it come from any like inspiration or anything? Does it have any inspiration or inspired from anything?
Uncle Clyde - Feel. The Spirit of Soul.
Brandon Dixon - The Spirit of the Soul?
Uncle Clyde - Yes. You see. You feel things.
Keziah Smith - So, why do you think the tradition of this event is important?
Uncle Clyde - Because everybody didn’t come here on the slave ship. Y’all start digging at that. They got a lot of the Indians were already here. They're dark skinned, light-skinned, all kind of different complexion. They were already here. The Indians up in Natchitoches, up there in North Louisiana, already here thousands of years ago.
Mardi Gras Indian 2 - The celebration of culture. You know. They come out. They tell these stories on they suit. They beat them. They put their work in. You know, it takes about a year just to finish your entire suit.
[Indian chants]
Brandon Dixon - Where does the inspiration come from?
Mardi Gras Indian 2 - Your life. Just your story. It tells your story. It tells who you are as a person; how you became that person you are today.
[Tambourine Playing]
Kaleb Macklin - This question is what is Super Sunday to you? Like what does it mean to you?
Musician 1 - Super Sunday is pretty much… It's a family reunion for us. If you're from this area, from the City of New Orleans period, Super Sunday not only represents the culture in itself, but it represents the Indians. It represents from the Baby Dolls to the Mardi Gras Indians to the second line world. So it's a conglomerate of everything. So it's our annual family reunion. So that's what it represents.
Kaleb Macklin - How long have you been coming?
Musician 1 - Since I was a puppy, so I mean it pretty much since we [inaudible] can pretty much remember. He’s a little bit older. I mean we’re probably all median age. So, I mean we've been coming and playing ever since we can remember. So, like I said, not only it's just from people that you grew up with. It’s people where you started. Chill out.
Kaleb Macklin - So like, so what is one thing that you would tell to a tourist about this event or to your kids or like a future generation?
Musician 1 - Um just uh just have fun so it's a big party. If you look at it got a lot of food vendors. A lot of things that happening historically. There a lot of um, there's a lot of culture things that's happening right now so just be open-minded and have some fun. I mean it's not all about the glitz and glamor. It's all about “man I haven't seen you this year.” I mean you have tubas walking down the street. From tubas to tambourines. From little kids masked as Indians to grandmothers you haven't seen forever. So, it's a little bit of everything man. It's a big gumbo man. We love Uptown. This what we do man. It's our area. It’s our section.
Brandon Dixon - So, the music that y’all play, does it vary every year or is it like the same?
Musician 1 - No, I mean it varies by songs. So I mean like um like you may hear um songs on the radio um that may be played by brass bands. So right now, I mean anywhere from Beyonce to the Beatles has been playing right now with any Brass Band. So it's pretty much on how you feel. We get with the Associate and Pleasure Clubs, and then, you know you know something from the Lady Buck Jumpers, Men Buck Jumpers, do Main Street Game. The list goes on and on. So, just pretty much on how they feel, but we feed off of what they do.
[Band Playing]
Keziah Smith - How does the music keep bringing on the tradition?
Musician 2 - How does the music? Well music, it varies. It varies from bands. Like you hear stuff from the radio. You hear stuff like from like Louis Armstrong. So the music varies in the city of New Orleans.
Keziah Smith - How do we pass on the tradition through music?
Musician 2 - Well I try. What I try to do is try to pass it on to my kids that I teach, and also to the younger generation as well. Because I know I won't be playing this forever So, it's time to bring some new faces in. So… these old faces… I feel like an old head now.
[Mardi Gras Indian marching]
Keziah Smith - Can we get your name?
Eric - Eric.
Keziah Smith - So, how long have you been coming to Super Sunday?
Eric - Since I was about three years old.
Keziah Smith - Okay, who brought you?
Eric - My momma
Keziah Smith - What do you think is the importance of this event?
Eric - It helps out with the culture. It keeps the culture going.
Kaleb Macklin - What’s your favorite part about this event?
Eric - Huh?
Kaleb Macklin - What’s your favorite part about this event?
Eric - Second-Lining.
Kaleb Macklin - I understand that. I understand that.
Brandon Dixon - So, what do you do again?
Eric - Huh?
Brandon Dixon - So, what do you do again?
Eric - I second-line.
Keziah Smith - You second-line?
Eric - Yeah.
Keziah Smith - Can you explain kind of the importance of second-line, and what you do?
Eric - It’s like a culture thing. It’s something you feel in your soul. Not just something that you just pick up. It’s something in your soul. It’s like a tradition. Basically.
Keziah Smith - So, how do you think we keep this going? How do we pass on the tradition?
Eric - What you said?
Keziah Smith - How do you think we keep this going? How do we pass on the tradition?
Eric - Starting them off young. You got to start them off young, and then, when they get older, they gon’ pass it to the new ones that’s coming behind them.
Kaleb Macklin - So, if you have kids, like you would pass it off to them…
Eric - Yeah, of course! Of course!
Kaleb Macklin - That’s what it’s all about.
[Bands playing]
[Indians chanting and marching]
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
My Nola, My Story: Super Sunday
Format
The file format, physical medium, or dimensions of the resource
video
Subject
The topic of the resource
This is a a collection of interviews and video footage of Super Sunday.
Description
An account of the resource
Super Sunday is a procession and festival to give the public a chance to witness the Mardi Gras Indians. It is an consisted of incredible craftsmanship, unique music and street rituals. New Orleans natives and tourist share their experience with Super Sunday and why the legacy is important.
Creator
An entity primarily responsible for making the resource
Ariel Shorter, Keziah Smith, Brandon Dixon, Kaleb Macklin, and Darren Metoyer
Source
A related resource from which the described resource is derived
My Nola My Story via YouTube
Publisher
An entity responsible for making the resource available
Xavier Exponential at Xavier University of Louisiana
Date
A point or period of time associated with an event in the lifecycle of the resource
April 14, 2023
Rights
Information about rights held in and over the resource
My Nola, My Story
Relation
A related resource
My Nola, My Story 2023 Exhibit
Language
A language of the resource
English
Type
The nature or genre of the resource
CapCut, video
Identifier
An unambiguous reference to the resource within a given context
https://youtu.be/ZSssAPeEMT8
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
A Digital Humanities project by Xavier University of Louisiana's Xavier Exponential department students, led by Dr. Shearon Roberts.
Indian Mardi Gras
New Orleans History
second line
Super Sunday
-
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655fb91c0c8b9533ff0f7ab5d0fd8b3b
Moving Image
Videos
Transcription
Any written text transcribed from a sound
Intro: People travel all around the world to see New Orleans for its nightlife parties, riches and diamonds, or a walk along Bourbon Street to catch a trolley. If they look closer and clearer, they can see what it truly means to thrive in New Orleans and not just what the media frames it to be. Here is the story of two Marvelous and Devoted Black women and their stories of being top tier estheticians in New Orleans.
South Skin has been accelerating since its opening in 2018, four years of Phenomenal Work, located on 1534 Aline St. in New Orleans, Louisiana . They have created a very welcoming and luxurious environment for their clients all around. They have various products that help with various skin issues as well as services such as facials, Waxing, Brow services, and many more. Here is Ms. Alyshia Cheavious and her story.
-Images and Videos of South Skin with Prod. RflowBeatz Instrumental Music-
Zamariah Strozier: Hello, who are you?
Alyshia Cheavious: So, my name is Alyshia Cheavious, I’m one of the owners here at South Skin.
Zamariah Strozier: Okay and you know what is your uh background in being an esthetician?
Alyshia Cheavious: Okay so I originally went to John and Jame for cosmotology, um during my time there I fell in love with skin care and waxing. Um so after I left graduated there I had my first job at European Wax Center where I started waxing and my love for waxing grew. Um it made me realize that you know I could still being able to you know commune with a lot of different people from different backgrounds and just help women with their self esteem especially with their body. Um and after I left there I went to another business where you know I was able blossom and continue my education in skincare and then um eventually I gained the courage to venture out on my own.
Zamariah Strozier: Okay, are you a New Orleans’ native or what is your hometown?
Alyshia Cheavious: Yes, so I’m originally from New Orleans. Um however after Katrina, my family and I had to relocate to a small tow called Nacklish and I stood there for about eight years and then I came back here in two thousand thirteen and been her ever since.
Zamariah Strozier: And how was growing up in New Orleans?
Alyshia Cheavious: Ooo girl, growing up in New Orleans was very fun. I had a wonderful childhood um I grew up in a time where you know me and my friends we can ride all the way down to the Bayou St. Jana, to city park on our bikes and we had block parties and we had things to do in a city to you know for kids and we felt safe enough to do that. C’mon Rih, um also it was great. Like you went to the corner store. You was able to get any kind of food you wanted if it was a ten piece wings, hot, buffalo, you know whatever and or you wanted a Po’boy or just some pickles and chips. So You know it was great time, I grew up in a time where you still was just spending time with family and you know your neighbors was actually able to correct you and watch over you if your parents wasn’t around. We had a good time, the culture in New Orleans was really strong then. You know it’s some stuff as New Orleanians, we hold dear to our hearts like you know Fun Day Sunday you know you gone a uh catch a second line or you gone go to your favorite sportswear and hang out with ya people in the neighborhood you know so that y’all could buy a new saints game or some like that because that’s near and dear to our hearts but you know certain stuff like going down to the lake for Easter you know that hasn’t been like something that’s just popular like because family some a lot of families are broken you know because of Katrine because they went off to different places and now people are just trying to create they new things now.
As well as, Ms.Rhianna Jordan and her story.
-Images and Videos of South Skin with Prod. RflowBeatz Instrumental Music-
Zamariah Strozier: Okay, so can you tell us who you are?
Rhianna Jordan: Hi, I’m Rhianna, everyone calls me Rih I’m a CEO of South Skin um yeah that’s me.
Zamariah Strozier: And um are you a New Orleans native?
Rhianna Jordan: Yes, I have been here all of my life. Um I’ve only lived outside of New Orleans for college um yeah New Orleans is definitely home. I know that I am moving, but I will always come back here, always have a residency here in some way.
Zamariah Strozier: And what was your childhood like here, like what was it like growing up here in New Orleans?
Rhianna Jordan: My childhood was very different than a lot of New Orleans Natives. So, I actually grew up on Gretna which is on the West Bank and I am half Italian and half Black and I grew up with just my Italian mother, my white mother. Um so I had a crazy upbringing I dealt with a lot of racial issues that I didn’t understand as a kid growing up um I even had a scenario where like somebody thought my mom stole me like in a Walmart um because it was a White woman walking with a Black kid with curly hair all over her head. Um growing up in New Orleans was, it was difficult at times because of my confusion of who I was and um I had to like learn and find my blackness on my own because my mom couldn’t teach me that. Um as I became a teenager and started like getting friends I got more involved with the community and things like that um but I would never trade it for anything in the world. One thing that I can say that New Orleans has done for all of us is, it made us tough. I have everything that I have today because of everything that I been through um because I know what to do, I have work ethnic, I don’t stop and I’m not finna stop like this is a city of huslers. I never, I would not know how to hustle how I do if I would have came up anywhere else.
Zamariah Strozier: What made you want to provide um or I should say cosmetology/esthetician services in New Orleans?
Rhianna Jordan: Basically the way it started was when I was in school, um when I was in school it was the first time I realized how many like Black girls don’t know how to take care of themselves, don’t know how to properly clean themselves, don’t know how to take care or their curls or do a lot of different things. And I originally got into this journey because I knew that I wanted to help and teach the younger girls how to do this things. Um, I kind of fail into waxing per say and I think it was the best thing for me because it out me on that journey of wanting to help people and how to take care of themselves.
-Images and Videos of South Skin with Prod. RflowBeatz Instrumental Music-
Outro: The Real Nola and Credits
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
7:27 (Seven Minutes, twenty-two Seconds)
Producer
Name (or names) of the person who produced the video
Zamariah Strozier
Director
Name (or names) of the person who produced the video
Dr. Shearon Roberts
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
<iframe width="560" height="315" src="https://www.youtube.com/embed/6Ql58GZM9RM" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
My Nola My Story: NOLA Estheticians
Creator
An entity primarily responsible for making the resource
Zamariah Strozier
Format
The file format, physical medium, or dimensions of the resource
Video
Subject
The topic of the resource
The background and aspirations of Alyshia Cheavious and Rhianna Jordan, the owners of South Skin (Body, Face, and Skin Services)
Description
An account of the resource
Alyshia Cheavious and Rhianna Jordan share their childhood experiences living in New Orleans as well as their reasoning and elaboration of their journey of becoming Estheticians in Nola. Many people do not know of the various Esthetician services provided in New Orleans. This video purposely spotlights them to tell their stories. A hidden gem that the media does not portray.
Source
A related resource from which the described resource is derived
My Nola My Story via Youtube
Publisher
An entity responsible for making the resource available
Mass Communication Department at Xavier University of Louisiana
Date
A point or period of time associated with an event in the lifecycle of the resource
November 28, 2022
Contributor
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Zamariah Strozier
Alyshia Cheavious
Rhianna Jordan
Rights
Information about rights held in and over the resource
My Nola, My Story.
Relation
A related resource
My Nola, My Story 2022 Exhibit.
Language
A language of the resource
English
Type
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iMovie, video
Identifier
An unambiguous reference to the resource within a given context
https://youtu.be/6Ql58GZM9RM
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
A Digital Humanities project by Xavier University of Louisiana's Mass Communication department students, led by Dr. Shearon Roberts.
Aspirations
Beauty
Black Women
Mass Communication Department
My Nola
My Story.
New Orleans
Nola
NOLA Estheticians
Xavier University of Louisiana
-
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Moving Image
Videos
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
<iframe width="560" height="315" src="https://www.youtube.com/embed/S6JnbSDpIRs" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Transcription
Any written text transcribed from a sound
The city of New Orleans is one of the blackest cities in the nation, with the city being 57% black with around 380,000 black residents. However, only 16% of registered nurses in Louisiana are black, and only 11.5% of nurses are black in the country. I have decided to speak to the Altman family, who have three generations of black nurses in the family, about their experiences working in the New Orleans area.
Wanda Altman has over 35 years of experience working as a nurse in the New Orleans area, and her daughter Nicole Freeman, has spent the last 20 years working in the area as well
Well what made me decide to be a nurse is that my grandmother was a nurse. And I really wanted to be a teacher. And she said, she told me”Girl you gone starve to death”. And so, I’m so glad she suggested it and I followed suit because nursing is awesome. Anything you want to do, you can do it in nursing. If you want to teach, and I taught nursing for a while, research you can do research you can do informatics, you can do clinical, you can be an administrator in nursing administration. It’s awesome.
Well, I wanted to be a journalist as it were and then my mom told me I needed to go into something where I was going to earn a living right out of college and that would be nursing. My moms a nurse, my grandmother, my great grandmother was a nurse so I fell into it I guess you might say. And I applied to Hampton and they had a great nursing program and I went into the nursing field
um so some of the Progressive things that I've noticed um over the years is the African-American Community we have stepped up in our um efforts with being more in tune to our health care I have noticed that I have noticed we work out more than we ever have um especially in New Orleans um an increase in just staying on top of our annual um things so if you're over 45 having your colonoscopies done um having your regular diabetic checkups if you are um say pre-diabetic or predisposed to that kind of thing um just all sorts of uh Health Hallmarks that have been made as it relates to advances in the African-American community
absolutely hospitals are and I don't know it doesn't feel like it's always been this bad but it has definitely been a challenge to keep staff because they have so many options now and they travel and people want to travel and I get that when you're young you're single and you're a new nurse you do want to travel you want to see the world I did it so I understand um the need to want to go out but it definitely hurts the um the local Hospital situation so um you know and it's it's the ratios are not optimal in fact I was in the heart of the pandemic um until I got covered in July of 2020 and so what we saw was that the teams really came together and we had a coveted unit one of the units they designated for a covet unit and so there were staffing issues because a lot of people did not want to work with coping patients because of course it was a new virus coronavirus and it was a lot of unknown uncertainty but they know they had to isolate and they would really wear gear like almost like the Ebola if you ever saw that Ebola movie they had math they had Shields they had full PPE garments gloves up to a year you know but the team seemingly from what I was an administrator but my staff of registered nurses in case men and social workers worked with you know the patients a lot of things they had to do by phone because of the covet um and so they would even teach by phone discharge planning and that kind of thing and they would um talk to the families even by phone because at that time you know they stopped any visitors there was no visitors coming into the hospital at covet and everything basically you know it's shut down
for one we don't take care of ourselves being in the South it is um very difficult to maintain a healthy lifestyle in a lot of ways because we eat poorly and I don't know if I should say that African-Americans we eat poorly we like everything fried and I think it's a southern thing too for everything's fried so my friends came in from Hampton this week she had a Speech Pathology convention it was a couple of them from Hampton and um so we always get together when every one of us is in the next person's town so she's like after the first meal she was like oh my God Nicole is there anywhere and we can go and get something that's not fried and she's like in Virginia you have to really go out of your way to find fried food but here you have to go out of your way to find grilled baked steamed smoked you know what I mean everything but fried so with that comes health problems as we know in African Americans we're more predisposed to diabetes high blood pressure all of the other 99 cardiovascular diseases there are out there so it is a constant um to what I'm looking for there's constant education and re-education and pushing a healthy lifestyle in the African-American community of course because of it being predominantly black there is some disparity there's Health Care disparity in the treatment methodologies for black patients as it is opposed to White patients and of course in some instances is blatant and other instances they try to camouflage it but there is a overt disparity and Health Care um in the New Orleans area and I worked at Charity Hospital and the charity is like our University it's an academic facility I worked there for years and even in that environment where it's a state-owned it was a state-owned hospital until it was still Katrina and being a state-owned facility you would think that they know they're going to get patients that are underinsured and uninsured as well as by being a level four Trauma Center if people have an accident they would come there but there's there was some overt disparities
when a patient came into the emergency room I encoded and the doctor actually opened the chest in the emergency room to do manual see the compressions it was a gunshot wound and so it was it was unlike charity it wasn't at charity it was at Saint Cloud General and because in charity you have something called room four and it actually can turn into any um operating room because you have the huge lights and all the sterile um equipment and you have that flow of air that uh that prevents um contaminated air from coming in that in the back foot but it was very interesting to see the surgeon Dr Gibson I don't know if I get his name actually we call it crack the joints but he did a surgical incision and did Manual yeah CPR the patient came out of a bad rhythm and for a short period of time had a good heartbeat but eventually that patient did expire so my most memorable experience in nursing was at here at University Hospital and a guy comes in and he's like we need a wheelchair she's having a baby so we all run out there to the car the seat is leaned all the way back she's laying there legs open but still has a pair of like terry cloth shorts on the baby's face is in the shorts the head is out the neck is there and you can literally see the imprints of the baby's face the nose everything right there and all we could do was cut her shorts off right there in the at the driveway of the emergency room and deliver the baby in the car that is my most memorable experience and that had to be 1998.99
it's wonderful it is nursing is a whole wonderful feelings to tell my students the wonderful thing about nursing is you can be basically whatever you wanted to do because of the diversity and that if you're good to nursing it'll be very good to you.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
My Nola My Story: Generations of Nursing
Format
The file format, physical medium, or dimensions of the resource
Video
Subject
The topic of the resource
Black Nurses
Description
An account of the resource
In this video I highlight the health care system of New Orleans by interviews a black family with four generation fo black nurses.
Creator
An entity primarily responsible for making the resource
Chloe Ward
Source
A related resource from which the described resource is derived
https://youtu.be/XFLTApyX10g
Publisher
An entity responsible for making the resource available
Mass Communications Department of Xavier University at Louisiana
Date
A point or period of time associated with an event in the lifecycle of the resource
11/20/2022
Identifier
An unambiguous reference to the resource within a given context
https://youtu.be/XFLTApyX10g
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2f1052cb743e2b6fdc6574caf01f48c2
Moving Image
Videos
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
<iframe width="560" height="315" src="https://www.youtube.com/embed/CfcAfknKgW4" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
9 minutes, 24 seconds
Compression
Type/rate of compression for moving image file (i.e. MPEG-4)
mp4
Producer
Name (or names) of the person who produced the video
Trinity Johnson
Director
Name (or names) of the person who produced the video
Trinity Johnson
Transcription
Any written text transcribed from a sound
Trinity Johnson:
Parties, a large part of New Orleans culture. Everyone knows to have a good party. You need to have good music. And though options are vast, there's only one deejay who can turn it all the way up. We want. We want. We want. We want deejay PJ. So I'm wondering what made you and I know your dad played the piano and you started drums, like, right.
00:00:34:06 - 00:00:35:20
Trinity Johnson:
But really.
00:00:36:10 - 00:00:47:13
DJ PJ:
I like noise. I like the noise of Alex. Like, I feel like music is something that just I don't know when you do it, it expresses emotion. So it is something that's pretty pretty deep.
00:00:47:20 - 00:01:10:08
Trinity Johnson:
Honestly, because I don't know when you're playing and stuff, I just it makes you feel like you're the only person there. Yeah. And it's like you just have this aura of awesomeness around you. Like you're in a movie or something. And that's where who are like. What made you decide to, like, deejay?
00:01:10:25 - 00:01:31:27
DJ PJ:
Funny story. Well, as it was anyone I saw with Chris Rock as a kid, everybody's crazy. I said it was episode one. Like he was like, Beat it. And it just look cool. I just seen him do it. It was like this all pretty cool. Like, make it look easy, you know? Same. So at Christmas, like I did you to deviate for me.
00:00:00:18 - 00:00:33:22
00:01:32:05 - 00:01:43:01
DJ PJ:
Okay, so, like, my people, I guess they got it for Christmas and like, it was a private school, and here we are. We are. No, that was 14 years ago. That's crazy.
00:01:45:14 - 00:01:50:01
Trinity Johnson:
Do you identify yourself as someone who works in the radio recording industry?
00:01:51:01 - 00:01:58:08
DJ PJ:
I am now. I want to. They're producing, so let me play drums. I just kind of decided that like two months ago. So that yeah.
00:01:58:18 - 00:02:12:29
Trinity Johnson:
That's awesome. Because I was going to ask you, like, where do you see yourself going in the next five, ten years? What do you think? Oh, I was really cool. How was like, what was your transition from like recreational to professional?
00:02:13:14 - 00:02:33:18
DJ PJ:
Actually, when I got to college, so it was like my sophomore year, I pretty much started deejaying like I started here as pretty much leading. But then it was just like other schools because it really was pretty slow. So they found it easy to me for my age, just kind of grew and I was like more and more and more.
00:02:34:00 - 00:02:35:07
DJ PJ:
I really started in the schools and.
00:02:35:17 - 00:02:43:04
Trinity Johnson:
It was your like first. That makes me really coincidence. Coincidence has a.
00:02:43:13 - 00:02:43:22
DJ PJ:
Listen.
00:02:44:01 - 00:02:48:22
Trinity Johnson:
I mean, my freshman year, that's awesome. But you just wanted to I mean, like.
00:02:49:19 - 00:02:58:01
DJ PJ:
I couldn't really it was in health. And so actually one of my friends, he was deejaying here in August and.
00:02:58:14 - 00:03:00:17
Trinity Johnson:
Oh, my goodness, I know that.
00:03:01:03 - 00:03:19:20
DJ PJ:
Guy is so one of my friends, but is his name is Chris. He was big beginning and I was just like, I can tell you, like I got my stuff in the car because I it was like, I just need some it's it's like sort of like a play. So we just had like a mind. He was like, All right, you know, Would you go in there?
00:03:20:01 - 00:03:23:04
DJ PJ:
Yeah.
00:03:23:04 - 00:03:33:29
Trinity Johnson:
With his band, Like your favorite party so far at, like, let's say, of this year, unless you have one that really had you like a lot of.
00:03:33:29 - 00:03:35:02
DJ PJ:
The same epidemic in.
00:03:35:11 - 00:03:39:14
Trinity Johnson:
The video gym. Yeah. So that would be cool.
00:03:39:14 - 00:03:43:02
DJ PJ:
Like everybody in the element and comfortable.
00:03:43:04 - 00:03:50:07
Trinity Johnson:
You know, we were all younger like it was it was a great time. You had to have you all orientation.
00:03:50:10 - 00:03:51:23
DJ PJ:
It was cool cool clothing.
00:03:52:13 - 00:04:00:00
Trinity Johnson:
I know that was interesting, but how did you remember the transition back into like less restrictive of society.
00:04:00:18 - 00:04:25:27
DJ PJ:
Uh, social media? So like over COVID 19, a lot of like social media and like putting on pictures and stuff like that whenever you mix it. I just do like little snippets, tutorials and stuff like that, just kind of playing with it within. It was just like school came back into the of so by school roommates I think it was more like, okay, you're dealing with all these people back together, you know, saying more stuff to like say everybody else that they hadn't like more events and stuff like that.
00:04:25:27 - 00:04:31:12
Trinity Johnson:
So, so you didn't really have to do too much like they're already free.
00:04:32:03 - 00:04:32:08
DJ PJ:
To.
00:04:33:01 - 00:04:35:15
Trinity Johnson:
Do like and during the pandemic where.
00:04:35:15 - 00:04:50:26
DJ PJ:
You so during a pandemic, I guess it was like, oh, no, there was no question. So but yeah, it was like and kind of slow down. But people having virtual events.
00:04:50:26 - 00:04:53:18
Trinity Johnson:
As I was like, okay, so you were one of those.
00:04:53:18 - 00:04:59:05
DJ PJ:
Yeah, one of those like, virtual worlds where even though I did like the set up to make it work and stuff like that.
00:04:59:23 - 00:05:00:28
Trinity Johnson:
I can't cope.
00:05:01:16 - 00:05:01:23
DJ PJ:
Yeah.
00:05:02:07 - 00:05:04:01
Trinity Johnson:
For connections. Yeah. I mean that.
00:05:04:01 - 00:05:14:11
DJ PJ:
Has like sort of, like the way my room is set up, like I'm right next to the white guy around it, like my roommate. We set up one right there, so. And I, like, make my own and set up and like, make it look nice and stuff like that. So very.
00:05:14:26 - 00:05:27:10
Trinity Johnson:
Fast. That's cool. You want to hang on, right? How do you think that education, like that education act and education as a whole has no form.
00:05:28:15 - 00:05:46:06
DJ PJ:
Of what I heard. I'm a nerd. I there are people I mean, some people will hire you and they're like, you know, I'm into a lot of the game. So I guess me saying, oh, it was, you know, academics, you know, like I was a drum major too. So like, you know, to be in a band that has games, stuff like that.
00:05:46:17 - 00:06:04:01
DJ PJ:
But I just felt like, you know, school was important. Then you got to we're going to college, got to get scholarships and stuff like that. So got to do Crazy team. So you had to, you know, prep a day. So by you getting to college is like, you know, you're ready for the real world, I think when you work on your career then so let me see.
00:06:04:01 - 00:06:09:08
DJ PJ:
I got my bachelors in 2019, I got my masters in 2021. So feel great, you know.
00:06:09:26 - 00:06:14:07
Trinity Johnson:
Congratulations. And of course, I oh, I think that's.
00:06:14:10 - 00:06:17:08
DJ PJ:
That was likely deejaying and music at the same time.
00:06:18:08 - 00:06:41:17
Trinity Johnson:
And you seem like an amazing role model. I was going to ask like, what is the legacy you want to leave behind? Because right now you represent an educated, you know, successful, just holistically good black male, a very good role model. I so appreciate. It's a lot of positivity.
00:06:41:24 - 00:06:50:28
DJ PJ:
Like everybody should just be happy, like, you know No. Which is necessary, whether it be who is our friend, you know, says yes, I can appreciate that.
00:06:51:10 - 00:06:56:15
Trinity Johnson:
Right. So like, what do you love the most about New Orleans.
00:06:56:22 - 00:06:57:26
DJ PJ:
Your home bone New.
00:06:57:26 - 00:06:59:14
Trinity Johnson:
Orleans. It's crazy like.
00:07:00:09 - 00:07:10:04
DJ PJ:
So I've been to a lot of like major cities and it's going to sound corny, everybody. There's no place like New Orleans, but like New Orleans is different. Like you get a little bit of everything.
00:07:10:18 - 00:07:11:01
Trinity Johnson:
That's.
00:07:11:07 - 00:07:27:00
DJ PJ:
There. You go to someone's country, you go there, you get a lot of like mixed game, like black. But at the same time, it's like New Orleans has everything in it. Like we have a lot of Carolinas, we have a lot of water. Yeah, Everything new.
00:07:27:00 - 00:07:30:10
Trinity Johnson:
More Massachusetts representations lacking.
00:07:30:20 - 00:07:31:11
DJ PJ:
But it's you know.
00:07:31:18 - 00:07:34:11
Trinity Johnson:
It is so but.
00:07:34:29 - 00:07:36:13
DJ PJ:
But the food too I mean.
00:07:37:07 - 00:07:54:21
Trinity Johnson:
The food. Yeah. Oh, my gosh. And the thing is like, I was nervous because I don't really like seafood like that. I have some fish, but, you know, between crab. Yeah, I came here. Even the cafeteria food, it's the season. So this is the way to go back to the clam chowder. That's going to.
00:07:54:22 - 00:07:55:03
DJ PJ:
Clam.
00:07:55:03 - 00:08:21:11
Trinity Johnson:
Chowder. That's for sure. But you know, you like to me. Well, he got some, but you. You're not away from foreign. I like the celebrities like that. And you're going to start producing their produce. Like, are you going to stay in New Orleans? Like, I know these are your roots, but yeah, I don't know. I think they're usually going well.
00:08:21:15 - 00:08:23:02
DJ PJ:
I like I like traveling.
00:08:23:18 - 00:08:25:24
Trinity Johnson:
Oh, Where do you travel to? Uh.
00:08:26:09 - 00:08:35:06
DJ PJ:
The last place I went to the South Carolina once I went to the university. And that's pretty cool. And they're traveling out there and the crowds kind of travel work.
00:08:35:06 - 00:08:37:04
Trinity Johnson:
Bingo track bingo.
00:08:37:15 - 00:08:38:01
DJ PJ:
Yeah.
00:08:38:10 - 00:08:42:24
Trinity Johnson:
That's cool. That's really cool. Those are my question.
00:08:43:01 - 00:08:45:29
DJ PJ:
You know, matter of fact, I got to be. Oh, put.
00:08:45:29 - 00:08:46:03
Trinity Johnson:
On.
00:08:47:12 - 00:08:51:14
DJ PJ:
Conference. Your name.
00:08:51:14 - 00:08:57:18
Trinity Johnson:
We like deejay PJ. Got to follow him on Instagram and Twitter.
00:08:57:21 - 00:09:04:28
DJ PJ:
@ pj_wlkr and www.pjwlkr.com
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
My Nola, My Story: A Parlé with PJ
Creator
An entity primarily responsible for making the resource
Trinity Johnson
Source
A related resource from which the described resource is derived
My Nola, My Story via Youtube
Subject
The topic of the resource
DJ PJ (Patrick Walker Jr.)
Format
The file format, physical medium, or dimensions of the resource
Video
Description
An account of the resource
An interview with DJ PJ (Patrick Walker Jr.) to discuss his journey to become such an amazing Dj, as well as his future plans.
Publisher
An entity responsible for making the resource available
Mass Communication Department at Xavier University of Louisiana
Date
A point or period of time associated with an event in the lifecycle of the resource
December 10, 2022
Contributor
An entity responsible for making contributions to the resource
Trinity Johnson
Patrick Walker Jr.
Rights
Information about rights held in and over the resource
My Nola, My Story
Relation
A related resource
My Nola, My Story 2022 Exhibit
Language
A language of the resource
English
Type
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video, mp4
Identifier
An unambiguous reference to the resource within a given context
https://www.youtube.com/watch?v=CfcAfknKgW4
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
A Digital Humanities project by Xavier University of Louisiana's Mass Communication department students, led by Dr. Shearon Roberts.
-
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c157d7308dffd6498a56d3dd1a78a7dc
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Nola Sustainability
Description
An account of the resource
A collection of the featured stories focusing on New Orleans biodiversity.
Moving Image
Videos
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
<iframe width="560" height="315" src="https://www.youtube.com/embed/acaSt5Ox5cA" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Transcription
Any written text transcribed from a sound
Rasheeda F 0:2
I'm Rasheeda Ferdinand, I'm the founder and CEO of Sankofa. I Work with a fabulous team of staff members, partners, advisors, friends and colleagues, that I'm really honored to be a part of and say, we've all made this possible together for so many years. I want to just share out a little bit about our relationship with Ed. We've actually been working with them for about eight years. Since 2015,
community gardening is a communal healing experience. Alright?
Pamela Broom 1:02
Don't get me wrong. It's hard. Sometimes and it gets a little hot. I was out at the pharmacy this morning. And one of my well, two of my staff members came out to help me put up some signage and these are young women. They say, Pam bless you. This is what you do. Yes, this is what I do. This is what I do. And this is what I want to inspire. And the I believe that I'm a living example of training a child when she is young. And when she's old. She will not depart from her training. I started actively gardening at eight years old, in the front yard and a plot not much bigger than this. And so I have carried that with me. Throughout my life. Everywhere. I've gone I've never been trained formally in agriculture. I remember one time I was talking to a group and a young man, he was a northerner and so Miss Pam, what do you do about pH? I'm like, I you know, I know about acidity and alkalinity and all that. It means put your hands in your hands. So I'm so happy to be here. Always happy to partnerships that we can create. We can get somebody started. Pamela Broome, I'm the seventh Ward revitalization project manager with new Corp Incorporated. New court is based in the seventh Ward neighborhood of New Orleans. It's a small business development entity 501 C three, Community Financial community development financial institution that provides loan products and services to small minority and women owned businesses. And my job primarily with the seven port revitalization project is overseeing wellness aspect of the program. So the pharmacy, a wellness hub. So in partnership with Sankofa we focus on providing opportunities for community members to garden to learn how to grow, to learn how to market and consume fresh, healthy and affordable produce
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
My Nola, My Story: The People's Garden
Creator
An entity primarily responsible for making the resource
Tyana Jackson
Format
The file format, physical medium, or dimensions of the resource
Video
Subject
The topic of the resource
People’s Garden Event Hosted by Sankofa and USDA
Description
An account of the resource
Interview of Pamela Broom, a contributor to the lower ninth ward rehabilitation, at the People's Garden event.
Source
A related resource from which the described resource is derived
My Nola, My Story via YouTube
Publisher
An entity responsible for making the resource available
Mass Communications department at Xavier University of Louisiana
Date
A point or period of time associated with an event in the lifecycle of the resource
September 1, 2022
Contributor
An entity responsible for making contributions to the resource
Pamela Broom
Nia Brown
Rashida Ferdinand
Rights
Information about rights held in and over the resource
My Nola, My Story
Relation
A related resource
My Nola, My Story 2022 Exhibit
Language
A language of the resource
English
Type
The nature or genre of the resource
iMovie
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
A Digital Humanities project by Xavier University of Louisiana's Mass Communication department students, led by Dr. Shearon Roberts
-
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d36d1b6a2f0acaa793450d05f0a4c1df
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Nola Culture
Description
An account of the resource
A collection of the featured stories focusing on New Orleans culture.
Moving Image
Videos
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
<iframe width="560" height="315" src="https://www.youtube.com/embed/4iLuRxczPIs" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
9:21
Transcription
Any written text transcribed from a sound
(Intro Narration)
Vaucresson Creole Cafe and Deli has been a staple restaurant and deli providing for the Seventh Ward NOLA community for over 100 years in three generations. When you come inside you are welcomed warmly by the staff that make you feel a part of the Vaucresson family, with the sounds and smells and delicious tastes that our unique to this shop. Here with us today is the man that has stories to share about his family sausages in New Orleans.
(Vance Vaucresson)
My name is Vance Vaucresson, I am a third generation sausage maker, a member of a family that has had a business in the seven for over 122 year. In the past, we've had a restaurant on Bourbon Street in the 1960s. My father arrived at Sunny Vaucresson open them and it was the first business opened by black men Post-Reconstruction on Bourbon Street. Vaucress Cafe Creole, as it was known was open for about 10 years. And then after that, we went on to continue the sausage making business formal sausage company in 98. Here at this location at 1800 St. Bernard Avenue.
(Narration)
Mr. Vance graduated from Morehouse in 1992. When he finished college, his father asked him to come back to help run the shop, they would work alongside each other for the next seven years.
(Vance Vaucresson)
It was iron sharpening. I realize he was preparing for the day when he didn't pass, which was 98. He had a massive heart attack on All Saints Day, November 1st. and he passed. And so I resumed my activities November 2nd., and walked in her and kept everything going from 98 until Katrina hit, 2006. It wasn't easy. So it took us a number of years to come up with what we want to do next. And now we had our grand opening this past Friday. Today, it's the 29th of November. And we now have Vaucresson's Creole cafe and deli, the merger of Vaucresson' Cafe Creole in the 60s and Vaucresson meat market, where put them all into one. Where we now go back to serving our community again, where serve our famous po-boys which have been featured in the New Orleans Jazz and Heritage Festival and French Quarter festival, where we are original vendors, food vendors, and also providing our freshly made sausages and deli items just like we did when we had we want
(Narration)
Mr. Vance talked about the importance of community and the people involved in helping keep their family business a success. Let's meet some of them
(Garret Chachere - chef)
So what I'm about to mix here is our Italian size it's already been run through that we have the Vaucresson secret seasoning mix. I've been a close friend of the Vaucresson's for a long time and I don't even know the secret she knows better be good. So when you mix it It smells smells delicious.
(Duane Elton Cruse Jr. - chef)
Vance Vaucresson is my frat brother. Alpha Phi Alpha. I've known Vance for years. Came home to New Orleans and connected with him and we've been cooking buddies ever since.
I got a request for sausage without the casing so now I gotta take it out.
(Chef)
Yeah you got the assortments you got your crawfish right there. You got your hot right there. You got the Italian, jerk, and chicken all type of assortments. Whatever people desire.
(Zora)
What's your favorite?
(Chef)
Um, the crawfish y'rd me like yeah, it's like sea foodie and hot at the same time and I like that, yeah.
(Julie Vaucresson - co owner and wife of Vance Vaucresson)
It's bigger than the company is bigger than the cafe or the deli. It's a legacy. And I think the biggest thing for me right now is every day I get to talk to the people. They tell me the history that how they would come here as a child I'll, how they, their grandparents, how they've gotten sausage for years, it's 123 year old, that has been in the community, working in the community living in the community. And it's just it's a beautiful thing, even my employees tell us that it's bigger than them, and they're so happy to be a part of it.
(Vance Vaucresson)
Now, see this, these wonderful people here are longtime stewards of the community. These are the Temptons, and the Temptons have family and have served the community for generations, and have been social, economic, and community oriented. And I'm so thankful that they came.
(Mr. Tempton)
And we've referred more than we visited. So this is a spot to come. Yes.
(Vance Vaucresson)
And them referal fees are gonna get him a free meal. I'm gonna have to get him a punch card.
(Narration)
Being in New Orleans for over 120 years focus in Delhi has created many relationships with people in the community. But he's also gone through many changes and challenges regarding business and family. One of the biggest challenges for Vance folkerson, was bouncing back from Hurricane Katrina in 2005, to where we are in the present.
(Vance Vaucresson)
Plus, New Orleans was wiped clean. I mean, had an entire city that had to start over. It was unprecedented. So this neighbor was adversely affected by the flood water. It took a while for him to come back. So when you're talking about bringing your business back to a neighborhood, that was still a ghost town for a number of years, it was difficult. Plus, I lived out of town for two years after the storm until we could come back and rebuild. So our journey took a long time. There's a lot of personal things that kept me from really putting all my efforts back into rebuilding. But even though I contemplated letting it go, having so many conversations, and my mother said, you know, just let the storm be your reason for not coming back, And she knew I had some other desires and some other passions. (Begins to sing). Singing is a passion of mine passionate. Music, theater, acting, songwriting, storytelling, something like that we'll do some thing but going up with these responsibilities, these legacies, learning how to make sausage, how to make different items, seeing the relationship that this business had with the community community, you can't just let that go. Sometimes you have to decide are you going to pursue a career that you have to build from scratch not knowing what's going to happen? Or do you want to take on responsibility to step into an established legacy and meet the challenge to perform in hopes to maintain something that pays homage to your ancestors who came before you. My name is Vance Vaucresson and this is My NOLA, My Story,
(Credits Roll)
Producer
Name (or names) of the person who produced the video
Zora Thomas
Director
Name (or names) of the person who produced the video
Dr. Shearon Roberts
Compression
Type/rate of compression for moving image file (i.e. MPEG-4)
MP4
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
My Nola My Story: Vaucresson Sausage
Creator
An entity primarily responsible for making the resource
Zora Thomas
Subject
The topic of the resource
This is an interview with Vance Vaucresson, owner of Vaucresson Creole & Deli.
Description
An account of the resource
Vaucresson Creole Cafe & Deli is part of My Nola, My Story, a Digital Humanities project by Xavier University of Louisiana's Mass Communication department students, led by Dr. Shearon Roberts. This report is produced by Zora Thomas
Format
The file format, physical medium, or dimensions of the resource
Video
Language
A language of the resource
English
Source
A related resource from which the described resource is derived
My Nola My Story via YouTube
Identifier
An unambiguous reference to the resource within a given context
https://youtu.be/4iLuRxczPIs
Rights
Information about rights held in and over the resource
My Nola, My Story
Relation
A related resource
My Nola, My Story 2017 Exhibit.
Type
The nature or genre of the resource
Adobe Premier, video
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
A Digital Humanities project by Xavier University of Louisiana's Mass Communication department students, led by Dr. Shearon Roberts
cafe
creole
deli
Food
Julie Vaucresson
po-boys
Robert Vaucresson
sausage
Sonny Vaucresson
Vance Vaucresson
Vaucresson Sausage
-
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Moving Image
Videos
URL
https://www.youtube.com/watch?v=Dk4-Lyj_5hw
Text
Any textual data included in the document
Morgan Banks: Ok, so thanks for meeting with us. Did you want to go ahead and introduce yourself?
Darryl Durham: Sure, sure. So my name is Darryl Durham, and I’m the founder of what we used to call Anna’s Arts for Kids, now it’s called Anna’s Place NOLA and so now I am the director of arts and community engagement.
Morgan Banks: So why did you decide to create Anna’s Place?
Darryl Durham: Well when I came to New Orleans, I found out about this church because of the murder board, where they listed the names of people who had died after Hurricane Katrina through violent means and so I wanted to see what that was about. My backstory is I actually am an artist and I’ve been executive director for the Harlem School of the Arts. So, I’d always been interested in developing programming that worked specifically with kids of color. Um, and so when I came to New Orleans immediately identified what the issue was, and saw that the schools were not preparing the kids to deal with, not to become artists necessarily but just have those experiences which lead to a full life. And so the program itself was initially founded because the priests and I wanted to interrupt the cycle of violence and poverty that was going on. Now, this was 2009 when we did that.
Morgan Banks: ok, so how have you seen Anna’s place grow over the years?
Darryl Durham: It's grown from about eight kids in the original class to as many as a hundred kids during the summer program, and I think that now that we’re developing a new building, which is going to be the community center, we’ll be able to triple the number of kids. I think the best growth though is figuring out what we’re doing. As I said, I am a musician and when we started the program it was a weekend arts program because that was my strong point but then the parents came to us and said: “We see what you’re doing with the kids and they need tutoring.” So we said, “okay, well we’ll start after-school tutoring” I don’t know anything about tutoring. Luckily we were able to get volunteers from Loyola, Tulane, from Xavier. We were able to bring in a volunteer education director who worked with us for the first couple of years. So the real growth of the organization is not, in my mind necessarily, being in the number of kids we’ve served which is powerful, but it’s figuring out what we’re doing and coming up with an actual plan that can be replicated by other organizations that want to do this cause people always say “I wanna make a change but I don’t know how to do it.” Well if I give you… if I show you how we did it you may not have to do it with the arts you might do it with sports or you might do it with something else. There are lots of good, positive youth development organizations out there but I think the formula that we put together is really solid. And that is Academic enrichment which is more than just doing the tutoring but giving experiences in things like stem and stuff like that, arts and culture which is actually teaching kids not only about singing and notes on a keyboard but also taking them to the opera and let them see beauty in the world, health and wellness so we get inside their head at an early age and we teach them about philosophy, we teach them about making decisions, we teach them what to put in their bodies. They live in a great city don’t get me wrong, but you know, we don’t always eat well. This is okay but there's a balance, and Recreation, how to take care of yourself. And then, the most important thing is that we show them that if you pay attention to these things, if you use the correct behaviors, and you develop good patterns and good habits, habits and behaviors if you just do those things then they will influence your academic achievement, influence your cultural awareness, your social development all that kind of stuff. So that’s really what we’re teaching, we’re teaching them what any middle-class parent would do with their child. I mean, I grew up and my mother made us take ballet. I was good though, excuse me! I was the best out of my three brothers but I ended up being a musician cause we also had piano lessons. She knew the importance of doing stuff like that. Our parents are overwhelmed with trying to survive, trying to put food on the table, put clothes on the kid's back, so this stuff wasn’t done for them, or they can’t… your brain can only handle so much. So we step in as sort of a surrogate parent which is what I love about the program which makes it easily replicable because what we’re doing anybody can do.
Morgan Banks: So I know the Treme community has changed over the years how has that affected the program and how have y’all adapted?
Darryl Durham: Well, the original eight used to walk. A couple of them went to church here so their parents would drop them off, literally all these kids lived within a three-block radius of the church. And over the years, there was a point where there were pictures of me with like fifteen kids following us going back and forth from the church to the program. As the community began to gentrify, as the community began to change, we went out and bought a five-passenger van, and then that turned into a seven-passenger van because more and more kids were being displaced to central city, the east… to now where we have a fourteen passenger van. And for us, that continuity of care is what helps the kids overcome the challenges that they’re dealing with. So despite the fact that the community has changed, and you know change is interesting because I remember going to a meeting with the short term rental people, and one woman who represented an organization was saying “ well there used to be nothing but drug dealers and prostitutes…” and she did not walk on the streets she didn’t see the grandmothers sitting on the porches, she didn’t see the families, she didn’t see the community. She just saw what you see in your periphery as you drive through. You see a couple of guys on the corner doing drug deals, but the drug dealers, I mean the user everybody know… But she didn’t see the grandmas, she didn’t see the little kids, she didn’t see the real community so these people had no problems coming in and taking that community away, but we had to create a community and keep that community here, and so the biggest change is that we had to invest in transportation which cost us about $30,000 a year, but we have to, you know we found that if we keep… cause again we only work with the kids 20 hours a week so it takes us about 2 years to develop their trust, and then after we develop their trust, we’re able to take them to wherever they want to go because they believe in themselves… but that takes a certain period of time and so you’ve got to stay engaged so those 20 hours over four days, I guess it’s a lot but it doesn’t seem like a lot.
Morgan Banks: Last question, so what is your hope for Anna’s Place in the future or how do you see it developing into like a bigger organization?
Darryl Durham: Well I mentioned the Mansion, an old creole that we purchased built in 1846, which ironically was the same year the church was established, but we will be able to house a program that can house up to 250 kids. We’ve been offered another facility in the city, not gonna say where, but central city, not gonna say who, which is exciting because these people have looked at our program and said “okay, we see what you guys are doing, we got an abandoned building, can you guys come in and do that program?” But more importantly, what I see, what I hope for the future is that people can say “ I can replicate that, I can do that, I know a church that’ll give us space, I know eight to ten to twelve kids who could use the help.” By the way, we never advertise for this program, the program grew because parents and kids talked to their friends. So we never had to pay for marketing because we never were ever in a situation where we had a shortage of kids, but I think for the future if people can look at what we’re doing if they really wanna make a difference, cause you can’t do it for a couple of days couple of weeks couple of years. We’ve been at this for 12 years like I said we figured it out and made it easy on you, but you still gotta be dedicated to doing it because it’s not easy work and luckily for us we’re now moving to the second generation of kids so I think that once you move to that next generation we have new leadership so once you start doing that you become a mature organization and you begin to exhibit staying power and you begin to realize that mission, procedures that you’ve established are working.
So yeah I think we’re in a position right now where we’re gonna be in great shape for the future so I’m pretty excited.
Morgan Banks: Thank you so much for meeting with us
Darryl Durham: Yeah, thank you guys, really enjoyed it!
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
<iframe width="560" height="315" src="https://www.youtube.com/embed/Dk4-Lyj_5hw" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Interviewer
The person(s) performing the interview
Morgan Banks
Interviewee
The person(s) being interviewed
Darryl Durham
Location
The location of the interview
Anna's Place NOLA
Transcription
Any written text transcribed from a sound
Morgan Banks: Ok, so thanks for meeting with us. Did you want to go ahead and introduce yourself?
Darryl Durham: Sure, sure. So my name is Darryl Durham, and I’m the founder of what we used to call Anna’s Arts for Kids, now it’s called Anna’s Place NOLA and so now I am the director of arts and community engagement.
Morgan Banks: So why did you decide to create Anna’s Place?
Darryl Durham: Well when I came to New Orleans, I found out about this church because of the murder board, where they listed the names of people who had died after Hurricane Katrina through violent means and so I wanted to see what that was about. My backstory is I actually am an artist and I’ve been executive director for the Harlem School of the Arts. So, I’d always been interested in developing programming that worked specifically with kids of color. Um, and so when I came to New Orleans immediately identified what the issue was, and saw that the schools were not preparing the kids to deal with, not to become artists necessarily but just have those experiences which lead to a full life. And so the program itself was initially founded because the priests and I wanted to interrupt the cycle of violence and poverty that was going on. Now, this was 2009 when we did that.
Morgan Banks: Ok, so how have you seen Anna’s place grow over the years?
Darryl Durham: It's grown from about eight kids in the original class to as many as a hundred kids during the summer program, and I think that now that we’re developing a new building, which is going to be the community center, we’ll be able to triple the number of kids. I think the best growth though is figuring out what we’re doing. As I said, I am a musician and when we started the program it was a weekend arts program because that was my strong point but then the parents came to us and said: “We see what you’re doing with the kids and they need tutoring.” So we said, “okay, well we’ll start after-school tutoring” I don’t know anything about tutoring. Luckily we were able to get volunteers from Loyola, Tulane, from Xavier. We were able to bring in a volunteer education director who worked with us for the first couple of years. So the real growth of the organization is not, in my mind necessarily, being in the number of kids we’ve served which is powerful, but it’s figuring out what we’re doing and coming up with an actual plan that can be replicated by other organizations that want to do this cause people always say “I wanna make a change but I don’t know how to do it.” Well if I give you… if I show you how we did it you may not have to do it with the arts you might do it with sports or you might do it with something else. There are lots of good, positive youth development organizations out there but I think the formula that we put together is really solid. And that is Academic enrichment which is more than just doing the tutoring but giving experiences in things like stem and stuff like that, arts and culture which is actually teaching kids not only about singing and notes on a keyboard but also taking them to the opera and let them see beauty in the world, health and wellness so we get inside their head at an early age and we teach them about philosophy, we teach them about making decisions, we teach them what to put in their bodies. They live in a great city don’t get me wrong, but you know, we don’t always eat well. This is okay but there's a balance, and Recreation, how to take care of yourself. And then, the most important thing is that we show them that if you pay attention to these things, if you use the correct behaviors, and you develop good patterns and good habits, habits and behaviors if you just do those things then they will influence your academic achievement, influence your cultural awareness, your social development all that kind of stuff. So that’s really what we’re teaching, we’re teaching them what any middle-class parent would do with their child. I mean, I grew up and my mother made us take ballet. I was good though, excuse me! I was the best out of my three brothers but I ended up being a musician cause we also had piano lessons. She knew the importance of doing stuff like that. Our parents are overwhelmed with trying to survive, trying to put food on the table, put clothes on the kid's back, so this stuff wasn’t done for them, or they can’t… your brain can only handle so much. So we step in as sort of a surrogate parent which is what I love about the program which makes it easily replicable because what we’re doing anybody can do.
Morgan Banks: So I know the Treme community has changed over the years how has that affected the program and how have y’all adapted?
Darryl Durham: Well, the original eight used to walk. A couple of them went to church here so their parents would drop them off, literally all these kids lived within a three-block radius of the church. And over the years, there was a point where there were pictures of me with like fifteen kids following us going back and forth from the church to the program. As the community began to gentrify, as the community began to change, we went out and bought a five-passenger van, and then that turned into a seven-passenger van because more and more kids were being displaced to central city, the east… to now where we have a fourteen passenger van. And for us, that continuity of care is what helps the kids overcome the challenges that they’re dealing with. So despite the fact that the community has changed, and you know change is interesting because I remember going to a meeting with the short term rental people, and one woman who represented an organization was saying “ well there used to be nothing but drug dealers and prostitutes…” and she did not walk on the streets she didn’t see the grandmothers sitting on the porches, she didn’t see the families, she didn’t see the community. She just saw what you see in your periphery as you drive through. You see a couple of guys on the corner doing drug deals, but the drug dealers, I mean the user everybody know… But she didn’t see the grandmas, she didn’t see the little kids, she didn’t see the real community so these people had no problems coming in and taking that community away, but we had to create a community and keep that community here, and so the biggest change is that we had to invest in transportation which cost us about $30,000 a year, but we have to, you know we found that if we keep… cause again we only work with the kids 20 hours a week so it takes us about 2 years to develop their trust, and then after we develop their trust, we’re able to take them to wherever they want to go because they believe in themselves… but that takes a certain period of time and so you’ve got to stay engaged so those 20 hours over four days, I guess it’s a lot but it doesn’t seem like a lot.
Morgan Banks: Last question, so what is your hope for Anna’s Place in the future or how do you see it developing into like a bigger organization?
Darryl Durham: Well I mentioned the Mansion, an old creole that we purchased built in 1846, which ironically was the same year the church was established, but we will be able to house a program that can house up to 250 kids. We’ve been offered another facility in the city, not gonna say where, but central city, not gonna say who, which is exciting because these people have looked at our program and said “okay, we see what you guys are doing, we got an abandoned building, can you guys come in and do that program?” But more importantly, what I see, what I hope for the future is that people can say “ I can replicate that, I can do that, I know a church that’ll give us space, I know eight to ten to twelve kids who could use the help.” By the way, we never advertise for this program, the program grew because parents and kids talked to their friends. So we never had to pay for marketing because we never were ever in a situation where we had a shortage of kids, but I think for the future if people can look at what we’re doing if they really wanna make a difference, cause you can’t do it for a couple of days couple of weeks couple of years. We’ve been at this for 12 years like I said we figured it out and made it easy on you, but you still gotta be dedicated to doing it because it’s not easy work and luckily for us we’re now moving to the second generation of kids so I think that once you move to that next generation we have new leadership so once you start doing that you become a mature organization and you begin to exhibit staying power and you begin to realize that mission, procedures that you’ve established are working.
So yeah I think we’re in a position right now where we’re gonna be in great shape for the future so I’m pretty excited.
Morgan Banks: Thank you so much for meeting with us
Darryl Durham: Yeah, thank you guys, really enjoyed it!
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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My Nola My Story: Interview with Darryl Durham, Founder of Anna's Place NOLA
Format
The file format, physical medium, or dimensions of the resource
Video Interview
Subject
The topic of the resource
This is an interview with Darryl Durham, the founder of Anna's Place NOLA. Currently, he serves as the director of arts and community engagement.
Description
An account of the resource
Anna’s Place NOLA is an afterschool program that works with children and youth from K-12 to address the inequities that systematically affect them in New Orleans, such as failing schools, violent neighborhoods, insufficient healthcare, low self-esteem, and food scarcity.
Creator
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Morgan Banks, Karrington Stewart, and Devin Sloan
Source
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My NOLA, My Story via Youtube
Publisher
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Mass Communications Department at Xavier University of Louisiana
Date
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April 12, 2022
Contributor
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Darryl Durham
Rights
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My NOLA, My Story
Language
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English
Type
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iMovie, video
Identifier
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https://www.youtube.com/watch?v=Dk4-Lyj_5hw
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Digital Humanities project by Xavier University of Louisiana's Xavier Exponential students, led by Dr. Shearon Roberts.
Relation
A related resource
My NOLA, My Story 2022
Afterschool Program
Anna's Place NOLA
Arts Culture
Darryl Durham
Devin Sloan
Karrington Stewart
Morgan Banks
New Orleans Art
Treme
Xavier University of Louisiana
-
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e991964f69515eeb59c30ba8af1f337b
Moving Image
Videos
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
videos
Transcription
Any written text transcribed from a sound
Liz Johnston 0:02
We talk about being here in New Orleans, the importance that we ascribe to this area, we don't see any of that here anymore due to the gentrification.
Liz Johnston 0:30
The first thing that comes to mind when I think of the Treme neighborhood is, well, the first thing I'll say is history. The second thing I'll say is an authentic look into the accomplishments of people of color in New Orleans and across the South in general. With Treme being one of the first established black neighborhoods in like not just New Orleans but the country, it's such a hugely important place. It's the birthplace of jazz music; it's the birthplace of so many interracial, interfaith, intercultural exchanges that really make New Orleans what it is today. In terms of that, it's also really sad because if you walk through this neighborhood today, you won't really see that. The history we talk about being here in New Orleans, the importance that we ascribe to this neighborhood, to this area, we don't see any of that anymore due to the gentrification of the city that's been really unfolding for several decades now but we've seen an even stronger push that's given us more gentrification since Hurricane Katrina.
Liz Johnston 2:44
I'll say because I'm from Uptown, I am not originally from Treme. I'm from the Irish Channel Garden District area. It's a different neighborhood and a different part of town so I can't really speak to that authentic experience of growing up in the Treme but I will say even with being from Uptown, which has had a history of money. It has had a history of being mixed. I will say that the entire energy. the culture, the feel, and the population are incredibly different. You go from growing up in a place where you see people who look like you, who understand you and your culture. I'm someone who is Creole so I did grow up with a little bit of my language with a little bit of purity. With a lot of aspects of that culture being a huge part of life and how it was raised in my thought process and how I view the world, the afterlife, and all these other existential questions that are engaged with that culture because it's mine and it's what I grew up with, and I grew up around other people who had it. Being fairly young when hurricane Katrina happened, which is really when we started to have to face that change. I think it's a misconception that Hurricane Katrina happened and suddenly, everything magically went downhill. There were little rumblings and little things there prior to, but Hurricane Karina put us in this spot where we couldn't really deny those things. We couldn't really deny those things; we couldn't really deny people being pushed out of their homes; we couldn't really deny the increase in prices; we couldn't deny that our schools were being taken over by businesses; that instead of having a very balanced private or catholic school and public school system. Also, a lot of inequality here. I was actually talking with my co-worker Brooklyn snout about what it was like - being just playing. It made me so aware and she shared the same sentiments with me in Texas. It made her both myself and a lot of other people so aware of how unique New Orleans culture was down to our language because a lot of us like, we call it 'yet,' which is our New Orleans colloquialisms and our little words and things that we say. It's so entrenched in the way that we talk and what we do and say that we don't notice that other people don't speak that way and don't express themselves that way and often have no clue what on earth we're saying. You know, people throwing the word "refugee" around a lot to people who evacuated from Hurricane Katrina which traditionally "refugee" has such a negative connotation like people very rarely use it to speak of someone positively but it's also like someone who evacuates for a hurricane is usually not that's not what a "refugee" is supposed to be but it puts you in this very weird space of like the negativity with that and how people negatively viewed New Orleanians and a lot of the stigmas that came from me. It's a really strange feeling, especially coming back after hurricane Katrina and even as things got more gentrified to go from being in a place where you saw a lot of people who looked like you, who understood you who understood culturally how to act in a place how to speak in a place what was going on, to suddenly be home and it not feeling like home like you don't see people who look like you anymore; like neighborhoods are becoming, you know, less diverse you're seeing more businesses that really are not opened by people who are from here and not really for the people who are from here like it's a really strange feeling where home doesn't really feel at home anymore. I believe that there truly is an overly romanticized view of what performance is, and I think any place that's a 'touristy' place has that, but there is something to saying that. The feel of the city is different. That music, that magic it just feels off it feels different; it feels weird seeing such a strange place where people don't react the same. We have what's called 'speaking,' like if you see someone on the street you speak, and New Orleans culture is very friendly. You can go to make (well, other people say buying groceries we say make) groceries at a store and end up talking with a stranger for like 20 minutes you know that's a very common occurrence and that's sort of gone. The ways that you would just subtly greet people like walking down the street, a lot of that's gone and it's like you can tell even in such a subtle thing you who's from here and who's not from here. I don't know it's a little bit isolating because you're like where are like my people at. It's strange when you see important historical places really get torn down and torn into overpriced apartments and not really valued and people fighting over land. You have all these beautiful creole cottages and shotgun homes that are historic and someone bought a property in between that and like decided to make like a shipping container house or like a weirdly modern place that doesn't go with anything.It's like you can tell who's buying the property and who's living there based on like the changes you see in the architecture.
Liz Johnston 9:51
I think that people still crave community here and I think that community members still come together. That's really just Louisiana culture. It's the community. That's why we have the Cajun Navy; that's why we have you know even during covet people coming together. You'll have a random person who'll get together with a couple of friends and be like, "Okay this natural disaster just happened we're gonna go and buy a bunch of food, pull our money together, and serve our community food." They're not with the red cross, they're not with you know whatever organization these are just people coming together making sure their community is fine and trying to do the best that they can do. People who will be like, "Hey, even if you don't know me, I have power at my place. One of the few places with power in this area right now; you can come here and charge your phone you can come here and charge your laptop" - that sort of thing. I think that we still have that, but one of the things that I think is increasingly becoming a problem, even in the nonprofit area, as we see more nonprofits and organizations pop up, is people who have a lot of really great intentions and they see that there are people in need and they don't really understand what those needs are and they don't really want to know they just know what they want to contribute to feel great about themselves; feel like they've made a difference, but not necessarily what those needs are and it's really hard to have a community group to help a community without the voices from that community involved.
Liz Johnston 12:12
So gentrification impacts us on several levels. but the first one is we spend over 30 000 a year on transportation for our students when this program first occurred. Now, many of these kids were like in the neighborhood. They lived here some of them still do, but a lot of them no longer afford to live in this neighborhood. A very common thing with people living in poverty is sometimes you have to work out a lot; sometimes you cannot make your payments anymore which is not a moral judgment against anybody. There's so many things that happen; also, being low income you end up with some boards you do not do things morally or ethically and you end up having to move legally. You can't just raise someone's rent out of nowhere in the middle of their lease, but if you have a slingboard and you're barely able to survive and generally you can't afford them you know deal with all it like that's you're not at least that are so many factors in it, but it's a very common thing that people end up having to a move around a lot and change their phone numbers a lot. There's also some people who have to do once a month releases and sometimes there's a month that's simply not great for me, so one of the reasons why we do that is because it's noticed and unfortunately there are so many studies that support that that children simply just instability to have healthy lives and to even have a chance and you know you may not you can't control what their parents do or where their parents are going to end up going to or if they're going to be living with their have this place to come back. You know you're going to get a meal; you're going to get like a hot healthy meal, you're going to have someone who's going to help you with your homework, you're going to have someone who listens and you're going to have someone who's invested in your future. It's not to say that all of these kids have parents who are not invested in their future; that all of them don't have parents who can provide them. Not to say that; it's just that we are ensuring consistency. My job is ensuring that we get the funding to maintain that. I don't work as much with the youth one-on-one, but my job is still development director to ensure we have the funding to keep this program going and that's also where gentrification comes into play - because as a crisis went up and there's far more wealthy people living in this neighborhood. There are more people who have the capacity to give to this program. A lot of people are not from here they don't necessarily know we exist they don't know these kids they moved here for whatever reason they're not as invested and there's some people who aren't there are a lot of people who are invested.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
16 minutes, 22 seconds
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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My NOLA, My Story: Tremé Culture Amidst Gentrification
Format
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Video
Subject
The topic of the resource
This is an interview with Liz Johnston, the Development Director at Anna's Place New Orleans. Anna's Place is an after school program that supports youth in the Tremé area and greater New Orleans academically, culturally and socially.
Description
An account of the resource
Working in the Tremé area post-Katrina after being a New Orleans resident prior, Liz has seen the effects of gentrification first-hand. Through Anna's Place, she supports youths in the hope of restoring a strong sense of community in a culturally important neighborhood.
Creator
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Lundon Shields, Osoniya Wodi and Kutemwa Masafwa
Source
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My NOLA, My Story via Youtube
Publisher
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Mass Communications Department at Xavier University of Louisiana
Date
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April 13th 2022
Contributor
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Liz Johnston
Rights
Information about rights held in and over the resource
My NOLA, My Story
Relation
A related resource
<iframe width="560" height="315" src="https://www.youtube.com/embed/WW6q8HRGi8k" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Language
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English
Type
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Adobe Premier, video
Identifier
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<a href="https://youtu.be/WW6q8HRGi8k" title="Tremé Culture Amidst Gentrification">https://youtu.be/WW6q8HRGi8k</a>
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Digital Humanities project by Xavier University of Louisiana's Xavier Exponential students, led by Dr. Shearon Roberts.
Anna's Place NOLA
Gentrification
Kutemwa Masafwa
Liz Johnston
Lundon Shields
New Orleans
Osoniya Wodi
Post-Katrina
Treme
Xavier Mass Comm
Xavier University of Louisiana
-
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789b45dc31e611e32914f630affb6604
Moving Image
Videos
URL
https://youtu.be/tQYqWJse6C4
Local URL
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https://youtu.be/tQYqWJse6C4
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
<iframe width="560" height="315" src="https://www.youtube.com/embed/tQYqWJse6C4" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Transcription
Any written text transcribed from a sound
0:00 - 10:05 Mrs. Joann Purdue’s Story
10:05 - 23:28 What was it like being the only black woman in administration?
23:28 - 1:13:52. Mr.Joe Purdue’s Story
1:13:52 - 1:21:29 Mr.Joe’s Journey to winning an Emmy
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
1 hour, 21 minutes, 29 seconds
Producer
Name (or names) of the person who produced the video
Tierrah Smith
Jean Baptiste Medjo Me Zengue
Director
Name (or names) of the person who produced the video
Dr. Shearon Roberts
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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My Nola, My Story: A Conversation with Mr. and Mrs. Purdue
Format
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Video
Subject
The topic of the resource
This is a conversation with a local couple about growing up in New Orleans and America in the 50s and 60s.
Description
An account of the resource
Mrs.Joanna Purdue, a New Orleans Native, and her husband Mr.Joe Purdue, who has lived here since 1997 shared their stories to success, including a film career that led to an Emmy award for Mr.Purdue.
Creator
An entity primarily responsible for making the resource
Tierrah Smith
Jean Baptiste Medjo Me Zengue
Source
A related resource from which the described resource is derived
My Nola, My Story
Publisher
An entity responsible for making the resource available
Mass Communication Department at Xavier University of Louisiana
Date
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13 April 2022
Contributor
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Mrs.Joanna Purdue
Mr.Joe Purdue
Rights
Information about rights held in and over the resource
My Nola, My Story
Relation
A related resource
My Nola, My Story 2022
Language
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English
Type
The nature or genre of the resource
iMovie, video
Identifier
An unambiguous reference to the resource within a given context
https://youtu.be/tQYqWJse6C4
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
A digital humanities project by Xavier University of Louisiana’s Mass Communication department students, led by Dr.Shearon Roberts.
2022
Dr.Shearon Roberts
https://youtu.be/tQYqWJse6C4
Mr.Purdue
Mrs.Purdue
My Nola My Story
-
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8bc5fee953bb40a4d081926c6d96971c
Moving Image
Videos
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
<iframe width="560" height="315" src="https://www.youtube.com/embed/v6v2iLJlamM" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Transcription
Any written text transcribed from a sound
Mapó Kinnord 0:00
Good morning. Good morning. How are you? I'm doing well. How are you? I'm fabulous to be interviewing you. Okay. Yeah, it is really a beautiful day. Thank you for taking time to have this interview with us. So, would you do us the honors of introducing yourself? My name My name is Mapó. Kinnord and I am the coordinator or the chairperson for the art department at Xavier University of Louisiana. I've been here now since 1999. So it's been a few years and this is my dream job. Really. I get to I started off as a psych major when I was in school, although I was doing art since I was in high school. Okay, so you know, that idea of like, well, if I go to college, I need to get a job. And so I'm gonna major in psychology. You know, but it was like read the book, take the test, read the book, take the test, and there were some things about it. That is like, this is not really for me. I like the idea of some of the stepping right? Yeah, I mean, I did well, but art pushed more. So and I love them. I love doing it. So yeah.
Kinnord 1:25
They say why don't you go to art school. So I'm going to art school.
Kinnord 1:34
And I was by that time I was doing production pottery and working as a showing artists doing my sculpture because I was doing pottery and then I was always trying to figure out my voice as an artist. So I was you know doing it for a job and then doing it for fun.
Kinnord1:50
And then after graduate school, I was like, Well, where am I gonna go? And there was a conference here in New Orleans, in Sica, the National Conference where actually it's the National Council for the education of ceramic art. And so
Kinnord 2:10
I came to Xavier, and I got to meet John Scott. And he was like, Oh my God, this guy's amazing. And Boyd Bennett, who was the professor at Xavier teaching ceramics, he was like, I'm ready to retire. And I'm like, Oh, really?
Kinnord 2:31
Opportunity. This is a really cool town. There's a really cool people here. The culture is so rich people are friendly. And alive. And so this is 1994.
Kinnord 2:44
So it was like, it was that was like, I'm here. So right after graduate school, I moved down to New Orleans. And in that time, somebody had gotten a job as a ceramics teacher. So I was working in other places. But I was hanging out with the I mean that Scott was so generous, I would come here and hang out. Just to learn from him because he was amazing. It was like getting another graduate degree right and he was so generous with his information. And everybody here was like, you know, super nice. And so the person that they had teaching ceramics didn't work out. And so when they left because I was much more versatile. I could teach art appreciation. I could teach drawing I could teach so having that versatility gave me actually, you know, a leg up. So when they left I'm and then John Scott knew me. He knew my work. He knew my work ethic.
Kinnord 3:48
And I jumped into this like, hey, yeah, so that that was in 1999. I've been here ever since.
Kinnord 3:59
You know, it's funny. There's issues of being a woman in the art field and there's issues of being black and a woman and so your your people don't necessarily it's not like your people just don't pay much attention to you. I guess that's what they is. They're not there. It's in some cases, it's a little bit of an advantage because, you know, they underestimate you on the regular and then they see the work and they go, Oh, okay.
Kinnord 4:32
So since I've, you know, my skills have always been the thing out front. And so the work has opened more doors for me than anything else. So people don't see me first. They see the word first. And it's like, then this becomes a non factor. Right. You know.
Kinnord 4:53
I think what happens is, in terms of press recognition, that's where there's not much going on. You know, I think oftentimes that you know, and part of it too, is is I'm not as interested in advertising myself, because I don't feel the need to. I've always been able to do what I want. And so I've been able to sell the work, I've been able to do the work. So it's funny because you can be successful and not famous. You know, you can be respected in your field.
Kinnord 5:39
The people in your field know who you are.
Kinnord 5:44
Billing your field respect with you do, and to me, that's, you know, that's what I've, you know, that's what what's important to me. Having your name and books and all the rest of that stuff. I guess some people you know, that's nice. But there's so much politics. And this is this is not just for, you know, this goes for white people too. It's like the politics of getting in those books. has more to do with in some cases who you know, the culture, you know, the obvious connections, the obvious connections with our African roots, and some of the some of the things in the aesthetics of the culture has been able to shine through. Like I make big connections between New Orleans in Ghana, in West Africa, which is where I did my regret some of my graduate research, right. And God is like considered one of the most friendly countries in Africa, you know, where people really are friendly and that's, you know, here you know, people say good morning, people, you know, and you'd be you know, how, so
Kinnord 7:02
that's, you know, that's, that's something that I appreciate. The other thing is, you know, some of the second line tradition, which is again in Ghana, I went to a celebration in Guyana, and it was like the umbrellas, the bands, the second line, everything it was like, we're so you know, those connections, they feel good to me. You know, they just feel when you say the arts community, there's so many layers of it. Because there are people who have never gone to school for art and maker and can feel free to make art which is really refreshing, like all the black Indians and that tradition of you know, all of that. So in and before, you know, it's just amazing art.
Kinnord 7:54
So you have that and then you have organizations like Ashe Cultural Center. I don't know if you know about Ashe. Oh my goodness, you guys get a good kick out of this. I think it's a central city. And it's an amazing place where, you know, people celebrate the arts, theater, the visual arts, you know, education on a number of different levels of lectures and talks and stuff, so check out Ashe um, there's a YAYA. Which is another organization where young aspiration to young artists or young artists, for Xavier students, as high school students, go to yeah, go to Yeah, yeah, they come to Xavier, come to the art department, get a degree and then go back and then they got jobs. Uh, yeah. So this like, you know, as coordinators as teachers, it's it.
Kinnord 8:56
So, you know, that's been a really important program. That's been around for over 30.
Kinnord 9:03
And then there's goodness seriously, Joan Michell Center, which has visiting artists programs that have brought hundreds of artists to New Orleans to work for a while and we've had some of those artists use common use our facilities because they don't have a kill over there. So we get basically free get started in cases because they provide them a place to live.
Kinnord 9:33
And they're, you know, they've been able to exchange information that's changed since COVID. But oh, goodness, and then there's the Ogden Museum of Southern Art and New Orleans Museum of Art, the Contemporary Art Center and then one of the most important things is that we have prospect prospect New Orleans. Which is every three years. There's a big arts. triennial, it's kind of like they bring in again, they bring in well over one, at least 50 artists through a variety of different exhibitions and local artists are celebrated and for usually about five months, like from November to February and sometimes they're only going in that October. It's you know, people come from all over the world literally come to New Orleans to see a number of different exhibitions so that we're engaging with two sculpture that was in prospect is now at the New Orleans Museum of Art. There was a piece of cluster size that was that's not where Jackson Lee circle is. So there's, you know, there's events that are happening in New Orleans. No, I'm you know, it's like it's happening, people. I hate it when people talk about starving artists. It's like I'm bringing this back.
Kinnord 11:07
Yeah, if you're good, you know, there is a market out there for you to be able to be successful. You know, when I use Scott, the son of John skeptism, working artists and doing his stuff turns out for him you know, he's been an incredibly successful artists. You know, we've got tons of people Martin painting, sculpture he taught in southern we've got an ex biology student who decided to change majors and focus she decided to focus on sculpture. The C's teaching, you know, I tend to say, so, I mean, you know, yeah, and save your soul. Augustus Jenkins, who graduated from satan and he went, got his master's degree and now he's back here teaching full time. So you know, we we got I can talk about how Yeah, yeah, going on.
Kinnord 12:04
You know, we're proud of the work that we do with our students, because we make sure that they know, you know, what they need to know, to be able to go on and have a successful career.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
12:10 (12 minutes, ten seconds)
Producer
Name (or names) of the person who produced the video
Leah Clark, Jamya Davis, and Blake Moore
Director
Name (or names) of the person who produced the video
Dr. Shearon Roberts
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
My Nola My Story: A Look Into Art Culture and Community
Format
The file format, physical medium, or dimensions of the resource
Video
Subject
The topic of the resource
This is an interview with professor MaPó Kinnord, the art department chair at Xavier University of Louisiana and a successful New Orleans based artist.
Description
An account of the resource
Coming to New Orleans in the late 1990's, Professor Kinnord has been educating the students of Xavier University of Louisiana about the arts. Outside of the classroom, she continues her education by being a successful artist who makes an effort of speaking up for those who like her.
Creator
An entity primarily responsible for making the resource
Leah Clark, Jamya Davis, and Blake Moore
Source
A related resource from which the described resource is derived
My Nola, My Story via Youtube
Publisher
An entity responsible for making the resource available
Mass Communication department at Xavier University of Louisiana
Date
A point or period of time associated with an event in the lifecycle of the resource
April 12, 2022
Contributor
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Professor Mapó Kinnord
Rights
Information about rights held in and over the resource
My Nola, My Story
Relation
A related resource
My Nola, My Story 2002 edition
Language
A language of the resource
English
Type
The nature or genre of the resource
Adobe Premier, video
Identifier
An unambiguous reference to the resource within a given context
https://youtu.be/v6v2iLJlamM
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Digital Humanities project by Xavier University of Louisiana's Xavier Exponential students, led by Dr. Shearon Roberts.
art
art community
art culture
Art in New Orleans
artist in new orleans
Blake Moore
community
Culture
Jamya Davis
Leah Clark
MaPo Kinnord
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d7889eb4a22e13ba380d3c3a8f5e1d71
Moving Image
Videos
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
<iframe width="560" height="315" src="https://www.youtube.com/embed/hBIOV2dCTO4" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Transcription
Any written text transcribed from a sound
Kalyn: Loretta’s Authentic Pralines is a local praline and confectionery shop, owned by a woman named Loretta Harrison. Ms. Loretta was deemed the first African-American woman to own and operate a praline business in the New Orleans area. Unfortunately, Ms. Loretta died due to cancer in February of 2022. Although we were not able to interview her, we were able to get into contact with one of her sons, Robert Harrison.
Alexis: According to Robert, Ms. Loretta was not your typical business owner. For one she didn’t look at people as customers. Her close relationship with God allowed her to have intimate relationships with many of her customers. Oftentimes, she would greet customers with a meal and a scripture. She even included scriptures in many of her online orders. As you can see, her praline shop was filled with scriptures and motivational quotes.
Kalyn: Mrs. Loretta first began making pralines, a recipe passed down through 5 generations, at the age of 8 with her mother on Sundays after church. In a past interview, she recalled neighbors gathering at their house just for their pralines. While working as a librarian at the LSU Medical Library, Loretta began to sell pralines to the students. In 1978, the Jazz and Heritage Festival was looking for a praline vendor. Ms. Loretta applied and won the contract as the praline vendor. From then on she serviced the Jazz and Heritage Festival for over 36 years. After Katrina hit, Ms. Loretta was given the opportunity to leave New Orleans and open shop elsewhere, but she wanted to stay with her family in New Orleans. To keep her business afloat, Ms. Loretta began selling food to draw in more customers to her candy business. Her business continued to grow and she is now remembered as the “Praline Queen”.
Alexis: With every business comes challenges. Loretta’s biggest challenge with the business was operations at a certain point. Her son revealed how difficult it was to be a single mother and a business owner. As her business grew, the demand for products increased to an unsustaining amount. In addition, Ms. Loretta’s job consisted of being the manufacturer, producer, manager, and customer service person. However, she didn’t let these challenges stop the growth and success of her business. For example, Ms. Loretta's success in her praline beignet creation won her the top prize at New Orlean’s inaugural Beignet Fest in 2016.
Kalyn:When asked what role race played in Ms. Loretta’s success as a business owner, Robert revealed that many people didn’t know Ms. Loretta was even black. Most of the time, people heard Loretta and immediately assumed white woman. The only people who knew that she was black were the customers who came inside. Robert ended this discussion with the fact that his mom always fed to a person’s good side..she embraced the good in people.
Alexis: Although Ms. Loretta’s passing was a devastating loss not only to her family, but to the entire New Orleans community, her legacy continues to live on. Her business is family owned and will be passed down to her grandchildren. When asked about any future plans for the business, Robert responded with the fact that they are always looking to expand, with examples including a larger social media presence and reaching other outlets.
Kalyn: Overall, Ms. Loretta was an extremely kind, motivated, and spiritual woman who found a passion in her craft and never stopped dreaming. She is the true definition of an outstanding black female entrepreneur.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
3:36 (3 minutes and 36 seconds)
Producer
Name (or names) of the person who produced the video
Kalyn O'Quinn and Alexis Richardson
Director
Name (or names) of the person who produced the video
Kalyn O'Quinn and Alexis Richardson
URL
https://youtu.be/hBIOV2dCTO4
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
My Nola My Story: Loretta's Authentic Pralines
Format
The file format, physical medium, or dimensions of the resource
Video
Subject
The topic of the resource
Loretta Harrison and the success of her praline business
Description
An account of the resource
This documentary style video tells the story of Loretta Harrison and includes detailed accounts from her son, Robert Harrison.
Creator
An entity primarily responsible for making the resource
Kalyn O'Quinn and Alexis Richardson
Source
A related resource from which the described resource is derived
My Nola My Story via YouTube
Publisher
An entity responsible for making the resource available
Mass Communication Department at Xavier University of Louisiana
Date
A point or period of time associated with an event in the lifecycle of the resource
13th April 2022
Contributor
An entity responsible for making contributions to the resource
Robert Harrison and Loretta's Authentic Praline Staff
Rights
Information about rights held in and over the resource
My Nola My Story
Relation
A related resource
My Nola My Story 2022
Language
A language of the resource
English
Type
The nature or genre of the resource
Imovie, Video
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
A Digital Humanities project by Xavier University of Louisiana's Mass Communication department students, led by Dr. Shearon Roberts
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6186e56980c4e39658603cfd29f92c63
Moving Image
Videos
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
<iframe width="560" height="315" src="https://www.youtube.com/embed/t4M20Ex-dVY" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
My Nola, My Story: Past, Present, & Future of Gert Town
Format
The file format, physical medium, or dimensions of the resource
Video
Subject
The topic of the resource
This is a video of interviews with Gert Town residents who reside in the homes islanded within Xavier University of Louisiana.
Description
An account of the resource
The neighborhood of Gert Town is a keystone of Xavier University of Louisiana and has grown alongside the school. In this video, residents of Gert Town are provided with the opportunity to share their stories and lived experiences.
Creator
An entity primarily responsible for making the resource
Ming Tate and Leianna Yancey
Source
A related resource from which the described resource is derived
My NOLA My Story via Youtube
Publisher
An entity responsible for making the resource available
Mass Communication Department of Xavier University of Louisiana
Xavier Exponential
Date
A point or period of time associated with an event in the lifecycle of the resource
April 13, 2022
Contributor
An entity responsible for making contributions to the resource
Mr. Dino Cordus and Ms.Miranda Bird of Gert Town
Rights
Information about rights held in and over the resource
My NOLA, My Story
Relation
A related resource
My NOLA, My Story 2022 Edition
Language
A language of the resource
English
Type
The nature or genre of the resource
mp4 video
Identifier
An unambiguous reference to the resource within a given context
https://www.youtube.com/watch?v=t4M20Ex-dVY
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Past, Present, & Future of Gert Town is part of My Nola, My Story, a Digital Humanities project by Xavier University of Louisiana's Mass Communication department students, led by Dr. Shearon Roberts. This report is produced by Ming Tate and Leianna Yancey.
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f315f19eee29f3b0d67e3a6451a0c96a
Moving Image
Videos
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
2:45 (two minutes, forty five seconds)
Compression
Type/rate of compression for moving image file (i.e. MPEG-4)
MP4
Producer
Name (or names) of the person who produced the video
Kiersten McCollum
Mckenzi Neal
Director
Name (or names) of the person who produced the video
Dr. Shearon Roberts
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Video
Transcription
Any written text transcribed from a sound
We as a whole, we keep ourselves trapped in New Orleans personally but we blame it on everything else. So I feel like this is my way to make my step moving forward, to take everything I built here and opening up another market in Vegas. Hopefully, opening up everybody that’s in New Orleans to allowing them to be able to travel to different markets.
So our first question is, what impact do you feel Louisiana has had on you?
Well Louisiana having been my home and my birth place, it touch my heart because theres a lot of things that could be better about New Orleans as far as the education, and I speak about New Orleans because Louisiana and New Orleans is very separate and people don’t get that but the culture is different, you get what I’m saying? But Louisiana as a whole, the education is crazy so I feel like personally, as a man, I kind of took steps to get more education than was given to me and thats what kind of opened my mind to want to do different things to broaden my horizon.
Thank you, our next question is, what motivations you? What makes you do things like this? What keeps you going?
So I kind of grew up int his industry as fat as business, as that itself motivates me. Just the fact that I can help every and anybody that I know from music, fashion, or just business in general, even entrepreneurs that are around in New Orleans or the city. That is kind of what wakes me up, the fact that I can help people build themselves and I can see and watch people grow. I love that
And our final question is, why the fashion show? What made you put on the fashion show?
Because, man, New Orleans is like the pinnacle of creation but I feel like there isn’t a “together” fashion scene is New Orleans, you know what I’m saying? I feel like everybody is doing their own thing. So it kind of hit my heart to feel like, “okay well if I can put everybody together and create this one big coalition then it will help the city as a whole” kind of take us out of the crab bucket mentality, you know?
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
My Nola, My Story: BARAKA Event
Format
The file format, physical medium, or dimensions of the resource
Video
Subject
The topic of the resource
This is the story of the BARAKA Fashion Show in New Orleans
Description
An account of the resource
BARAKA was an event highlighting the music, art, and fashion of New Orleans. We present audiences the opportunity to view and immerse themselves into the cultural show represented in "My Nola, My Story: BARAKA Event".
Creator
An entity primarily responsible for making the resource
Kiersten McCollum and Mckenzi Neal
Source
A related resource from which the described resource is derived
My Nola My Story via Youtube
Publisher
An entity responsible for making the resource available
Mass Communications department at Xavier University of Louisiana
Date
A point or period of time associated with an event in the lifecycle of the resource
December 13, 2021
Contributor
An entity responsible for making contributions to the resource
Derrick McAllister
Rights
Information about rights held in and over the resource
My Nola, My Story
Relation
A related resource
My Nola, My Story 2021 Exhibit.
Language
A language of the resource
English
Type
The nature or genre of the resource
Premier Pro, video
Identifier
An unambiguous reference to the resource within a given context
<iframe width="560" height="315" src="https://www.youtube.com/embed/I_plALWf530" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
A Digital Humanities project by Xavier University of Louisiana's Mass Communication department students, led by Dr. Shearon Roberts
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Moving Image
Videos
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
<iframe width="560" height="315" src="https://www.youtube.com/embed/hmxvJAMurnU" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
New Orleans vs New Iberia
Format
The file format, physical medium, or dimensions of the resource
High school football in New Orleans
Description
An account of the resource
My NOLA My Story My story revolves around two teams, one from New Orleans (Warren Easton) and the other from New Iberia (Jonathan Smith) (Westgate). They compete in the state championship game, which is a significant deal in high school football every year. It's always held in New Orleans, and a New Orleans team has won it every year for the past ten years, making it somewhat of a tradition. I'd give you behind-the-scenes access to the game from various locations on the field. Enjoy.
Creator
An entity primarily responsible for making the resource
Michael Sonn
Publisher
An entity responsible for making the resource available
Xavier University of Louisiana
Date
A point or period of time associated with an event in the lifecycle of the resource
12/12/2022
Subject
The topic of the resource
Video
Contributor
An entity responsible for making contributions to the resource
Quincy Hodges
Relation
A related resource
My Nola, My Story 2021 Exhibit
Rights
Information about rights held in and over the resource
My Nola, My Story
-
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c0387e972d9e19865c5d61fee9900eb5
Moving Image
Videos
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
<iframe width="560" height="315" src="https://www.youtube.com/embed/b1Xoej9CBpk" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
My Nola, My Story: Willie Maes Fried Chicken is still kickin'
Format
The file format, physical medium, or dimensions of the resource
Video
Subject
The topic of the resource
Willie Maes historic black-owned restaurant
Description
An account of the resource
The granddaughter of Mrs. Willie Mae was not able to make it so she sent her close friend Ariana who explains their growth through Katrina, Covid and having another location as well as giving us her favorite food.
Creator
An entity primarily responsible for making the resource
Matthew Muhleisen
Source
A related resource from which the described resource is derived
My Nola My Story via YouTube
Publisher
An entity responsible for making the resource available
Mass Communications department at Xavier University of Louisiana
Date
A point or period of time associated with an event in the lifecycle of the resource
December 11, 2021
Contributor
An entity responsible for making contributions to the resource
Professor Hodges
Ariana Cray
Rights
Information about rights held in and over the resource
My Nola, My Story
Relation
A related resource
My Nola, My Story 2021 Exhibit
Language
A language of the resource
English
Type
The nature or genre of the resource
IMovie, video
Identifier
An unambiguous reference to the resource within a given context
https://youtu.be/dn-9W1y5q60
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Digital Humanities project by Xavier University of Louisianas Mass Comm. department students, led by Professor Hodges
-
Moving Image
Videos
Transcription
Any written text transcribed from a sound
Interview with Ivanna:
Irvin: Alright so why don’t you introduce yourself.
Ivanna: Hi im Ivanna and im a sophomore at Benjamin Franklin.
Irvin: Nice to meet you Ivanna, so how long have you been skating?
Ivanna: Like when did I first learn?
Irvin: No how long have you been skating consistently, like when it’s like every day I been at it like I started and never stopped.
Ivanna: Almost five months.
Irvin: Ok, so what got you into skating?
Ivanna: My older brother.
Irvin: Ok so do you have any goals you wanna achieve in your skating career?
Ivanna: Tre flips, I wanna get tre flips and I wanna get sponsored by Girl Skateboards.
Irvin: So can you explain to me what a tre flip is?
Ivanna: A tre flip is a three shuv kickflip.
Irvin: What is a three shuv?
Ivanna: A three shuv is a three-sixty shuvit instead of a normal one-eighty shuvit.
Irvin: Ok so what does it mean to not only be a skater but a black female skater from New Orleans, what does that mean personally to you?
Ivanna: That means I plan on becoming the first pro female skater black female skater from New Orleans.
Irvin: Are there any female skaters that personally inspired you?
Ivanna: Ummmm, Nora Vasconcellos, um who else Aori Nishimura, ri ri I don’t know how to say her name, the thirteen-year-old Brazilian skater.
Irvin: Ok if you got the chance to meet any skater like if I said they name and they walked through this door who would it be?
Ivanna: Does it have to be a female skater? Irvin: No any skater ever.
Ivanna: Kyonosuke!
Irvin: Who is Kyonosuke?
Ivanna: He‘s a Japanese skater who is sponsored by Primitive. Irvin: How did you get into watching him?
Ivanna: Lui Mora..the on YouTuber that vlogs, he also got me into skateboarding because at first I was like not interested and then I was like oooo I can make youtube videos if I get good at skating!
Irvin: Ok well thank you for the interview thank you!
Interview with Tony:
Irvin: Alright man introduce yourself!
Tony: My name is Tony, and im a skater!
Irvin: Ok Tony the skater how long you been skating? Tony: About nine months.
Irvin: Alright nine months, so what got you into skating?
Tony: Well, I had a friend that told me about it, so I like did research and was like looking at it and was like damn this looks actually fun, and im glad I started cuz im having hella fun all the time so yeah.
Irvin: Ok ok so do you have any goals you want to achieve in your skating career? Tony: I want to be sponsored off of skills.
Irvin: Any sponsors you looking at in particular?
Tony: Element because this is an element brand board right here not the grip tape, but its an Element brand board and I really like Element cuz their boards are like heavy like its easier for me to do well, it would be harder for everyone else to do tricks but it’s easier for me I don’t know why.
Irvin: Is there any favorite skaters that have ever skated for Element that maybe inspired you? Tony: Ummmm well I haven’t looked at any but I will for sure soon.
Irvin: Ok perfect man and what does it mean like to be a skater from new Orleans in particular? Tony: Dangerous, danger, death!
Irvin: Oh my gosh and why is that?
Tony: Its just people are evil here, I don’t understand people, nah Im joking though, it’s fun
except the streets you will almost die like actually.
Irvin: Are you saying someone will harm you or you talking about?
Tony: You will harm yourself, you will harm yourself yeah.
Irvin: Ok ok so that’s the potholes they be talking about.
Tony: Dangerous bro!
Interview with Ivanna and Tony:
Irvin: What advice do you wanna leave for any inspiring skaters out there? Ivanna: Dont get frustrated.
Tony: Just have fun bro, have fun, be fun, have fun, be happy!
Ivanna: I know yo hot breath not all over the mic bruh!
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
<iframe width="560" height="315" src="https://www.youtube.com/embed/jW-PqSd3Si0" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
5:00
Producer
Name (or names) of the person who produced the video
Irvin Washington
Director
Name (or names) of the person who produced the video
Professor Hodges
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Skating in the Big Easy
Creator
An entity primarily responsible for making the resource
Irvin Washington
Format
The file format, physical medium, or dimensions of the resource
Video
Subject
The topic of the resource
I sit down and interview you two young New Orleans skaters to get insight into what the skate life is like in the Big Easy.
Description
An account of the resource
New Orleans is known for many things from food to music. One thing that is overlooked though is the skateboarding scene. Me being a skater myself I wanted to give people insight into what life is like in the skate scene of New Orleans from the lens of two African American young skaters.
Source
A related resource from which the described resource is derived
My Nola My Story via Youtube
Publisher
An entity responsible for making the resource available
Mass Communications Department at the Xavier University of Louisiana.
Date
A point or period of time associated with an event in the lifecycle of the resource
12/10/2021
Rights
Information about rights held in and over the resource
My Nola, My Story
Relation
A related resource
My Nola, My Story 2021 Exhibit
Language
A language of the resource
English
Type
The nature or genre of the resource
iMovie, Video
-
Moving Image
Videos
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
<iframe width="560" height="315" src="https://www.youtube.com/embed/VIvGXpQKpaM" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
9:43 ( nine minutes and forty three seconds)
Producer
Name (or names) of the person who produced the video
Lily Wright
Director
Name (or names) of the person who produced the video
Dr. Shearon Roberts
Transcription
Any written text transcribed from a sound
Lily Wright- hi thank you for being here what's your name
00:18
TaKeisha Matthews- my name is takeisha matthews people call me keisha
Lily Wright- okay what part of new orleans did you grow up?
TaKeisha Matthews- i grew up in algiers along sherwood drive i'm algiers baby
Lily Wright- okay how was that area while you were growing up
TaKeisha Matthews- um you
know every area had their fair
share of crime and poverty i'm going on
but you
know the era i grew up in um the
neighbors looked out for your children
um you had your friend everybody was
friends and family it wasn't too much violence going on but you
had your drugs and different things
going on but we all looked out for each
other they had respect for each other
Lily Wright- okay so growing up in new orleans was fairly okay for you, you enjoyed it
TaKeisha Matthews- I enjoyed it up until 2005 when i had to leave abruptly for hurricane katrina
Lily Wright- okay okay
what was your favorite dish growing up
TaKeisha Matthews- oh wow i had several of them um
i used to go to the trolley stop which
there isn't there anymore i used to love
to go there for your good soul foods and
um you know you can't forgive manchus
but
i'm gonna say my favorite dish is um the
spicy um yakima
Lily Wright- okay
who would cook that dish like who cooked
that dish the best
TaKeisha Matthews- yeah always well
grandma always cooked the best but
uh i say manchus gave a run for her
money
Lily Wright- okay what was your most
memorable memory while growing up
TaKeisha Matthews-uh second line second line on sundays
uptown nothing like it
Lily Wright- okay did you always go to that like
every time they had
TaKeisha Matthews- it was always um
on a sunday we're going to the bridge
to uh the saints football games but
uptown on sundays
second line nothing like it
Lily Wright- okay do you have any specific food
places or any corner store that you that
was your go-to
TaKeisha Matthews- they closed down my trolley stop as i
already said you had you had manchester
united store your go-to corner store
we had um the store that was called um
elvins um that was over um on the
claibornie side
but you're
more restaurant type you have felix
feelers just open up on the lakefront
where you can go there on sundays and
get you a nice meal and just relax
before your second line came but you
have desert bakers um houston's
it's so many um
wonderful restaurants i mean
i don't have the time to name them all
Lily Wright- okay last question are you looking forward to
mardi gras next year
TaKeisha Matthews- yes yes yeah we
just had bayou classic back baby we
coming back baby we coming back
yeah okay coming back baby okay
Lily Wright- thank you so much miss keisha for letting me
interview you you are a pleasure
TaKeisha Matthews- thank you thank you and NOLA baby we back
Lily Wright- okay what's your name
Jermier Washington- jermier
Lily Wright- okay what part of new orleans did you
Jermier Washington- i grew up in the ninth ward
Lily Wright- okay how was it growing up in new
orleans
Jermier Washington- yeah you know
you know i like getting out of place
Lily Wright- like could you elaborate
like was it a tough? Was it tough growing up there was it pretty chill?
Jermier Washington-i mean it's really up to you how you
want to live
Lily Wright- so how did you live?
Jermier Washington- i mean I'm still living
Lily Wright- okay so yeah you enjoyed living there was it a fun place?
Jermier Washington- okay be strong be your own man
Lily Wright- okay what was your favorite dish growing up
that your mom or any relative would cook
Jermier Washington- a seafood pasta
Lily Wright- seafood pasta okay who cooked that dish the best
Jermier Washington- my grandma yeah grandma oh yeah
Lily Wright- okay what was your most memorable memory while growing up in the ninth ward
Jermier Washington- uh playing my like
cousins you know yeah
Lily Wright- do you still play with them today
Jermier Washington- some of them in jail some dead so everybody really doing thing they own thing
Lily Wright- okay okay what did you have a specific place or any food place that reminded you of home
Jermier Washington- uh no not really ain't nothing like home you know yeah ain't nothing like oh no
Lily Wright- okay what was your favorite place to go to growing up
Jermier Washington- yeah you know in the same place everybody else love to go to bourbon street or canal you know yeah
Lily Wright - what'd you do there?
Jermier Washington- you know walk
Lily Wright- okay did you ever experience any mardi gras
Jermier Washington-uh you already know yeah
Lily Wright - okay how was that?
Jermier Washington- you know how it was
Lily Wright- no i don't that's why I'm asking
Lily Wright- so it was enjoyable
Jermier Washington- yeah
Lily Wright- okay thank you so much for this interview Mr. jermier
Lily Wright- hello what's your name or what do people
call you
Gwen Coleman- everyone calls me mimi my name is gwen but i like to be called mimi by my
grandkids and great nieces and nephews
Lily Wright- okay what part of new orleans did you grow up in
Gwen Coleman- on fourth street right off of claiborne my aunt lucinda penny lived there for over 40 years and i went there to live with her okay
Lily Wright- how was it growing up
in that area
Gwen Coleman - oh you know if you go back to the 70s it wasn't bad you know
even though kids would hang out and be
quite a few
the violence wasn't as bad as it got say
around the 80s
around the 80s it became popular with
the jordan shoes and people would rob
you for your tennis shoes you know yeah
so but before that
and even today people most of them have
died but the old lady who lived most
people homes like ours was a duplex you
know you lived on one side and they were
on the other side and you're basically
like family and most of the houses on
fourth street were made like that okay
thank you
Lily Wright- what was your favorite dish growing up that one of your relatives would cook ?
Gwen Coleman- oh my goodness now you know i had to say
gumbo i love to make it even now
gumbo and
then uh
there was a dish at
google and chase you have to wait in
line almost to get in there it is famous
movie stars and everything used to
come visit google and chase
and i would love their fried catfish oh
my goodness it would melt in your mouth
Lily Wright- okay that sounds yummy what was your
mostmemorable memory growing up in new
orleans?
Gwen Coleman- my most memorable memory
was when
when they first started to buy a new
class of friends would come by you know
just to see us
but then as time went on they actually
came to stay at our home say around when
they first started in
74 you know they stayed in hotels but
then as years went on several news and i
mean five one time eight of them stayed
there in that little duplex to come to
the bayou classes because they want to
see you know the night before
performances so my most memorable one
was uh i don't remember quite to hear it
may have been
maybe 80 81
when um
my nephew who hadn't been to the bayou
classic was in the navy came home
and he could not believe you know
how the excitement because he grew up
knowing about you know i went to
southern my brother went to grambling and
then you know the robbery but to come to
the game that year oh my nephew lanier
was so excited you know because he's
never been to the bayou clasic so i
think the joy that he had that year in
81 i think it was
is very memorable
Lily Wright- okay did you have any specific place any or specific like restaurant or corner store that was your go-to when you lived there
Gwen Coleman- i want to say alexandra's i can't
remember the name of the store but it
was right off of
claiborne claiborne was a business area
but there was a corner store right
before you got there where you know you
can get your little milk and your eggs
because i just said you know large chain
stores were farther off
but uh
i want to say that there was alexander
it's not there anymore and they've done
a lot of changes in that area
but uh
yeah the corner store
or alexander
Lily Wright- okay thank you so much miss gwen for this interview
Gwen Coleman- for interviewing me is an
honor thank you thank you
[Music]
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Their Nola, Their Story
Creator
An entity primarily responsible for making the resource
Lily Wright
Description
An account of the resource
This digital media project gives a perspective of different age groups' experiences while living in New Orleans. It shows how "TaKeisha Matthews, Gwen Coleman, and Jermier Washington all viewed New Orleans.
Source
A related resource from which the described resource is derived
My Nola, My Story via YouTube.
Language
A language of the resource
English
Format
The file format, physical medium, or dimensions of the resource
Video
Subject
The topic of the resource
This is a documentary on three New Orleans natives' life experiences while living in New Orleans.
Publisher
An entity responsible for making the resource available
Mass Communications department at Xavier University of Louisiana
Date
A point or period of time associated with an event in the lifecycle of the resource
November 28, 2021
Contributor
An entity responsible for making contributions to the resource
TaKeisha Matthews
Gwen Coleman
Jermier Washington
Rights
Information about rights held in and over the resource
My Nola, My Story
Relation
A related resource
My Nola, My Story 2021 Exhibit
Type
The nature or genre of the resource
iMovie, video
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
A Digital Humanities project by Xavier University of Louisiana's Mass Communication department students, led by Dr.Shearon Roberts
Identifier
An unambiguous reference to the resource within a given context
https://youtu.be/VIvGXpQKpaM
-
https://d1y502jg6fpugt.cloudfront.net/32694/archive/files/b22bd1781182b523620be04fcfcaf995.jpg?Expires=1712793600&Signature=mH0soU7YUXfeDeO-IEPCGMTQVdk7vshT%7ECsorPEATSZcUhaupuwRpLP3hDwiO-TyKM7DfdhmzgBp%7E00SXFPUdKhbU9mNCntt4MVT8ZwxT-N1F-42ByljXhal46iAeplvXAqdHuTzgvJfAKOBW8A3ysHJFiY3larlu38HoTiLD7tAV9ZgRM0Xs3K1pBVowbFG11PcqAGDU3Lx9NbS9n8GF362za1DrtCVYEhxCJ0zgbUCdAUwtNlIv9WuFliRFkHdz43BGigsl1%7E3YL53gywflWDhuu8KeyBEYhMw7jYcOdLw7EMV3VS1kLL66QgUwCEKP3bHePFyRE5aJPAOCh8%7ELA__&Key-Pair-Id=K6UGZS9ZTDSZM
fd6ec179dbbbc878dc8b52223d5feb48
Moving Image
Videos
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
https://youtu.be/D-QMX9FByBU
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
3:36 (three minutes, thirty-six seconds)
Producer
Name (or names) of the person who produced the video
Adriana Williams
Skylar Stephens
Director
Name (or names) of the person who produced the video
Dr. Shearon Roberts
Transcription
Any written text transcribed from a sound
*second line music plays*
Adriana: How was life after Katrina?
Man: After Katrina? It was hard. Ummm..lost everything and just homeless ever since.
Adriana: Sorry to hear that.
Man: But the way I do is try to help the other homeless people. I walk around and sell beads. Stuff like that. Got some people that’s kind of cuckoo, some that’s crippled, some that’s just not right. I’m out here trying to do what I can do to help them also.
*second line music plays*
Man: We weird. We like to have fun. We can hangout till 5 o’clock in the morning on Bourbon, if we want to.
Skylar: What about the music?
Man 2:*inaudible* …Like the bounce music? The music crazy. We got a different flavor than everybody else. Our flavor is different. You know how you put gumbo, add all the seasoning. Put too much seasoning, it get hot! It get spicy! It’s spicy so you got to make sure it’s just right. You put too much of that seasoning, what happen? Your mouth goin’ burn. *inaudible*
Des’Monte Scott : I don’t know what y’all heard, but I wouldn’t want to be from anywhere else. Growing up in New Orleans was just a moment. Kicking down the Westbank girl that was my little stomping grounds. *Laughs* But goin down the street to my granny house and just smelling the gumbo like in the parking lot and then just walking in the apartment she cooking, got stuff on the stove, and the pecan candy child. That pecan candy just melt in ya mouth. It was top tier, It was amazing *laughs*
Adriana: So what do you like most about New Orleans?
Man 3: The culture, hands down the culture.
Skylar: What about the culture?
Man3 : Uh, its so original. The people make up New Orleans, It’s not just the building and the festivities. It’s the people that make New Orleans, the people that actually work this shit and live out here
Adriana: Um How was life after Katrina?
Man 3: Um, totally different in regards of uh the uncertainty of how it was gonna be going forward. Meaning like where your mom work, your dad work. Uh the same store you may have went to growing up may not be there, but I will say this, the comparison of post Katrina to like Covid it totally different. Cause covid has made thing all the way weird ya know what I mean? like Katrina was like ok, devistation, we can rebuild. Covid has just made you have to change your whole life.
Adriana : What do you love most about New Orleans?
Man 1 : What I love most about New Orleans? Bourbon Street.
Adriana: *Laughs*
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Why I Love Nola
Creator
An entity primarily responsible for making the resource
Adriana Williams
Format
The file format, physical medium, or dimensions of the resource
Video
Subject
The topic of the resource
The stories and feelings of Nola natives.
Description
An account of the resource
Nola natives explain the love that they have for their city and the impact of Hurricane Katrina.
Source
A related resource from which the described resource is derived
My Nola My Story via YouTube
Publisher
An entity responsible for making the resource available
Mass Communications department at Xavier University of Louisiana
Date
A point or period of time associated with an event in the lifecycle of the resource
December 5, 2021
Contributor
An entity responsible for making contributions to the resource
Nola natives
Rights
Information about rights held in and over the resource
My Nola, My Story
Relation
A related resource
My Nola, My Story 2021 Exhibit
Language
A language of the resource
English
Type
The nature or genre of the resource
video
Identifier
An unambiguous reference to the resource within a given context
https://youtu.be/D-QMX9FByBU
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
A Digital Humanities project by Xavier University of Louisiana's Mass Communication department students, led by Dr. Shearon Roberts
2021
Adriana Williams
My Nola My Story
Nola
Skylar Stephens
XULA
XULA Mass Comm