1
20
33
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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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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
An entity responsible for making contributions to the resource
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
The nature or genre of the resource
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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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
A name given to the resource
My NOLA, My Story: Tremé Culture Amidst Gentrification
Format
The file format, physical medium, or dimensions of the resource
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
An entity primarily responsible for making the resource
Lundon Shields, Osoniya Wodi and Kutemwa Masafwa
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
April 13th 2022
Contributor
An entity responsible for making contributions to the resource
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
A language of the resource
English
Type
The nature or genre of the resource
Adobe Premier, video
Identifier
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<a href="https://youtu.be/WW6q8HRGi8k" title="Tremé Culture Amidst Gentrification">https://youtu.be/WW6q8HRGi8k</a>
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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
-
Moving Image
Videos
Duration
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4:42 (four minutes, forty - two seconds)
Producer
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Allison Swann
Director
Name (or names) of the person who produced the video
Dr. Shearon Roberts
Transcription
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Allison (voiceover): New Orleans is a city rich in history and culture. From Mardi Gras to the French Quarter, one thing that stands out is the southern Art diaspora. To truly understand this wildly unique city, travelers must venture beyond its highly trafficked tourist core to explore the lesser-known yet wonderfully diverse neighborhoods and museums that help make the Crescent City one of America’s preeminent centers of art and culture.
Irvin Washington: What makes New Orleans art unique would definitely be just the amount of passion that goes into the piece itself. I mean, there's nothing like seeing a New Orleans piece of art by a New Orleans artist, and it's just something that they add its that I don’t know it that New Orleans flavor that spice that you just know that that's some New Orleans artwork and they always come from a place of like, can’t even explain it just its just like it hits different burh it just hit different
Allison (voiceover): While other city museums have foreign acquired paintings or sculptures, The Ogden Museum of Southern Art features shrines and spiritual temples to voodoo priestesses and biblical figures to document their cultural significance in New Orleans.
Allison (voiceover): The museum also demonstrates the southern diaspora, by showing not only specific New Orleans culture but the broader southern culture that has acted as a melting pot and shaped the uniqueness of the city.
Irvin Washington: I think having art museums is important because they serve as these capsules of history and time, and housing all these differences create different creative minds and their bodies. So many different people express what they were going through or what they wanted to convey to the world. We're a city filled with so many cultures, we've been through so much and we do so many things and I feel like it's very important for New Orleans to have, you know, to be in our museums as well as have our museums because we like trendsetters, Come on, you know jazz, you name it no one is in New Orleans is like we out here.
Irving Washington: There are definitely some that influence the wall. More particularly than one escape team is seen as definitely overlooked, especially in his city. So my artwork especially well, I'm saying it twice, but specifically, this artwork and this body just is highlighting the skate scene of New Orleans in terms of this in this body of work. In particular, I went around the city of New Orleans for about half a year, a year and a half up to a year just went to various skate spots and went to the park everywhere where there was skaters, I was just shooting. Some of them were a little more, you know, action-packed some were Just one more, you know, like this one, just like in the moment, you know, I want to highlight the raw, the real and uncut. In this scene I wanted people to see skating for what skating truly is not for you know, there's a lot of stigmas and stereotypes that are involved with the skate scene. So I want to highlight the positive side of the skate scene and show that there's so much to offer in terms of just uniqueness and different different types of people that exist in it.
Allison (voiceover): In addition to traditional art, New Orleans is rich in street art. At the local skate parks, personal representations of art like graffiti and murals are abundant. Skate culture coincides with art, especially physical art like sculptures. Skate spots are plastered in art, life, and experiences, the same way New Orleans is.
Allison (voiceover): Skaters in New Orleans have turned rundown shacks in the woods into canvases for their work and experiences. It's little places like this that show the uniqueness of New Orleans in every aspect and especially in art.
Allison (voiceover): Art is not only pictures and viewing things in New Orleans. Art is experiences, its life, its community. Art is documenting the importance of being in New Orleans and in keeping its memory alive. Not just through painting or phones carved in cement, but in the memories and people that surround them. Art was born and thrives in New Orleans.
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Title
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The New Orleans Art Diaspora
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Allison Swann
Format
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Video
Subject
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This is an exploration of the New Orleans art scene.
Description
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Both traditional forms of art like museums and unconventional like the unique street art scene was studied along with interviews with artist/skater, Irvin Washington.
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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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December 5, 2021
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Irvin Washington
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My Nola, My Story.
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My Nola, My Story 2021 Exhibit.
Language
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English
Type
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Final Cut Pro X, video
Coverage
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A Digital Humanities project by Xavier University of Louisiana's Mass Communication department students, led by Dr. Shearon Roberts
2021
Allison Swann
My Nola My Story
New Orleans
New Orleans Art
Skate
XULA
XULA Mass Comm
-
https://d1y502jg6fpugt.cloudfront.net/32694/archive/files/3ef269a19c789504afa4acb9432e9fe0.mp4?Expires=1712793600&Signature=JXPrmZZ0c7q36jlyWp2rzx5gti1oBNrUmvsvMrKtvzOk3K52zxwRSe14ReKcdAzHSsZKP%7Ea0jWH3lzjpZoW07chDEeAXqnFu7YNqVd%7ErVViioEoiki1sDxiPAMIalhZVAwRuZrnE%7EXqAZr2ONd-jm%7EGGYnjtBaKtGP0UnCN7-kG6eeYnaBw4FG2Ux5Ez884LsoO5YgACcQzDVe4kI%7EcKOQcxmkfVxZnFxrZips97WWSWZ7EmM32xKtQUOmVpRrOutvp2bQHTJy50jCX3holT7T5DQ92ehhGxrYgj%7E4LVUsMHyJiOzrNusIxgstRL-ZC6M4qo4dhUuBRpDWfVyTbLDw__&Key-Pair-Id=K6UGZS9ZTDSZM
a8a1a38c42b24f20080f9525db3ed837
Moving Image
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https://www.youtube.com/watch?v=4CS-6aNTUrY
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Hi my name is Kennedy Jeffery, and I'll be presenting My Nola, My Story: The Story of Treme. Treme is one of the oldest neighborhoods in the city of New Orleans, and it is historically African American and it is also home to the first civil rights movement, the first black daily newspaper and a multitude of black businesses. Back in the 1700's it was the primary location for free people of color in new orleans. Slaves would gather in the neighborhoods town square, congo square. In the square they would dance and sell handmade goods in hopes to raise enough money to purchase their freedom. After the slaves were freed it was used more for holding concerts and gatherings. Many jazz musicians got their start in Treme because of all the brass and symphonic bands that would play in the square. During the 1960's, the city of New Orleans started working on an urban renewal project. With this project came the building of the i-10 highway. In order to do this, the city had to wipe out several properties running along Claiborne Street from Tulane to St. Bernard. After the interstate was built the hundreds of businesses that once lined North Claiborne were shut down due to the financial crisis that ensued. The majority of the large oak trees that once lined the neutral ground were chopped down. Originally the interstate was planned to be built in front of Jackson Square by Canal Street, but residents of the French Quarter fought against the plans until they were changed. Residents of Treme also opposed the plans for the interstate to be built in their neighborhood because they knew it would wipe out all the businesses, but the city did not listen to them
Today the memory of what was once there is kept alive by the few businesses that remain and the oak trees that were painted on the cement pillars under the interstate.
Duration
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2:23 (2 minutes 23 seconds)
Producer
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Kennedy Jeffery
Director
Name (or names) of the person who produced the video
Kennedy Jeffery
Dublin Core
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Treme
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Video
Subject
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Treme before and after the interstate was built
Description
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This video explains how an urban renewal project wiped out an area that was once booming with business.
Creator
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Kennedy Jeffery
Source
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My Nola, My Story
Publisher
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Mass Communications Department at Xavier University of Louisiana
Date
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May 6, 2021
Contributor
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Kennedy Jeffery
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My Nola, My Story
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My Nola, My Story 2021
Language
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English
Type
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Video
Coverage
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A Digital Humanities project by Xavier University of Louisiana's Mass Communication department students, led by Shearon Roberts.
New Orleans
Treme
Urban Renewal
-
https://d1y502jg6fpugt.cloudfront.net/32694/archive/files/bebac8df1e9ec2b1dbbf3d831562392d.png?Expires=1712793600&Signature=BAxa4iFeL3KStYbBKGlYm9BmBGi2aG2p49zFHSYMRCMlDo7JAz0-6BcbI0HNWRvPZidbuyCoX8PeRBM-ctn71u5quZpDWG-NbfZTCUvFfB9lqPLXDQ4cOzBpR1EMq4qekRidySc3%7EP5UTU7CpHKA8ySXZ6W8-cm8aXWOokT6UcxvQRJTw08GDLY5IktBqzVtnaKdKPu3syqLrAd-qNhx1htEygoEDaHuSD5gAyme3kZH4TGG0SHcOEkZK75%7EWrPU8aUbgZzUAYiqGKbKGdiBLP8OTjhh%7EvA3Y9QWCYzUJq%7EVD3kou%7Eu5VzSEVNetsKrH2DtRT7-KH97XQ3CUPc0GPw__&Key-Pair-Id=K6UGZS9ZTDSZM
5e812038011049073f58c72551e016fb
Moving Image
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Original Format
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<iframe width="560" height="315" src="https://www.youtube.com/embed/p1EbzNKLx74" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Duration
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22:46 (22 minutes, 46 seconds)
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MP4
Producer
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De'janee Jenkins
Director
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De'janee Jenkins
Transcription
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<p>Transcription</p>
<p> </p>
<p>Compilation: Alive, Lively, The Beat, Booty, Bouncy, Sexual, Spiritual</p>
<p> </p>
<p>Question: What is the first adjective that comes to mind when you think about New Orleans Bounce Music?</p>
<p> </p>
<p>Katherine (Mississippi): Alive because the beat is fast paced. And also like the scenes you get when you watch bounce videos is very alive and very lively.</p>
<p> </p>
<p>Tia (New Orleans Native): Lively because bounce music is pretty lively and you can’t just not feel anything when you hear bounce music, you always just have to get up and dance. Like you can’t just hear bounce music and stay against the wall.</p>
<p> </p>
<p>Dylan (Southwest Louisiana): The beat you know like yah! Yah! Yah! and dancing. Honestly a lot of dancing. We call this twerking now. You tend to think that but uh, that’s what really comes to mind and New Orleans, New Orleans, for sure.</p>
<p> </p>
<p>Oanh (New Orleans Native): I guess booty, uh you know, bounce music is uh for just moving your body.</p>
<p> </p>
<p>Zaynah (New Orleans Native): Probably like bouncy, like it make you want to move. It make you want to dance. It’s like very lively. You know it’s like a confident type of sound and type of music and I think it makes everyone want to get on their feet and start to move around and do what you gotta do, you know.</p>
<p> </p>
<p>Adyson (Texas): Sexual. Umm, the sex appeal in these songs were so heavy. I honestly felt like this was pushed down the throat of the audience. It reminds me of my first time moving to New Orleans because I have to go to school. Cause I’m from a small town in Texas, not a city a town in Texas. It is just completely different from that.</p>
<p> </p>
<p>Destiny (New Orleans Native): It is very spirited. Its lively. Its passionate, its animated. Honestly, it’s a whole vibe for the city.</p>
<p> </p>
<p>Question: When you hear Bounce Music, what memory does it evoke?</p>
<p> </p>
<p>Katherine: Uhm, how Drake Nice for What had a hold on the summer of 2020. It was everywhere you could not escape it.</p>
<p> </p>
<p>Tia: It reminds me of being at school during school dances and also it reminds me of when I was younger going to the skating rink on airline cause I remember they would always play different bounce music there so just memories.</p>
<p> </p>
<p>Dylan: it definitely evokes a lot of dancing in the club. Uhm me being on bourbon when I would go and hearing that all the time um yeah it was you know great times great memories</p>
<p> </p>
<p>Oanh: Uhm me myself, I don’t listen to bounce music I only listened to it, I guess for school purposes. I had to listen to it for some classes that I took. but I don’t usually listen to bounce music.</p>
<p> </p>
<p>Zaynah: So when I hear about bounce music what type of memory does it evoke well when I think about a specific bounce song which was the Josephine bounce song that came out when I was in sixth or seventh grade I kinda think back to that time because it was really like if you really want to talk about cultural resets and took like that was really like a song that as on this scene that was a song that everyone enjoyed like the video I remember all of that I remember the jamboree that year that they do in new Orleans I think hat it brings back a time to like my youth and just a time where everything was cool everything was simple</p>
<p> </p>
<p>Destiny: it would possibly be when I was about I wanna say about 8 years old or maybe even younger. I know it was before hurricane Katrina and like my cousins always knew how to dance how to dance to bunce music but I unfortunately did not and I was learning at the time the music just had me so excited and the addition of being around other people had me just so caught up that I wanted to learn how to dance so I tried and is specifically remember picking my skirt up and just moving around the room and just having so much fun while doing so. Another memory id just going to crawfish boils during mardi gras season and hearing the music and just seeing so many people so happy and just enjoying themselves all the time</p>
<p> </p>
<p>Question: What are some of the influences you hear in New Orleans bounce music from other cultures and what are some that you can recognize that New Orleans bounce music has contributed to other cultures?</p>
<p> </p>
<p>Katherine: really that call back part. Talking bout some person would say one verse and then would say that same verse. I see that tin bounce music and certain songs today and also in indigenous cultures</p>
<p> </p>
<p>Tia: yeah like a lot of local lingo and like black experiences</p>
<p> </p>
<p>Dylan: uhh I do tend to hear the samples from the beats that bounce beat, I see for instance how drake made one of his songs with it I seen some other artists do the same thing because it is very catchy it has your head bouncing right and so that’s one thing I noticed</p>
<p> </p>
<p>Oanh: it speaks to the body, a lot of other cultures and New Orleans cultures we kinda try and feel spirits in our bodies and we are like or at least I learned this year in one of my classes that we are like a vessel for all of these emotions to come out</p>
<p> </p>
<p>Adyson: some influences that I heard in these songs that were like huge not just because of New Orleans in the national black community is how we view black men and black women. Uhm (sigh) yes. I feel like women were so objectified. In most of the songs. Not all of them not all of them</p>
<p> </p>
<p>Destiny: I feel like bounce music is really influenced by different African beats umm and also aby some of the Latin influences we have in New Orleans t self. I find that a lot of the dancing style s we do in dancing to bounce music kinda mirror the same dances that they do in Africa and also just the constant and consistent beat that sin the background. You hear that a lot in African songs and also Latin songs like they all have this consistent beat that they add layers upon to and then it just brings so much energy and enjoyment for other people listening</p>
<p> </p>
<p>Question: Many people deride Bounce Music as being vulgar because of its lyrical nature and dance styles/ What is your response to this?</p>
<p> </p>
<p>Katherine: uhm I think that’s just people degrading black culture really. They say the same thing about rap music how it’s too violent to vulgar when really you just boil it down its really black people telling their stories or black people being careless well not careless just carefree</p>
<p> </p>
<p>Tia: personally, I think it’s stupid when people try to deride bounce music because of its lyrical nature and dance styles because it’s just a way of expression people do it in other music I don’t see why with bounce music it would be any different. It’s just how people express themselves</p>
<p> </p>
<p>Dylan: my response is, I mean every music cultures has they own thing. Every different genre have they own twist to it if you think about hard rock I mean they’re very violent (laugh) very heavy metal very violent its crazy right uhm you know having mosh pits and stuff so I mean it just its your preference it shouldn’t be judged I mean if you like it you like it</p>
<p> </p>
<p>Oanh: I could see bounce music being vulgar like you know the dancing might be vulgar buts it’s a lot of booty shaking most of the time if I think about it. I think it’s also being normalized twerking and all of that</p>
<p> </p>
<p>Zaynah: some people think that bounce music is vulgar and like the dancing is inappropriate and stuff like that I mean I could see how some people could perceive it that way and it definitely sometimes is vulgar but they got different types of bounce music though like they’ll have an original bounce song where people will be talking crazy or whatever but that just they’re experiences that’s how people express they art and stuff like that so I mean it’s not really my place to say certain things about what they see as art but I mean I like it but at the same time you have bounce song s that will just sample like a regular song and put a bounce beat over it so like that’s not you know it just depend on what song it is that could be considered something that vulgar or considered a normal song and even with the dancing and stuff like the shaking I feel like that’s just culture you could go back event o like the Africans and stuff like that that’s how they dance and a lot of people like to go back to African and black culture and make it seem like it’s inappropriate but it’s just you looking at it that way. It don’t matter how old you is you could be 5 years old shaking you could be 20 years old shaking you could be 80 years old shaking that’s just what we do we don’t look at it int hat type of way you know what I mean it’s just dance it’s just something thars fun to do that’s enjoyable to do and no one looks at it like its being sexualized</p>
<p> </p>
<p>Adyson: Yes, I agree that because of the lyrics and the dance moves and the vulgar ones yes it was extremely vulgar and when I was watching videos I was questioning like where is the substance of the songs what is the point of this. That just, I think that just ties into the heavy push for the heavy theme of sexuality in these songs and New Orleans culture</p>
<p> </p>
<p>Destiny: a lot of people kinda find bounce music unacceptable but I feel like a lot of times people have that pint of view just because they don’t understand it, it’s something they don’t experience on a day-to-day basis. So kinda the automatic reaction because of the vulgarity and some of the things that are said in the songs and some of the ways people dance to the songs a lot of times I find that people tend to automatically deem it as unacceptable its wrong or it’s against the norm uhm but I say in response to that I would wish that you would kind of see the way people react to it and just feel the energy from the dances and feel the energy from the music as people are enjoyable and you will kind of understand a little bit more about letting that vulgarity go accuse a times I find myself saying to like wow this is a little bit much but I’m still able to overlook that for the enjoyment of the music itself and also too I never believe in you know limiting peoples speech so when people wanna say things that I personally wouldn’t say I can’t keep you or limit that from having it</p>
<p> </p>
<p>Question: What are some aspects of Bounce Music that you think is integral to the culture of New Orleans?</p>
<p> </p>
<p>Katherine: the community aspect of it, again with the videos not only are they lively like it’s also a large community of people they’re having fun which is also like a large part in the carefree part of New Orleans</p>
<p> </p>
<p>Tia: its liveliness because with New Orleans being like the big easy and being known for the vibe of bourbon street. Bounce music plays a part of that and also black music well always featuring black artists and black people. It’s probably well-known that everything you love about New Orleans is because of black people</p>
<p> </p>
<p>Oanh: I think like I said bounce music is just moving your body and I think that New Orleans people we have a lot of culture involved around that. I think we also liken made twerking a thing. I think that bounce music is kinda essential for twerking</p>
<p> </p>
<p>Zaynah: imam say the dancing is very integral in New Orleans culture. Like when you see the boys and some girls they start to dip and stuff it’s about the footwork and you see that a lot in like second line dances and stuff like that. And I feel like bounce music brings everyone together. And I feel that New Orleans is very community based and its beings the community together and its about family. it’s about everybody feeling welcome and I think bounce music does that for people it makes everybody feel welcome and it makes everybody have a good time no matter how old you are it don’t matter girl or boy even like a boy that like shaking and people might be like oh I think that boy might be gay, but nobody is thinking like that because it is just about having fun and that’s what New Orleans is about having fun.</p>
<p> </p>
<p>Question: There are several men in this e Bounce Videos dancing in a nontraditional masculine manner. Why do you think this is significant especial yet the LGBTQ+ community?</p>
<p> </p>
<p>Katherine: I think also like the house music is like very similar to bounce music and how you get that community aspect of it. How you get like pose. How they have that ballroom scene and just like ballroom culture, house music and like bounce music really have the same feel and vibe to it.</p>
<p> </p>
<p>Tia: I think this is great that there’s a lot of men in and nonbinary individuals who are dancing in a nontraditionally matter, I think this is significant to the LGBTQ+ community because often times they are not represented and if they are represented it is in a bad stereotypical representation and usually the people who make the bounce music determine what they want in it. The people who make bounce music determine the culture it’s not like the other wat around. So, I think it gives everyone a chance to express themselves how they want and just be unapologetically themselves and choose how they want to be expressed</p>
<p> </p>
<p>Zaynah: I think that’s important to their community because kick I said earlier I feel like no matte what you like what you identify I feel like everybody can be a part of it. Lie you see dudes linked sass knobby or like big freesia I know like big freesia I don’t know what they identify as but I know har with like sass knobby Retha the still is like a gay male and stuff like that and you see straight me dapping me up and you know hanging out with them giving them respect cause its not about that at the end of the day cause anybody can be a part of that it doesn’t matter what you are, I feel like its inclusive to the lgbtq+ people . I feel like everybody get t along and I’m pretty sure there’s like deeper issues that it might not know about but on the surface it seems like you know they pretty much don’t care about stuff like that, and I feel like that’s a good thing because they don’t feel like they’re discriminated agents, or they don’t feel ashamed to do what they do because everybody does it</p>
<p> </p>
<p>Adyson: Mum but you know regarding the black men and the nonbinary people dancing and shaming in nontraditional way. I still feel like it was detrimental to the lgbtq+ community because though wry have prided the movements its so heavily focused around the lgbtq+ community and not the black ones so umm I feel like were just digging ourselves into a deeper hole. I’m not saying those stereotypes are true but I’m saying that they’re painting themselves in a picture that people already have in their minds so like how are you going to fight for your rights If your like hurting yourself in a sense</p>
<p> </p>
<p>Destiny: I would believe that bounce music is very very very significant to the lab community and in the New Orleans community itself specifically because most of the artists that are in New Orleans bounce music most of the people that create it most of the people that make it popular are the lgbtq community. So int hat being so I feel like in some type of way I kinda brings them some empowerment a source of empowerment and a source of connection to the other people in the New Orleans community that aren’t apart of the lgbtq community because men women children that are heterosocial can engage with people that are a part of that community and not have the contrasts or the issues of tolerance in that moment of just enjoying the music itself</p>
<p> </p>
<p>Question: Bounce was born in New Orleans has developed with infusions of sounds and samples from several communities. As a New Orleans native, how do you feel about the recent appreciation for Bounce and its replication in popular rap?</p>
<p> </p>
<p>Tia: it depends on how the person does it, if it’s like if they saw bounce eMusic and they listen to it and were like this is cool. I want to do a bounce inspired song. If they like got some person I then got somebody from New Orleans they talked to them they were like hay I got his bounce song and then they did it like that then yeah but sometimes you can tell when people like use bounce music, but they don’t of a good job li personally I don’t think nice for what was that great of a remix like it was kidnap bad so bad that to the poking that people made bounce remixes of a song that was supposed to be a bounce song SOOO. I think the main point with is jest that rheid needs to be a greater emphasis on the appreciation if you appreciative something you would take the time to learn about it. So, I feel like it can work for the most part, but you just have to really appreciate it and do the research.</p>
<p> </p>
<p>Zaynah: The way I feel about people like that using bounce music. I feel that it’s a 50/50 thing for me. I feel like the first Ime I hear did it didn’t feel like real bounce music to me. I feel like it was ripping off a lot of people like Mannie fresh old stuff or like chopper and me,. You know like they were just sampling stuff. They weren’t working with the real people only like I know drake was really working with some. He really work with Black n Mild on in my feelings in believe,. I think that was a good thing to like work with them. At the same time, I feel like a lot of people be like ripping off a lot of old bounce stuff and I feel like they should want to work with more like real bounce artists and like real bounce producers to like five them that light and give them that shine. You know what it mean cause I see like a lot of these bounce artists still working these regular jobs while people getting millions of dollars off of our music and stuff and it’s like all we could be more than that, New Orleans as a community could come up and we need to demand that people start respecting us and they need to start using us if they want to start appreciating or appropriating or anything they want to do with our culture. When you reach out and you want to incorporate New Orleans in that a lot of the times and give us our flowers and stuff like that I don’t really have a problem with it but if feel like as long as bounce artists and stuff is struggling and all making so much money off of our music and stuff I don’t really like that.</p>
<p> </p>
<p>Destiny: Okay SOOO me personally, I would say that I am excited that bounce music is starting to make its move towards larger platforms it started to be noticed by lots of people that have not noticed it before or seen the value in it before, but I would like to say that um. In a way that its kind of frustrating to see being that it am a New Orleans native to find that it only becoming popular that are not from here and people that have not been privy to it for a long period of time. I’d say people like Megan thee stallion. She would possibly know because evince music has spread to places like Texas and I appreciate ether kinda stepping up. Not only appreciating the music for what it is. Not only utilizing the music for its popularity and using it for her own sound but also including people that have been an integral part of developing this music over the years. So, I think I commend her and that she has been able to bring an artist on set with her. Have her in the video and also have her on the song and gang her credit for that. But artists like the city girls and drake, I kinda find some frustrations with it just because I don’t find that thy tend to kind of branch out of the sissy knobby of bounce music or not sissy knobby. Branch out of the I will say that artists like drake tend to not Brach out of the dig freesia of bounce and in New Orleans threes so many different artists there’s so many difference styles of boubous. There’s so many different songs. I wish that these autists would study a little bit more and also include the artists int the music videos at the concerts or shows and then give them their credits.</p>
<p> </p>
<p>Question: What are some things that your width those who were not raised listening to Bounce Music would understand bout it?</p>
<p> </p>
<p>Tia: Mainly that it’s just a different genre of music. It’s just liked any other genre of music like rap rock any other one. It just I mean I don’t know it doesn’t seem that different cause me being from New Orleans we always listening to bounce music or whatever so I don’t know I guess if people could get pass what the lyrics and the dancing. If people could just appreciate that it is music and it means so much to New Orleans especially black people in New Orleans. It is a part of our culture</p>
<p> </p>
<p>Zaynah: Because like I said. It brings people together; it’s just really a fun type of music and I would wish people wouldn’t think it was so bad because I know like a lot of people that’s not from here all the gentrification and stuff that’s going on. They don’t really like the bounce music and party buses and stuff like that well maybe they should just be like well let me not move her or something like that because it’s never gon stop</p>
<p> </p>
<p>Destiny: that’s it’s a lot more than just the vulgarity. Umm like I said earlier it rend to find people only focus in on the cuss word s or the sexual innuendos or the dancing and they miss just how free a lot of people in this city are. How that aspect of that is what gives us a lot of empowerment for some people for some people it’s just small. I think that’s honestly the heart of New Orleans, beyond mar-mardi gras which a lot of people come here fore and everything else. Bounce music is something that really kinda influences people to be themselves.</p>
<p> </p>
<p>Zaynah: Bounce Music is New Orleans.</p>
<p> </p>
<p>Destiny: Period.</p>
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
Bouncing Around Ideas
Format
The file format, physical medium, or dimensions of the resource
Video
Subject
The topic of the resource
Foreign and Native Perspectives on New Orleans Bounce Music
Description
An account of the resource
This interview explores the perspectives of non-native and native New Orleanians on Bounce Music and its contribution to New Orleans and Black Society as a whole.
Creator
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De'janee Jenkins
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
5th May 2021
Contributor
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Zaynah Jefferson, Song Producer
Rights
Information about rights held in and over the resource
My Nola My Story
Relation
A related resource
My Nola My Story 2021
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
New Orleans, Bounce Music, Hip-Hop, Not-Traditional, Sub-Culture, Appropriation
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Foreign and Native Perspectives on New Orleans Bounce Music
Bounce Music
Gentrification
music
Native
New Orleans
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Moving Image
Videos
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
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Transcription
Any written text transcribed from a sound
“I was born when hurricanes and whatever, you understand what I’m sayin? Okay, because Papa was born October the 8th, 1940. So you went to school and I worked, I had a papertoute, I had a paperoute and I used to collect newspapers, old newspapers and sell them. I used to collect them and stack them. And when I got six, seven hundred pounds I would call an Italian man that used to come by and pick them up, and buy them from us. And at that time you woud get like, at first it was like, sixty to seventy cents for one hundred pounds, then it went up to almost a dollar. When I stopped dealing with that, I went into having a paperroute. Our neighborhood the next block was white folks kind of going that way. And you didn’t have any black [people] in there, the black [people] came down my block and continued the other way, follow me? So if the police seen us walking down the street and they wanna put us in it they just did what they want. They did what they want boo, as simple as ABC. So, Papa, when I had a chance to go to California, I jumped in the back of the trunk. I’m gone simple as ABC, I mean could you imagine? I was going to a school, Valina St. Jones School and then one time I think I must’ve been in the sixth or seventh grade- no I was about six or seven years old. They were feeding us horsemeat. They were feeding the black kids, in public schools, horse meat until someone called on them and they stopped. The police would see me and some friends walking down the street and the police would say ‘come here n***a’ and just like that. Racists.”
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
3:08 (3 minutes, 8 seconds)
Producer
Name (or names) of the person who produced the video
Liza Montgomery
Director
Name (or names) of the person who produced the video
Liza Montgomery
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/.
Creator
An entity primarily responsible for making the resource
Liza Montgomery
Title
A name given to the resource
Made in Louisiana
Format
The file format, physical medium, or dimensions of the resource
Video
Subject
The topic of the resource
Racism in New Orleans
Description
An account of the resource
A voiceover from a New Orleans native on his childhood experiences growing up in the South.
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
5th May 2021
Contributor
An entity responsible for making contributions to the resource
Liza Montgomery
Rights
Information about rights held in and over the resource
My Nola, My Story
Relation
A related resource
My Nola, My Story 2021
Language
A language of the resource
English
Type
The nature or genre of the resource
Premiere Pro, video
Childhood
New Orleans
Racism
The South
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bf6d2d8a17846f3a1f6150c56adbea72
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/a43o1LnofKA" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Transcription
Any written text transcribed from a sound
Yeishka Montalvo: And my name is Yeishka Montalvo, I am the climate and tour fellow at the water collaborative and I'm also spearheading the brackish water collective art collective. Thank you for having me.
Camerin Kimble: I'm happy to have you. So let's start. What kind of work does the water collaborative mainly do?
Yeishka Montalvo: So the water collaborative is an environmental like climate justice organization centering around water equity issues in the Greater New Orleans region. We seek to ensure a lifetime of living thriving with water and loving water for every resident that lives here in the city. And we envision an inclusive network of communities that come together to make sure that New Orleans is climate resilient, and it can thrive with all of the water that we deal with on our day to day with storms and rising sea levels, etc. I am the climate and tour fellow at the water collaborative. We are going to be launching a tour company within the organization to give climate and environmental justice related tours to people visiting Orleans or just locals living in the area, around water equity, around storm water management, around issues related to Katrina and past environmental disasters and how this city has adapted and moved forward from those things and what our plans are for the future.
Camerin Kimble: Wow, okay. How exactly do you think water has damaged the relationship that it has with people of New Orleans?
Yeishka Montalvo: Yeah, so as I had mentioned before, water is one of the biggest challenges and threats to human life in the southeast and especially along the Gulf from tropical storms to rain events, aging infrastructure like I had mentioned, it's, it's, it's damaged, it's damaged our communities, especially the most vulnerable ones and in that regard. And so that's why it's so crucial that organizations like the water collaborative and other networks that we work with work collaboratively to develop, you know, innovative solutions to these issues. And you know there's, there's so much water around us, so we have to learn how to how to have a relationship with it in a way that is regenerative in a way that is sustainable for both us and the water, you know, and there's so entire industries that depend on it, fisherfolk tribal nations, you know, different laborers and farmers, the seafood industry. Everything about our city is tied to water, and so we need to learn how to live with it. Yeah.
Camerin Kimble: If you don't mind, could you kind of like, go into detail about how the relationship begins to reform, with the people?
Yeishka Montalvo: Yeah. So for instance, I guess I could go into more detail with like the artists collective, specifically, but we're basically going to be using the arts, as a way to turn the lens on this relationship we have with water and recognizing that water is our most precious resource, its life giving and life taking. It is very challenging. And so, with all of the aging infrastructure, with all of this climate change and stronger storms etc., people here hate water. It's really traumatic for them, it is triggering for them. There's a lots of painful memories tied to water in this city and so we want to use this artist collective as like as a way to channel, some healing for our communities here, and just using visuals and arts to kind of change our view of it in a tangible way, in a way that we can like envision a future with it positively and not painfully. But we also do lots of other projects to, to mitigate that that challenge. So, but the brackish artist collective is just one way. And then the tour company, that's just like our educational channel, where we give people history tours and lessons and and teach them about the infrastructure and why it's aging and what we need, and because knowledge is power and like, you know, if we don't know what to do, then we can't really change anything. So, that's our goal with the tour company as well.
Yeishka Montalvo: So, the water collaborative builds sustainability and shows others how to live sustainably through education and policy specific work. So education meaning educating residents in New Orleans and the Gulf Coast region about flood solutions resources like storm water management pertinent research, and more. And then on the policy side we work with, city, state, and federal workers and elected officials to support their understanding of water management and further policy measures to support the urban water sector in their growth and, and sustainability.
So utilizing that membership rate base of ours, we create policy recommendations to advocate for the support for these changes and doing so, also, specifically, special emphasis on protecting vulnerable communities most at risk to these to these issues so.
Yeishka Montalvo: I was just saying there's a lot of urgency to be committed to this type of work right now, especially living in the Gulf south, because we are among the most impacted by climate change and climate disaster as you saw this summer, there was like 5, 6, 7 different threats of hurricanes, just, you know, back to back, and that's not normal. That is not, and it's, it's, it's weird, calling it a natural disaster because it doesn't really feel like it's natural at all. It's because of the infrastructure, it's because of the negligent like policy, that is harming our planet in our homes, it's, it's because of so many reasons that our human, manmade. So, we are contributing to this problem and so it's up to us to really step up and use our resources and use our collective power and our communities to make a positive change and make it so that we can live on this earth and in New Orleans for years and years to come and our kids to and their kids too. And in that is, that's the goal. So, and it's, it affects everybody. Everybody has a stake in this so I guess I'll close with that.
For anybody listening, that if you want to contribute to this cause and into this movement the time is now, and there's plenty of resources to do that.
Camerin Kimble: Thank you for your time, and that was some great stuff that you said. I just want to thank you so much for this interview, and everything you've done with the collective.
Yeishka Montalvo: Thanks so much for having me I'm really excited to have you part of the team, and we'll work together some all moving forward.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
9:33 ( nine minutes and thirty-three seconds)
Producer
Name (or names) of the person who produced the video
Camerin Kimble
Director
Name (or names) of the person who produced the video
Camerin Kimble
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
Water in New Orleans
Creator
An entity primarily responsible for making the resource
Camerin Kimble
Format
The file format, physical medium, or dimensions of the resource
Video
Subject
The topic of the resource
New Orleans and Its Relationship with Water
Description
An account of the resource
This interview captures the effects water has had on communities throughout New Orleans and how it has affected livelihood as well.
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
30th April 2021
Contributor
An entity responsible for making contributions to the resource
Camerin Kimble
Rights
Information about rights held in and over the resource
My Nola, My Story
Relation
A related resource
My Nola, My Story 2021
Language
A language of the resource
English
Type
The nature or genre of the resource
Premiere Pro, 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
Hurricane
Hurricane Katrina
New Orleans
New Orleans Water Collaborative
water
-
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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
Transcription
Any written text transcribed from a sound
Joy Eddy: Hello My name is Joy Eddy and I am a first-year student here at Xavier University of Lousiana. I am here with Reverend Turner. Would you like to introduce yourself and tell us a little about yourself?
Rev. Dr. Turner: Certainly. My name is Rev. Dr. Theodore Turner Junior. I am the pastor of Mount Olive Missionary Baptist Church in Boothville, Louisiana. Have been for the past 22 years. And I’m also an employee of Plaquemines Parish Detention Center. I serve as the Chaplain in this facility. That’s basically the panorama of my current standing.
Joy Eddy: Thank you so much for that statement. And thank you even more for agreeing to do this interview. Would you like to get started?
Rev. Dr. Turner: Yes. Indeed.
Joy Eddy: Would you please describe your experience with Hurricane Katrina.
Rev. Dr. Turner: Huh. Well. To. To make an understatement, to say it was traumatic, um, is an understatement. Um, the entire event has left all of us with what I believe, all of us who experienced the effects of it, particularly in our area, um, with some sort of, um, hurricane PTSD *laugh* uh there is so many, so many things, emotional things, we experience. Even today, as we drive through our communities and notice many factors are out of place, people are out of place, and things of that nature, but nevertheless our desire to live here, our motivation to continue to create a society capable of sustaining a good life, is greater than anything that we have experienced.
Joy Eddy: Thank you so much. How did the Hurricane impact the way that you see life?
Rev. Dr. Turner: It certainly, um, it taught me that there are things that are beyond my control. And therefore I need to have someone in my life who has control of all things and so in that regard it strengthened my faith in God. Who in spite of the difficulties we face and experience, has sustained us and supplied us with the essentials that we need for life.
Joy Eddy: Thank you. Did you return to NOLA after Katrina? Why or why not?
Rev. Dr. Turner: Well, first of all, I live 75 miles south of New Orleans, so New Orleans is a whole ‘nother world in comparison to where we live. And also yes, I returned immediately, I remember the night that our community was being devastated by the hurricane. I was watching it on a big screen TV at United Methodist Church right there on Trenton Boulevard in your area (Ruston, LA) and we were watching it on a giant screen TV. And the pastor asked me then, um, what are my intentions now that my community is destroyed. And I said “well I’m waiting on the winds to die down and the waters to subside so that I can go home.” There was never any doubt that I wanted to come back home and I was gonna come back home if the government allowed us to come home. So yes, immediately, I wanted to come back home and it was about 6, well 4 to 6 weeks later when we were allowed to get back home and I was able to see that the community and the devastation that we had experienced.
Joy Eddy: I know that you stated earlier that New Orleans, I mean the New Orleans area and other communities that were devastated by Katrina never really fully recovered but, do you think it ever will?
Rev. Dr. Turner: Well that’s gonna be determined by the powers that be. And when I say that I’m talking about government entities and also businesses who have a desire to invest in this area because now just like the potential for natural disaster exists, as it does everywhere, there’s no safe place in the world, is exempt from the possibility of natural disasters but now because crime is so rampant people are hesitant about the New Orleans area in particular. But here in our community that’s not a factor, its just that industry has divested itself of our area and people who live here are being, are being somewhat inventive in taking advantage of the lay of the land by *inaudible* their resources personally and running their businesses, well the few businesses we have here themselves. So we’re gonna, we’re sustaining ourselves here and I don’t know if, I know we won’t ever be back where we were because I’d say 60, 60 to 70% of the people are gone that we grew up with and were here, to begin with.
Joy Eddy: Thank you. Did Katrina impact your career?
Rev. Dr. Turner: Not really because prior to working for the sheriff’s department I worked for a tugboat company. I was a compliance officer for a tugboat company. So all of this is oilfield work and it’s been the hub for some time, of the oilfield industry. We always have employment here. A lot of that work has shifted to the west post-Katrina and also because there are some other issues in the area. Inadequate planning by local government to take advantage of their chance to grow the industry here. But no, I’ve always had employment and always found employment and I think in my entire career, 50 years of working from a little boy up till now, I’ve never been without a job more than three weeks so I’ve always managed to find something that was conducive to what I wanted to do.
Joy Eddy: Thank you. This is the last question. What is the overall message that you want the public to realize about Katrina?
Rev. Dr. Turner: That these disasters could happen at any time and any place. That we, we, people need to be more sensitive and compassionate for people who go through these disasters and less judgemental because there was a time when people criticized us are returning home stating that was gonna happen again only for those critics to themselves face, some of them later faced similar disasters and they did just what we did, return back to their homes. So, always be compassionate, have compassion. I also found on the flip side of that, that many people in many areas open their arms and their purses and aided many people in this area. There were several groups of nonprofits that helped us to recover, in a recovery process, for which I was able to work with. There were many of those types of people who, who tried to help people. So, people need to be compassionate more than anything, continue to be compassionate, and I found that people are, but there are those negative persons who want to dictate to people where to live and how to live, who sometimes can dry up well support for people who are in need. We never asked for a handout. And I’m sure you’ve heard this expression before, “all we need is a hand up”. I’m one of these people who love pop music, um popular music and there was an old musician who said it like this “I don’t want nobody to give me nothing, all I need you to do is get out of the way and let me get it myself” and that’s how we can make it.
Joy Eddy: Thank you so much.
Rev. Dr. Turner: Mhm. You are quite welcome. You are quite welcome.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
8:41 (8 mins 41 seconds)
Producer
Name (or names) of the person who produced the video
Joy Eddy
Director
Name (or names) of the person who produced the video
Joy Eddy
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/MF_SOdj9jR8" 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/.
Creator
An entity primarily responsible for making the resource
Joy Eddy
Title
A name given to the resource
Lasting Effects of Katrina
Format
The file format, physical medium, or dimensions of the resource
Video Interview
Subject
The topic of the resource
Hurricane Katrina
Description
An account of the resource
This is an interview with Rev. Dr. Theodore Turner, a New Orleans native, Pastor of Mount Olive Missionary Baptist Church in Boothville, Louisiana.
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
6 May 2021
Contributor
An entity responsible for making contributions to the resource
Joy Eddy
Rights
Information about rights held in and over the resource
My Nola, My Story
Relation
A related resource
My Nola, My Story 2021
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
Katrina
Mount Olive Missionary Baptist Church
New Orleans
Rev. Dr. Theodore Turner
-
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eaf1a3fa5cea1d9d0cd94c24c624bcb5
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 Justice
Description
An account of the resource
A collection of the featured stories focusing on civil rights issues in New Orleans.
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/3YE5yEavk6I" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Producer
Name (or names) of the person who produced the video
Anthony Thompson
Director
Name (or names) of the person who produced the video
Anthony Thompson
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
6:10 (6 minutes 10 seconds)
Transcription
Any written text transcribed from a sound
Intro (music): (Anthony Thompson) Good evening Dr. Wiltz and thank you for being part of the Black History Month Black in Medicine Series. My first question for you is: What made you go into medicine?
Dr. Gary Wiltz: Well thank you Anthony, and it’s a pleasure to be with you. That’s a question that I think most people who go into medicine get asked. Particularly if you're pre-med, they ask you: Why do you want to become a doctor? I guess in my case, I grew up in New Orleans. I was born at Charity Hospital, the old Charity we call big Charity Hospital, on the colored ward section because it was segregated back in 1953 when I was born. Having grown up, I grew up in the 7th ward. I went to public schools in New Orleans and just having the experience of seeing how healthcare was being delivered in more of a tiered system, I knew I always wanted to do something to help people, and as I'm sure you’ll find if you’re pre-med, medicine is a calling. It's almost a religious sort of experience where you are called. The old biblical saying, many are called but few are chosen, is true in medicine too. I just found that it was a tremendous venue. I got a lot of encouragement. I was good in sciences in school, and had a lot of encouragement from my teachers in high school, and then I guess the big turning point for me influence-wise, was when I got to Tulane undergrad and was pre-med. I got involved in a program called MED REP, the Medical Education and Reinforcement Enrichment Program, and it was headed up by Dr. Anna Cherrie Epps, and we actually had some conjunction with Xavier University, where they actually allowed us to have a summer enrichment where we did research at the medical school, prepped for the MCAT, and actually were guaranteed an interview. Because of that intervention, I would not have had the career that I’ve had in medicine. So I guess to answer your question, it was calling. I view medicine as a sacred trust, one of the most intimate forms of human contact you can have, and I wanted to do something to serve the community, particularly the community that I was born in, grew up in, and wanted to give back to.
Anthony: Thank you for that very informative answer. My next question for you is: What are the challenges of your role as a physician?
Dr. Wiltz: That's a loaded question. As you know, I’m CEO of an FQHC, which is a Federally Qualified Health Center. The more common name is a community health center. Just a little background about that, community healthcare centers have been in existence since 1965. They were part of the great war on poverty that president Lyndon Johnson and that congress initiated. A lot of great things came out of that movement in 1965. It began the Medicare program, the Medicaid program, the Community Action Head Start program, and community health centers. A lot of it was based on what we now come to appreciate as social determinants of health and we knew that you had to address those underlying issues, and because of those issues, it affected people's health. That is what I've kind of dedicated my life to. I had the good fortune when I was in medical school at Tulane to be awarded a National Service Corps Scholarship. That scholarship paid for my medical school. In return, I had to pay back time at what was called an underserved area. So like a lot of my colleagues, I grew up in New Orleans in an urban setting, and did not have a full appreciation for what rural communities were lacking. Charity Hospital was great if you were in the city and you had access to that care. But if you lived 100 miles away and had to take a Greyhound bus, travel 3, 4 hours to go to Charity Hospital for primary care and things that should have been delivered in the local setting, that I realized right away was a big challenge: increasing access, and of course having culturally competent people to deliver that care. I always said that a lot of the problems that we have particularly in the African American community, I've heard it said and I agree: No one can help save us from us but us. So I think empowering our communities with the tools and the things that we need to improve our health is a big part of the equation to help get us to a better place.
Anthony: My final question for you is: What do you want communities of color to know about COVID-19 and the science surrounding it?
Dr. Wiltz: Well I think to just reiterate that the science was based on real science. I have, this is the mask that I wear. It says, I trust the science, and I wear that intentionally with all my patients and when I'm speaking publicly before I take it off. So I want our communities to know that the science is there, there is a commitment from the president, President Biden, from Governor Edwards, that we have prioritized. He's created an Equity Task Force and we have prioritized African American communities should be at the front of the line to get the vaccines because it’s devastated our communities, and the worst thing we can do as a people is not take advantage of the vaccines. That's one of the biggest ways we’re going to get out of this situation.
Anthony: Dr. Wiltz thank you very much for those informative answers and I again thank you for being a part of the Black in Medicine Series.
Dr. Wiltz: You’re quite welcome Anthony.
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
An Interview With Dr. Gary Wiltz
Creator
An entity primarily responsible for making the resource
Anthony Thompson
Format
The file format, physical medium, or dimensions of the resource
Video
Subject
The topic of the resource
Medicine in New Orleans
Description
An account of the resource
This is an interview with Dr. Gary Wiltz, a New Orleans native, Tulane University School of Medicine graduate, and award-winning physician who is the Chief Executive Officer of Teche Action Clinic.
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
4th February 2021
Contributor
An entity responsible for making contributions to the resource
Anthony Thompson
Rights
Information about rights held in and over the resource
My Nola, My Story
Relation
A related resource
My Nola, My Story 2021
Language
A language of the resource
English
Type
The nature or genre of the resource
Premiere Pro, 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
Charity Hospital
COVID-19
New Orleans
Tulane University
Tulane University School of Medicine
-
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e6e2b09d5ec42600c1b08106d59ad23a
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 Community
Description
An account of the resource
A collection of the featured stories focusing on New Orleans community.
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/9p-m78wAinI" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Transcription
Any written text transcribed from a sound
Intro (music): (Yvonne Milton) I'm really going to miss carnival. Mardi Gras was the best, but it's gone now because of the corona.
Brier: This year marks the first time in 32 years that Mardi Gras has been cancelled in New Orleans. Due to Covid-19 all festivities leading up to Mardi Gras including the parades have been put off. This has affected us all in New Orleans, but there are many who still keep the spirit alive by transforming their homes into float houses, and these are their voices.
Ingrid Labat: You don't need an excuse to party in New Orleans.
Brian Lapeyrolerie: The big thing about Mardi Gras and all the social organizations in New Orleans is the fraternization amongst members and friends and different walks of life. Have a good time with some people you don't even know or you can be with your friends and have a great time. That's the whole thing. It's that everyone forgets their worries.
Brenda Manson: Right now, we'd all hang out and have some music going and the chairs, sitting down, like in family groups, and just wait for the parades to come. And we'd stay there the whole day long from Zulu all the way until the floats come.
Ingrid Labat: If it’s not Mardi Gras, it’s Jazz Fest, it’s French Quarter Fest, it’s Essence Fest, and then football season takes up half of the year. But then after football and the holidays, here we go again back to Mardi Gras.
Brenda Manson: It's Happy Valentine's, Mardi Gras.
Brier: Sky!
Skylar: Yeah, what's up?
Brier: Do you have a song that reminds you of Mardi Gras?
Skylar: Yeah
Brier: Really
Skylar: Yeah
Brier: Can you sing it for me?
Skylar (sings): Mardi Gras mambo mambo mambo, Mardi Gras Mambo mambo mambo, Mardi Gras Mambo, Down in New Orleans.
Yvonne Milton: You know, maybe one day it will come back. It may not be in my time, but it will be in somebody else’s time. But I pray and ask God it will be in my time.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
2:43 (2 minutes 43 seconds)
Producer
Name (or names) of the person who produced the video
Brier Evans
Director
Name (or names) of the person who produced the video
Brier Evans
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
Missing Mardi Gras
Creator
An entity primarily responsible for making the resource
Brier Evans
Format
The file format, physical medium, or dimensions of the resource
Video
Subject
The topic of the resource
Mardi Gras Post Covid
Description
An account of the resource
This is a mini-documentary-style video that captures how many communities in New Orleans are celebrating Mardi Gras through House Floats.
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
24th February 2021
Contributor
An entity responsible for making contributions to the resource
Brier Evans
Rights
Information about rights held in and over the resource
My Nola, My Story
Relation
A related resource
My Nola, My Story 2021
Language
A language of the resource
English
Type
The nature or genre of the resource
Premiere Pro, 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
Algiers Point
COVID-19
FrenchQuarter
Gentilly
House Floats
Krewe of House of Floats
Louisiana
Mardi Gras
Mardi Gras Mambo
New Orleans
Parades
Zulu
-
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14034a69e965d3c128fc105388ef769d
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/kGvo18vtX2A" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
5:01 (5 minutes 1 second)
Producer
Name (or names) of the person who produced the video
Brier Evans
Director
Name (or names) of the person who produced the video
Brier Evans
Transcription
Any written text transcribed from a sound
Intro: Hey Everyone!
(Voice note): Wow, that was very dry. I'm going to be more hype this time, you know, for your sake, so that we can start this video on a positive note. Hey Everybody, I'm Brier Evans, a freshman Speech Pathology major.
I am Dominican, repping the flag proudly, West Indian. I'm nervous because I'm going to one of my favourite West Indian Restaurants. it's a Jamaican restaurant called Boswell's, and I absolutely love their food. Like their food is top-notch, it's right here! So, I'm nervous, I'm going to be interviewing the place, you know showing you guys around, showing you the food. The process of making the food, everything that's happening. Masks are a necessity, please wear your masks as we're in a pandemic. Okay, let's go! And we're going vlog style!
(Outside of Boswell): Okay, we're legit right outside of Boswell's right now. We're going inside. Ahh, I'm nervous. Okay, we gon do this, we gon do this. Let's do this!
Interview
Mr. Boswell: That's my name. My name is Boswell Atkinson. it's a British name from when we were a British colony in Jamaica. Well after the accident with the spacecraft, I was transferred to Baltimore, and I didn't like Baltimore, so I came here started my own janitorial company, and then I started cooking.
Brier: You love cooking?
Mr. Boswell: love it.
Brier: Love it? Haha, What's your favourite menu item here from Boswell's?
Mr. Boswell: The Jerk chicken. Well, the oxtails are a big thing here. I think the oxtails and the jerk chicken are my best sellers.
Brier: What made you move to Louisiana.
Mr. Boswell: Work. I had work. I came down to work as an engineer with Lucky. Been in Louisiana since 1978. I opened Boswell's in 1998
Brier: 98!
Mr. Boswell: But the storm came and took it. I reopened in 2008. We're surviving. We try to make the food as authentic as possible. Close to what you would eat in Jamaica. And we try to keep consistent with our menu. So, that's basically it.
Friend 1: Let me taste the macaroni.
Brier: Huh.
Friend 1: Let me taste the macaroni. Just a little bit.
(Meme plays over)
Brier: That meal was amazing. Let me tell you bruh like we cleaned that off, we cleaned that off, didn't we? The macaroni and cheese was good, the plantain was good. If you guys know plantain, then you would know. The chicken! Bruh the meat fell off the bone, I promise you, I didn't even have to touch it.
(Voiceover): You didn't touch it? Then how did you eat it? I'm confused.
Brier: It was good.
What's one menu item you love about Boswell's?
Friend 1: I love the curry chicken.
Friend 2: The rice and peas from Boswell's, and the plantain too.
Friend: 3: I like the jerk chicken.
Friend 4: I like the stew chicken.
Closing 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
Boswell's: Home Away from Home
Creator
An entity primarily responsible for making the resource
Brier Evans
Format
The file format, physical medium, or dimensions of the resource
Video
Subject
The topic of the resource
Boswell's Jamaican Restaurant
Description
An account of the resource
This is a vlog-style video centered around Jamaican Restaurant, Boswell's. This video entails an interview with the owner, Mr. Boswell Atkinson, and the introduction of the restaurant's food and environment to viewers.
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
24th November 2020
Contributor
An entity responsible for making contributions to the resource
Brier Evans
Rights
Information about rights held in and over the resource
My Nola, My Story
Relation
A related resource
My Nola, My Story 2020
Language
A language of the resource
English
Type
The nature or genre of the resource
Premiere Pro, video
Identifier
An unambiguous reference to the resource within a given context
https://youtu.be/kGvo18vtX2A
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
2020
Boswell's
Caribbean
Food
jamaica
Mukbang
My Nola My Story
New Orleans
Restaurant
West Indies
XULA Mass Comm
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3cfb8103327e112215dac48e2406e1c3
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/Isdem52f7r0" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Transcription
Any written text transcribed from a sound
Amber Parks : Heart N Hands is a non-profit organization created to spread awareness about heart
disease and the role it plays in women's
lives
Essence Banks : i started heart and hands in 2014
because i really wanted to educate young girls
about heart disease and heart health
prevention which we know heart disease
is the number one killer women
so i'm really passionate about the work
on being proactive and educating
about heart health and heart disease
because i am a survivor now
of 16 years as
a heart disease survivor and wanted to
educate young women
and girls about the importance of really
just taking care of their overall health
especially their heart health
so you know being able to start a
non-profit
is very hard it's hard work it takes
perseverance determination all those
skills
right that you think about but i think
for me
it really wasn't that hard because it's
a passion of mine
and you know when i was diagnosed with
heart disease i was only 30 years old
and so i just really felt like i needed
to educate as many women
as i could right and so i did that for
the first 10 years
and then after that um
i was celebrating my 10 year anniversary
as a survivor and thought what else
could i do to really get ahead of this
disease right
and that's when i thought about the
young girls
and so starting a non-profit was like
you know started in my living room and i
thought wow i can do this but then once
you get
involved in it and you see everything
that you need to do
and that comes with start a non-profit
that's when you really have to pull
those skills out right and figure out
you know how you're going to pull
together
your board of directors and how you're
going to you know focus on your
financials and raise money
you know all that fun stuff but it
definitely takes
you know time and it takes dedication to
really get it started and so now we're
celebrating six years
and just really excited about the work
that we've done i mean we're
still growing and still learning so the
journey you know never ends
so with you know a non-profit it again
it is hard work
but it's so rewarding when you see how
you're impacting you know lives and
changing lives in the community
especially with the girls and young
women that we serve
well new orleans because i am a native
right so i
am a new orleans girl so i always say
i'm a local
at heart and so i wanted to have an
organization where
you know when you look at the statistics
for heart disease
louisiana is in that i guess that
southern belt where we have high cases
especially in our um people of color
communities right so you see
high blood pressure cholesterol diabetes
you know strokes
all the risk factors for heart disease
are in
predominantly southern states and so of
course you know being here i really
wanted to focus on our community
educating them about the importance of
just really taking care of their overall
heart health
the goal though for heart and hands i'm
glad you asked that question
is to expand to other cities right so
this year
uh during the pandemic we were able to
really focus on expanding
our reach for the organization and so
now we are
in nashville tennessee as of august of
this year
and then january it's a secret
we will be launching and rolling it out
in
memphis tennessee and then hopefully
we'll have other cities to follow
but the goal is to be in all 50 states
so you'll see
us just like you see an american heart
association
you know and some of our other
partnering organizations so that's the
goal
yes i was nervous from the very
beginning because i
have never started a non-profit before
so of course i had like this anxiousness
like what am i supposed to do how do i
get this started
how do i get people to know what i do in
the community so
that's the part that was really
nerve-wracking and then how am i gonna
sustain
an organization you know when
it is really like my secondary job right
so i have
you know your day job then you have this
passion project so it's kind of like how
do you
juggle and manage you know both of them
um and so initially in the beginning
very nervous about raising funds you
know how do i get other
organizations and donors and supporters
to believe
in the mission you know kind of like i
do and like the other
members of the board of directors so uh
yeah very very nervous initially i must
say
and you know some days i still have that
where you know i might be working on a
new project for heart and hands or
we come up with something that's
different and we're thinking okay
are people gonna like it are the girls
gonna like it you know so we have put
junior board members on our board of
directors as well
just to kind of hear what is happening
in the community right because we're
older
we don't know what you know girls really
want or what
they would be interested in and so
that's why we kind of brought on
some younger board members like you know
we have an eighth grader
because again we want to hear what's
happening in their community right among
their peers
so we can try to make sure that you know
we're really touching on all the things
that
they're interested in and doing so we
tied it into our program
but you know all those thoughts about
you know
sustaining the organization what does it
take
you know how are we going to get money
how are we going to fund the
organization
always make me pretty nervous and
anxious
i guess as the years go by it's going to
get better so the
programs that we produce for the young
girls
everything is interactive because we
know you know young girls attention
spans right you got to get them
keep them engaged as long as possible so
when we go into schools or we partner
with you know girl scouts or girls on
the run
we're bringing to them possibly a
fitness session so we might go in and do
zumba
yoga pilates um we do mindfulness
meditation you know with them so we have
interactive activities and then we tie
the lecture piece in about
the importance of taking care of your
heart so it's not just all a straight
lecture you know we try to make sure the
girls are up and moving
and while they're doing that you know we
may bring in
one of our cardiologists to talk about
the importance of you know heart health
etc and then we have also done cooking
demonstrations right we've also
you know done some sessions where we
bring in heart healthy snacks to
different extracurricular activity teams
you know at schools so that's been
really fun to bring in some fresh fruit
or
you know a heart healthy snack into
their exercise or their practice
routines so yeah we do so many different
things
with the girls uh in our community and
we always are looking for
organizations that have girls so we go
where the girls are right so right now
we don't have a program that we work
with a specific group of girls
but if there is another non-profit
organization that has a mentoring
program
or they're looking for someone to come
in for one of the week sessions and
provide
you know a fitness session or again
something you know light something
cooking
related uh giving them heart healthy
recipes
we will then come in and partner with
them on programs such as that
and hopefully we'll have our own girls
soon where we can kind of work with them
and you know track their progress and um
you know just see how they enjoy some of
the components of the program
and so i think the most important thing
about
my journey with heart health and heart
disease is
every time i do a talk or i go to a
church or i'm presenting to a sorority
or
whatever it is in the community or i'm
working with the young girls at the end
of
every session someone always comes up to
me and says you know oh i didn't know
that this could happen to me it happened
to you wow you were just 30 years old
or they'll say you know i'm having some
symptoms
you know that you mentioned you know in
your talk what should i do
and that's always so rewarding for me is
to hear
people actually open up about it and not
you know think i can't share it or i
can't really say what's going on because
it's personal
and then to hear later you know after
a session that we've done that some of
the girls come up to me and say yeah you
kind of like change
my thought process about fast food you
know
or yeah i shouldn't have fast food every
day maybe i'll just cut back and
you know have my have a treat every week
versus you know seven days a week
so i've heard so many great stories
about that i've actually had a cousin
after a recent 5k she did the virtual 5k
she lives in atlanta
and she said as a result of the 5k her
and her son
are now walking like three times a week
you know just because
when she got out to move for the 5k she
thought wow i could do this
right it's not that long 3.1 miles
but when you constantly are thinking
about working out you think oh
i don't want to do it but then once you
get out there it's
you know it's easy it becomes fun so
really hearing like testimonials and
you know people who have changed their
lives
as a result of some of the things that
we're doing is just so rewarding
and and the other thing is i mean
there's young women that i know in their
early 20s
now that you know have been diagnosed
with some form of heart disease
or diabetes and so you know my message
always is it's not the old people's
disease
it's not the old man or old woman or a
fat person even
you know when you think about heart
disease and all the myths that we
already have in our hair like yeah i
have time for that or
i don't need to worry about it the
reason why i started heart and hands is
so
people can say no i need to worry about
it now so i can prevent it later
that's the biggest thing about heart
disease eighty percent of it is
preventable
and not a lot of people know that they
think oh if i get i just get it no
like you can do things to combat it you
know you can live a healthier life you
can get out and start walking and
exercising and just paying more
attention to your health
versus in the long run you'll have to
pay
you know and so for me the the odd thing
was
i didn't have any of those symptoms
the things i just mentioned to you i
didn't have high blood pressure
no high cholesterol no diabetes never
had a stroke
never had a heart attack was never
overweight didn't smoke
never smoked you know so all the things
that you see on the checklist
of what is heart disease you'll see all
those things
what are the risk factors for heart
disease i didn't have any of them
so it's like okay some people say it
could have been stress related
or it could be hereditary right it could
be something down the line that
you know mine presented itself in the
form of coronary artery disease so
blockage of the arteries
but yeah you know so my thing is you
just never know
you think yeah 30 years old is pretty
young you're in the prime of your life
you're working getting your career going
you know and this happens it definitely
is a huge shock
to the system like what not me
so that's why i'm just so passionate
about getting the message out especially
to young
girls young women like yourself because
you can make a change now
yes for sure so the prevention part is
focusing on your doctor's visits
right creating you know coming up with a
list of questions
that you want to know about your overall
health because a lot
of times and i know this happened to me
when i was younger you go to your annual
visit
everything's fine you check the box and
you leave but you didn't really ask
questions about how did my blood work
come back how was my numbers for my
you know total cholesterol my blood
pressure um
glucose levels things like that so
really having a checklist when you're
meeting with the doctor and
asking you know how are the levels
because maybe
you could be borderline and just don't
know it right so
just really being more proactive about
your overall health
knowing your numbers totally versus
waiting for something to happen
and then you go you know hit you out of
the blue um
and then of course sticking to some type
of you know
heart healthy eating habits
incorporating fruit and veggies
and everything that you do that should
be like on a weekly
basis you know making sure that you're
having balance meals
and that you're getting out and doing
some type of physical activity
so those are the main things and then
listen to your body whatever it is
whether it's heart disease or something
else
your body never lies and we know our
bodies more than anyone
so you know my key message is when you
feel something is wrong
go get it checked out go to the doctor
right don't be afraid to just say let me
just make sure
everything is okay versus waiting or you
know putting it off
procrastinating just go get it checked out
thank you
across the sky
X
U
Closing Credits
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
14:50
Producer
Name (or names) of the person who produced the video
Amber Parks
Director
Name (or names) of the person who produced the video
Amber Parks
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
Heart N Hands
Creator
An entity primarily responsible for making the resource
Amber Parks
Format
The file format, physical medium, or dimensions of the resource
Video
Subject
The topic of the resource
Heart N Hands Non-Profit Organization
Description
An account of the resource
This is a questionnaire video to learn more about Heart N Hands. This video entails an interview with the founder, Essence Banks, and an in-depth view of heart disease in young women.
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
3rd December 2020
Contributor
An entity responsible for making contributions to the resource
Amber Parks
Rights
Information about rights held in and over the resource
My Nola, My Story
Relation
A related resource
My Nola, My Story 2020
Language
A language of the resource
English
Type
The nature or genre of the resource
Premiere Pro, video
Identifier
An unambiguous reference to the resource within a given context
https://youtu.be/Isdem52f7r0
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
2020
Heart Disease
HeartNHands
MyNolaMyStory
New Orleans
NonProfit
Organization
Preventions
Xavier Mass Comm
-
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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/y6qh895cJ5g" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Transcription
Any written text transcribed from a sound
Domonic: Can you start off by telling us a little bit about yourself ?
Chief Durall: Um. let's see I started off my university career Old Dominion University in Norfolk, Virginia. I was there for about five and a half years, I raised from the ranks of police officer made sergeant, I was a night patrol sergeant. They're located in a very urban area, 25,000 students so our call for service was pretty high especially on a Friday or Saturday, then I got the opportunity to go to Norfolk State University, which is an HBCU also in Virginia and there student population is about 6,000, so I made the rank of Lieutenant and went to Norfolk State. I was there about two years, umm ultimately my goal was become a chief of police, so when the opportunity for Xavier came up I couldn't say no. I mean I'm a Saints fan, I'm from New Liberia, so it kinda brought me kinda close to home, so I couldn't turn down that opportunity especially to work at you know a top rank university, for the pharmacy program, as well as it being catholic and HBCU, I mean not to many can say they work for a place like this. The I happen to be the first African American Chief of police, so I kinda made history coming here. So that was exciting
Domonic: Why law enforcement ?
Chief Durall: UM, like I said my dad was in law enforcement, so I think he kinda put that in my head and it just kinda stuck with me. And I thought about the medical field but I don't like blood and needles, so that was kinda easy, to cross of my career list of things to do. Well like I said, policing made it so exciting, everyday he cam home, he had a different story to tell and I was like, "well that's good I don't wanna go to work and have the same, everyday be the same, I wanted everyday to be different." And certainly sitting in this chief has not changed that, umm, i have people come to my door everyday with something different.
Domonic: How does it feel to be the first female chief ?
Chief Durall: It's exciting, I mean it's groundbreaking, its sad that it took so long for there to be a first female. However, it seems likes umm, because the relationships and because of the publicity that has shined the negative spotlight on law enforcement, umm theres a feeling and need to put a umm face of color on the police department so it looks like you know there's a softer presentation to the relationship with the community. But um I mean I'm excited, it's always exciting when your the first of anything because you can claim " I was first" wether I was being chief or anything. The first to got to college or anything like that is monumental when you claim to be the first.
Domonic: What are some of the obstacles you face being a black woman in your line of duty?
Chief Durall: Well, umm, traditionally law enforcement, and i tell people all the time, was not designed for us. Meaning it wasn't designed for us to work i law enforcement. It was created to stop slaves from getting away from their master, so thats how law enforcement started. So it heart-warming that we have evolved from that even though that foundation is there we need to recognize in the institution to be able to serve the communities that um are we're serving today. So I mean, I've had experiences with racism, I've had experiences with unconscious bias and all those things and it's unfortunate that were told we're told that we bare to get through it versus you know our counterparts are not told that. That not going to happen to them. So thats why the conversation is important to have those uncomfortable, powerful conversations to have us realize our biases, and our racism, and inequities and injustices in society, and thats something the only way we're going to get through being able to police and work with the community that we serve. It's not about what we wanna do in the duties as a police officer, it's about what the community needs us to do. Cause every community is different, they might have burglaries in one community and trash problems in another. So that's very difficult. So we have to listen to those nuances of each community and adjust our police.
Domonic: In what ways do you seek to change or improve the community's safety
Chief Durall: Umm, getting the students more involved in their safety. I mean, the police department can certainly put out cars, people on bikes however, the students have to change their mindset coming from home and having their parents make safety decisions for them, versus coming on campus and mom and dad aren't there, so now it's your responsibility to make those safety decisions for you. A lot of people -student and parents- always ask " what are you going to do to keep my child safe?", Well imma try to educate your child and make sure your child has more situational awareness so they're aware of whats going on. Most of the time there is situations and they feel like something not quite right, they need to pay attention to that and get out of that situation. So thats helpful and the community helping us, help them stay safe, so it's not strictly a responsibility of the police department, we do share that responsibility.
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
Chief Chanagimire Durall
Creator
An entity primarily responsible for making the resource
Domonic Archie Jr.
Format
The file format, physical medium, or dimensions of the resource
Video
Subject
The topic of the resource
Chief Chanagimire Durall
Description
An account of the resource
This is an interview based on the first female police chief- Chanagimire Durall-of Xavier University of Louisiana
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
December 2, 2020
Contributor
An entity responsible for making contributions to the resource
Domonic D. Archie Jr.
Rights
Information about rights held in and over the resource
My Nola, My Story
Relation
A related resource
My Nola, My Story, 2020
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/y6qh895cJ5g
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
2020
digital humanities project
First Female
Interview
New Orleans
Police
Police Chief
Police Department
student
Xavier Mass Comm
XULA Mass Comm
Xula24
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a154e87dc9d3a4ee762ce3d96639dd09
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/R7AHdtXyQa4" frameborder="0"></iframe>
Transcription
Any written text transcribed from a sound
[Virgil Davison] "The basketball culture in New Orleans, Louisiana is growing. We caught up with Coach Jeffrey Dixon and Coach Michael Thompson to give us an inside scoop on the program at Xavier Louisiana."
[Jeffrey Dixon] "It's amazing coaching at an HBCU in New Orleans culture surrounded by a beautiful city, an old, historic city. There's a lot of talent here. I've been coaching here for 3 years and I'm enjoying it. I've never seen so many prestigious black people before in my life, so it's amazing. It's a culture shock for me to be around so many successful people, amazing alumni, and they always come back and support and show love to us. I try to look for mostly inner-city kids that's been living in New Orleans, so we can bring in a New Orleans crowd to get that same type of feel that we get just from living in the city."
[Virgil Davison] "What made you start coaching?"
{Jeffrey Dixon] "I wanted to coach since I, since I've been playing basketball and that's been forever. Basketball is my passion, it's my love so I wanna be able to teach, coach, and give men like myself, young and black, a chance to play at a collegiate level. I mean I think it's amazing, especially the fact that you can give back. It's like a different way to give back to your community. Being a black school, you create a lot of revenue with the basketball team, and I feel like you can give back instead of going to another school that's predominately white."
{Coach Michael Thompson] Well, in New Orleans, life for me has been great. I mean it's a lovely city, small city with a big city vibe. I've been out of town lived in Houston, Los Angeles, a lot of other big cities, but there's no place like New Orleans, especially, culture and everything, and of course, the food. The basketball culture, personally myself growing up, basketball wasn't a big thing, but now basketball is huge. For the last, past years, I've taught fundamentals at a local YMCA and seeing kids really getting into basketball and the sport have grown tremendously over the years, so the culture, I mean, everywhere you go, every park is packed, every gym is packed. The kids are really into basketball now. Here at Xavier one of the biggest things we have our club sports like, if you see this trophy here. This is from our, one of our clubs, our soccer team. So what our soccer team did, they played a game versus Dillard a few years ago in 2016, so that's some of the things we try to get up and going like club sports and also as well is some of the fitness classes that we do, exercise classes like boot camp, Zumba, Martial Arts, and different things like that. As well, we do some kids who wanna play basketball, who are not good enough to make the team, intramural sports. We have intramural basketball with these guys here. We do intramural baseball, volleyball, different things like that that kind of keep the kids engaged and it helps our retention because the stats say, if kids play intramural sports, they're more likely to stay even if they don't play on a school team, so we try to keep them engaged."
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
3 minutes 1 second
Compression
Type/rate of compression for moving image file (i.e. MPEG-4)
MPEG-4
Producer
Name (or names) of the person who produced the video
Virgil Davison
Director
Name (or names) of the person who produced the video
Virgil Davison
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
Basketball Culture in New Orleans
Creator
An entity primarily responsible for making the resource
Virgil Davison
Format
The file format, physical medium, or dimensions of the resource
Moving Image
Subject
The topic of the resource
This is a short video about the growing basketball culture of New Orleans focusing specifically on the growth of the Xavier University Men's Gold Rush team and young, black students.
Source
A related resource from which the described resource is derived
My Nola, My Nola 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
December 11, 2019
Contributor
An entity responsible for making contributions to the resource
Jeffrey Dixon, Michael Thompson
Rights
Information about rights held in and over the resource
My Nola, My Story
Relation
A related resource
My Nola, My Story 2019 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/R7AHdtXyQa4
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.
Description
An account of the resource
This video gives an inside scoop of the growth of the basketball culture in New Orleans, Louisiana, especially focusing on the lives of the Xavier Men's Basketball team and students at Xavier University of Louisiana.
Coach Jeffrey Dixon of the Xavier Men's Gold Rush Basketball Team shares his passion and reasoning for coaching at the prestigious HBCU. He highlights on how his love for basketball has reigned true since his young days of playing basketball as a student himself. He tells of how his desire to share his love of basketball has pushed him to be an advocate for the young, prestigious black men he coaches giving young, black men the opportunity to play sports in a collegiate setting.
Coach Michael Thompson also shares his experience of basketball culture in New Orleans and how it has grown since he was a young man. While coaching the men of the Xavier Gold Rush basketball team, he shares his passion for also coaching young black men and college students who, even if they are not a part of the team, have an opportunity to play sports through the intramural program. This way college students who are interested in playing the sports they love can play without having to go to another school and they can continue to be a part of the community they know and love.
Basketball
Basketball Culture
HBCUs
Jeffrey Dixon
Michael Thompson
New Orleans
Virgil Davison
Xavier University of Louisiana
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ff2d1d96588ed152e02328b8ce97dae6
Moving Image
Videos
Transcription
Any written text transcribed from a sound
{Music}
So my name is Mikeall, Myienie Caesar. Um, I am the owner-director of N’Fungola Sibo West African dance company based in New Orleans, Louisiana.
{Music}
The meaning of my company's name is, uh, this is my dream and it's in Mandingo language.
{Music}
My family, um, I had some, a little cousin, she was much younger than me, her mother, which, you know, looked at me like a daughter and I used to take care of my little cousin and stuff. So she was the one dancing, well one of the long-time friends who has a children's company here and that was founded by the late Papa Abdoulaye Camara from Senegal West Africa and um, Jean Curry from out of New Orleans, Louisiana. So I started in that group, which is Culu’s Children’s Traditional West African Dance Company and it still exists today. So I started with that company and based on the relationship with the inner spirit, what, me being in touch with the dance, the founder of the company late Papa Abdoulaye Camara who christened me later on in life and which is my godfather, um, he asked me to keep the legacy alive cause he always thought that I wasn't just a good dancer, that I was a good teacher. So I started at the age of maybe like 13, really teaching people to really dance traditional style as the and translated from the format, from how he showed because he didn't speak English fluently. So, and he did, he spoke French, but here we are not fluent in French. So a lot of people struggle with the interpretation of how he taught even saying left-right. You know, and by me studying with him in the 80s, he asked me to continue. He was then founded a company which was, I was the assistant artistic director, which is called Allahbatu. And it, um, I died after Katrina, but um, up until Katrina I was assistant teaching over there. And, um, that's when I actually picked up the name for N‘Fungola Sibo, which might've been in 1998. And then, and maybe exactly in 2000 is when he asked me. He was like, okay, you know, you need to have a performance company because Allahbatu was a community class so everybody in the city could come to that class for free. And he had told me, he was like, it's a lot to run a company like that. And by him doing a lot of charity work here for the city, for the boy’s home millionaire provided a space for us. So that's how we were able to still, um, do dance classes. So we had community classes and so when he sought a hardship of just still getting, you know, funding for us to get costumes made for us to do, you know, community shows and stuff like that. He told me, he was like, you know, you need to have a performing company. He gave me the name N’Fungola Sibo and he was like, that's your dream, to dance. So he knew
{Music}
I think more so because I think it was something embedded in me. It was a spirit that probably knew it was embedded in me. It wasn't nothing that I was taught. I wasn't taught anything. You know, like I said, we come from mixed families. So you know here in New Orleans, in America, you still all blended family and I never saw color because you know, my family was still Creole family and you know, so we were still a blended family and they never taught me anything about color. So when I started dancing I liked the energy of African dance. So that's what got me moving. And I was already a dancer, like New Orleans dance. I was already a bounce dancer and stuff, but I never, nobody never trained me. That was already in me. Like my oldest brother, he believed in me way when I was a little bitty girl doing New Orleans, bounce dance. He was like, there's nobody in the city that could beat my little sister. It was like, you know, he always thought that of me and he will always put me in competitions. I was always in talent shows, you know, I used to have all my cousins and best friends. We used to always just come up with choreography, getting all types of competitions to win. Like we were just competitive like that. But competitive for the art, not just competitive to say, Oh, I'm better than that person. We never would do that. We always had our own specialty inside of our group. So like whatever I was good at, that's what I applied to our group. Like my cousin, you know, she was good at writing music and singing when I'm was rapping. My other friend, she was good at singing too as well. So we, and I was at, at rapping and dancing, so I will make up choreographies and beats, you know, so we kind of like gel that together. And when we saw that we could apply the African rhythms inside because she was the African as to when I started doing African dance, I brought home and we was like a real and it was like a, a real force together. And you know, he knew that he believed in us with that and he, that was the first thing. He was like, you know, I was a good dancer and I love what I do. It wasn't just I was doing it because I don't make a whole lot of money, but I still love what I do like is satisfied my spirit. And that's really why I do it. And I want to encourage other people to do that because what feeds your spirit is go for you to help. That's what gave you long life. I don't believe like when they give me you life, I believe like your health or you know, your spirit food. So
{Music}
Well, we normally like in a rotation with the festivals. So we have done a lot of French quarter festival events. We have done Congo Square festival every year for the past maybe 12,13 years. Um, we have done Mmm Mmm. Oh, essence festival even we have done, you know, Oh Bayou Boogaloo festivals we had the jazz festival events and we do like a lot of private corporate events too. So you know, we have baby showers. So you have somebody who's doing wedding ceremonies. We do a lot of birthday parties too have been a big thing now. So we've been sending a lot of people, I guess since after Wakanda came out I got a people been done like you know, the soul searching and just like they always want to incorporate African dance. And not only that, um, you know, we're a dance company, be we're a drum a female drum performing company too. So you know, we and we sing. So we do a lot of different things. So, you know, we, we do a lot of performance throughout the city and out of the city, you know, and out of the state, you know, of course, you know, we travel a few places doing a lot of events. I mean, you would be surprised the type of events that people call me for
{Music}
Problem is, is like, um, a lot of people don't, they're scared they'll put in the work behind picking up a start in another city. So like for me it's not about me doing the work cause I do all the leg work here for myself as well. And I have a good support system here. You saw my company that wasn't even, it's not even a third of them. So I have a really good support system and what we do is we do a lot of researching for other members. Like, you know, most of the time I have a lot of people that called me from out of town when they come in town, like I looked up online and you're the first person I saw. So I tried to introduce it to different cities, but they don't have a big community of, you know, cultural people like that. So sometimes it's a little slow start. But yeah, I do want to expand because you have other people that are still, they have like three people in that whole city that really liked doing it, but they just don't know where to start. So, you know, sometimes it'd be just, you know, trying to get out to the communities. Eventually, I'm gonna get to different cities and get to different counsel men in that city and then try to help them start some type of cultural group you know in their city just to help them out. And they have to be. We, like I said, I'm a diverse company, so everybody's welcome. It's not just this, just to get you in touch with your culture, everybody culture because if you are American, you a mixed group of people, so it doesn't matter, so you know, white, black, whoever, everybody can still feel music. You know, everybody has to have feelings, so, and eventually, they get there. Hopefully, before I die.
{Music}
My ultimate dream is to open up our state of the art center. I want to open up a school that not only works with the American system to help educate the children and underprivileged children for special needs, all type of needs. I'm not just talking about mental, but I'm talking about disabilities. I want to be able to, to have a facility that gives children and the parents of blending bind because that's why our disconnect is so even like I said, it's not just for underprivileged. It's going to be for people, that can pay that can afford to pay, that want to give their children a diverse, you know, education on life, period. It's not just about the dance. It's going to be like far as systems education just worldwide. I like going outside thinking outside of the box cause a lot of our children don’t get a chance to travel. So even if they come, it's almost like a boarding school but not a boarding school. It'll be more like what you would consider your typical homeschool to be. But people don't are scared to put that type of effort and to fulfill in that particular homeschool. Like you would have to have a school for children who have special needs, like for physical disabilities, for mental disabilities. You know, you have to have, um, a school that can still have children that has to function at a normal capacity. You have to have a school that may have the arts in the school, not just dance, but music, like drums, basketball, football, baseball, music. I have all types of, you have some children that want to engineering chemical engineering. I have people that have, you know, I have degrees, you know, and all types of backgrounds, but it's just gonna take a small, you know, it's going to take a small pot of money to get to the outcome. And we know we're working on it, we're working on it, you know, we working on it hopefully, and probably after this interview, somebody might see that idea to see that picture and want to help. Like, you know what, let's make this school a state of the art school because you don't have a lot of, um, um, multicultural arts schools. That are state of the arts that can function at the, at a high capacity still for the youth, you know, and the family's like, you know, it's just, it's a lot that you can do like for cooking and teaching them what type of foods you should and shouldn't eat. You know we have, we have, we have a big, we have a big system right now that nobody don't know about and it’s time that people hear about my system because I have a group of people that you know, can really change. You know, a group of children, and when you start with one, you know it's a domino effect. You know, just like a style, just like clothes. Everybody want to put on something, you know, if they want to be half-naked, everybody, half-naked, everybody see that? You know, if you know these popular artists put this on, they may think that's cool because that's what they see. That's what's televised. But how about let's just start with a small group of children. You know, you can get 50 kids that might have a problem and put them in a facility and see what the outcome is. If you have teachers that specialize in reading, math, social studies, language arts, music, dance, drum, football, basketball like you can have the best of the best that come out of small school. That's undiscovered talents. And that's what I want to have a school for undiscovered talent.
{Music}
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/G5Vdui2r6bQ" frameborder="0"></iframe>
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
13:42
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
N’Fungola Sibo African Dance and Drum Company
Creator
An entity primarily responsible for making the resource
Aviwe DuBois
Format
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Video
Subject
The topic of the resource
This is about the history of N’Fungola Sibo African Dance and Drum Company located in the city of New Orleans.
Source
A related resource from which the described resource is derived
My Nola My Story via YouTube
Publisher
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Mass Communications department at Xavier University of Louisiana
Date
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December 10, 2019
Rights
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My Nola, My Story
Relation
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My Nola, My Story 2019 Exhibit
Language
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English
Type
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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
Description
An account of the resource
An interview with the owner and director of N'fungola Sibo African Dance and Drum Company.
Contributor
An entity responsible for making contributions to the resource
Mikeall "Myienie" Caesar
N'Fungola Sibo Dance Company
Identifier
An unambiguous reference to the resource within a given context
https://www.youtube.com/watch?v=G5Vdui2r6bQ&t=2s
2019
African Dance
Aviwe DuBois
My Nola My Story
N'Fungola Sibo
New Orleans
Nola
XULA
XULA Mass Comm
-
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c0fc4900508420cc2786d3fc4c7598da
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/SuoDcFslJjw" frameborder="0"></iframe>
Transcription
Any written text transcribed from a sound
New Orleans, Louisiana, one of America’s greatest cities is known for its rich diverse culture, food, music, and annual celebrations such as Mardi Gras and the Essence Festival. Millions of people visit New Orleans every year to participate in the city’s festivities. This great city has a deep history that is shared with millions around the world, however there are many subjects that are hidden from visitors and natives alike that mask the bittersweet history that lies at the heart of this amazing city.
Lincoln Beach, an area on the Lakefront in New Orleans East, is one of the many unique stories of the city that tends to be forgotten about.
Lincoln Beach served as a beach and amusement park from 1939 to 1965. It was created for African American residents of New Orleans during the Jim-Crow era to keep Blacks out of its sister location, Pontchartrain Beach. Unlike Pontchartrain beach, which was directly in the city closer to black neighborhoods, Lincoln Beach was located 14 miles from the center of the city and inaccessible to public transportation. The beach was separated from Hayne Boulevard by railroad tracks, which required visitors to dodge oncoming trains to make it safely onto the beach. Originally Lincoln beach was not an ideal place for swimming and recreation. It was declared unsafe because of all the raw sewage that was being emptied in the waters surrounding the beach. The city’s sanitations board confirmed these conditions were unsanitary and called for immediate closure of the area.
By 1951 the potential closing of Lincoln Beach caused an uproar in the community, which let to the Mayor and the levee board to announce a $500,000 plan to refurbish the area and make it similar to Pontchartrain beach. Initiatives were taken such as expanding the shore line, adding more swimming pools, amusement attractions, restaurants and building a completely new bath house. On May 8th, 1954, Lincoln Beach was finally complete and despite its far commute from the city, it became a very popular recreational area for African Americans and their families.
Between 1954 to 1964 Lincoln Beach was at its prime. It also became the main attraction for musical performers such as Nat King Cole, Ray Charles, Sam Cooke, Little Richard and local artists like Fats Domino, Louis Armstrong, Irma Thomas, and Papa Celestin.
During the Civil Rights act of 1964, Federal courts ordered to end discrimination on public lands and amusement parks. This resulted in Pontchartrain Beach becoming integrated and Lincoln Beach being shut down immediately. Today Lincoln Beach is desolate and abandoned. The area is neglected and has become a thing of the past. Although the area is not the same as it once was, the memories that were created there will forever have an impact on the great city of New Orleans.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
3:24 ( three minutes, twenty-four seconds)
Producer
Name (or names) of the person who produced the video
Maiya Muhammad
Director
Name (or names) of the person who produced the video
Maiya Muhammad
Compression
Type/rate of compression for moving image file (i.e. MPEG-4)
MPEG-4
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
The History of Lincoln Beach
Creator
An entity primarily responsible for making the resource
Maiya Muhammad
Format
The file format, physical medium, or dimensions of the resource
Moving Image
Subject
The topic of the resource
History of Lincoln Beach in New Orleans East.
Description
An account of the resource
Describes history of Lincoln Beach, the racial history behind it, and what it looks like 54 years after its closing.
Source
A related resource from which the described resource is derived
My Nola My Story via YouTube
Publisher
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Mass Communications Department at Xavier University of Louisiana.
Date
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December 5, 2019
Rights
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My Nola, My Story
Relation
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My Nola, My Story 2019 Exhibit
Language
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English
Type
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Premiere Pro, Video
Identifier
An unambiguous reference to the resource within a given context
https://youtu.be/SuoDcFslJjw
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 led by Xavier University of Louisiana's Mass Communication department students, led by Dr. Shearon Roberts.
Black Beaches
Lincoln Beach
New Orleans
New Orleans History
Pontchatrain Beach
Segregation
Xavier Mass Comm
Xavier University of Louisiana
-
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29a28d1a37ed735ef114e3bf070d39cb
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 Community
Description
An account of the resource
A collection of the featured stories focusing on New Orleans community.
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/2trRr-4lUxE" frameborder="0"></iframe>
Transcription
Any written text transcribed from a sound
Law and hope are the names of the streets between where St. Augustine High School is located. As founded in 1961 by the Society of St. Joseph of the Sacred Heart, the spirit of st. Augustine is living on and growing strong. Many greats such as State Representative Jimmy Harris, NFL star
Leonard Fournette, and singer PJ Morton have had their early starts at this school. Today we discuss what was special about the school at 2600AP Tureaud, formerly known as London Avenue as a 40 year old alum may have known it.
My name is Anthony Deloch. I'm a 1979 grad of St Augustine High School in New Orleans.
My first impression of St. Aug-- it was an all-boys school and being in the Catholic system with girls and boys it was a big difference. My favorite part about the school was the priests. They really instilled catechism into my life.
St. Aug was was a school they're really strived on discipline. We got the paddle. Yes we did; for everything you do you-- everything you did wrong and sometimes you don't---have to be wrong and you'd still get the paddle.
I didn't like being late for school because every time you was late for school you was paddled, and I lived all the way in Algiers, Louisiana and I was late many days. I didn't like that. seems like they should have paddled you if you were close to the school and was late, but I had to travel many many miles just to get to school every morning. That's one of the things that I didn't like.
The school helped a lot of black leaders, a lot of black politicians went to St. Augustine back in the day. Some of your highest members of the school board attended St. Augustine. RTA is loaded with St. Augustine graduates.
After being gone for 40 years, educating black men---turning them to professionals. We just had our 40 year class reunion and some of the some of the fellows I went to school with back in 1975 to 79, you know it's real... got real professional jobs.
Whatever the teachers teach you, learn it, because you're gonna use it in the future. I'm Anthony Deloch, a Purple Knight for Life.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
4:28
Compression
Type/rate of compression for moving image file (i.e. MPEG-4)
MPEG-4
Producer
Name (or names) of the person who produced the video
Jordan Deloch
Director
Name (or names) of the person who produced the video
Jordan Deloch
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
Purple Knight for Life
Creator
An entity primarily responsible for making the resource
Jordan Deloch
Format
The file format, physical medium, or dimensions of the resource
Moving Image
Subject
The topic of the resource
This is the story of Anthony Deloch's recalling of his experience at St. Augustine High School after 40 years.
Description
An account of the resource
Anthony Deloch attended St. Augustine High School in New Orleans, LA from 1975-1979. After graduating 40 years ago, he recalls some of his favorite aspects of the school as well as his experience at his class reunion.
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
December 8, 2019
Contributor
An entity responsible for making contributions to the resource
Anthony Deloch
Rights
Information about rights held in and over the resource
My Nola, My Story
Relation
A related resource
My Nola, My Story 2019 Exhibit.
Language
A language of the resource
EMy Nola, My Story 2019 Exhibit.
Type
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Video
Identifier
An unambiguous reference to the resource within a given context
<a href="https://youtu.be/2trRr-4lUxE" title="My Nola, My Story: Purple Knight for Life">My Nola, My Story: Purple Knight for Life</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
A Digital Humanities project by Xavier University of Louisiana's Mass Communication department students, led by Dr. Shearon Roberts
black
Catholic School
New Orleans
Nola
Purple Knight
St. Aug
St. Augustine High School
Xavier University of Louisiana
XULA
-
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c046df67db8ef9aa6a3c8390325f0cea
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/yIEAjo_BNqI" frameborder="0"></iframe>
Transcription
Any written text transcribed from a sound
*Music
The Gold Star dance team was founded in founded in fall of 1984, by Lajuana Gauff Chenier and Lisa Margerum. This past November, around homecoming time, marked the 35th anniversary of the team. Gold Star was established because during this year Xavier only consisted of a cheerleading team; however, later on that year Xavier decided to get rid of cheer. Students were desperately in need of another spirit squad, so these two wonderful ladies came up with the idea of starting a dance team, and that is how Gold Star came to be.
Why did you choose to dance in college?
Amyre Brandom
Honestly, dance chose me in college. I auditioned just like everyone else and it was a gamble whether I would make the team or not, but I really had to rely on my talent and years of experience and training, and hope that that got me onto the team and it did and I've been happy ever since being a Gold Star member.
Jasmyn Bush
Um so I've been a dancer my whole life, starting when I was three years old, so I just figured that it would be good to just continue that legacy, and also this is my first time doing a different style of dance, so I figured it would be nice to just switch it up a little bit.
Chasity Davis
I decided to dance in college because I've been dancing my whole life, so I wanted to continue dancing.
Kristin Reid
Well I've been dancing my for whole life so I just wanted to continue that in college, and I. researched all the dance teams at Xavier, and Gold Star was something I felt like I would fit into the most, so yea that's why I decided to tryout for the team.
What does Gold Star mean to you?
Amyre Brandom
To me being a Gold Star dance team member definitely has embodies a lot of my college experience. I've learned so much through the team, I'm able to grow through it, and I'm doing something that I love, which is dancing, so you can't go wrong with that, especially having the sisterhood that we have.
Chasity Davis
Being a Gold Star dancer means a lot to be because of the bond I have developed with my fellow dance sisters, and yea.
How does it feel being a new member on Gold Star?
Jasmyn Bush
Um being a new member on Gold Star is very honoring. I feel very honored to be one of the new members. I have a lot of fun with the girls. We all have a really good relationship, and we always just have fun and laugh, so it's very fun. Honored.
Kristin Reid
Um, at first I was really nervous because it is always nerve-racking coming into a new team, but everyone there welcomed me with open arms and I really enjoy being on the team because it gives me an outlet to dance other... cause every other time I'm basically studying, so I really enjoy the practices and performing at games, and yea it's a new experience, but I like it.
What is it like to manage Gold Star?
Mya Willis
Um managing Gold Star you need a certain level of professionalism, and uh I need to also know how to give uh creative feedback and um just being able to know how to communicate. That's important because I have to watch what they are doing wrong and um tell them what to do right. I just have to be paying attention, you need to know how to be focused , you need to have a certain level of leadership as well, and luckily I was able to have taken this class called XU Leads at Xavier, where I was able to obtain those leadership skills I with Gold Star.
*Music
"Seeing Gold Star now, I am amazed. It is so much more than I envisioned it to be. The team has truly come a long way and it is an honor to see what it has become." ~Lisa Margerum
*Music
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
5:21 (five minutes, twenty-one seconds)
Producer
Name (or names) of the person who produced the video
Miyanni Stewart
Director
Name (or names) of the person who produced the video
Miyanni Stewart
Compression
Type/rate of compression for moving image file (i.e. MPEG-4)
MPEG-4
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
Dancing Through NOLA: 35 Years of Gold Star
Creator
An entity primarily responsible for making the resource
Miyanni Stewart
Format
The file format, physical medium, or dimensions of the resource
Moving Image
Subject
The topic of the resource
This is about the Gold Star Dance Team at Xavier University of Louisiana after 35 years of being founded.
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
November 10, 2019
Rights
Information about rights held in and over the resource
My Nola, My Story
Relation
A related resource
My Nola, My Story 2019 Exhibit
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.
Description
An account of the resource
November 10, 2019 marked the 35th anniversary of the Gold Star dance team. A few team members speak on their experiences and a brief history is given on the team.
Contributor
An entity responsible for making contributions to the resource
Lisa Margerum (Team Founder), Chasity Davis (Interviewee), Amyre Brandom (Interviewee), Jasymn Bush (Interviewee), Mya Willis (Interviewee), and Kristin Reid (Interviewee)
Identifier
An unambiguous reference to the resource within a given context
https://youtu.be/yIEAjo_BNqI
2019
35th Anniversary
Gold Star
HBCU Dance
Lajuana Gauff Chenier
Lisa Margerum
Miyanni Stewart
New Orleans
Xavier University of Louisiana
XULA Mass Comm
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daa4ae6b3ce889f997dc3d39bd64e629
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 Life
Description
An account of the resource
A collection of the featured stories focusing on New Orleans life and influential people.
Moving Image
Videos
URL
https://www.youtube.com/watch?v=cMC-9UT0krE
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/cMC-9UT0krE" frameborder="0"></iframe>
Transcription
Any written text transcribed from a sound
Intro: Shake It Fo Ya Hood by Ricky B
Cierra Introduction (Opening): My name is Cierra Chenier and I'm the owner of Noir Nola, which is a brand that is highlighting the history, politics, lagniappe, and soul of black New Orleans and through this platform, um, I combine historical accuracy with cultural relevancy.
I use this to tell black New Orleans stories through black New Orleans and using this as a way to control our own narratives and create something that is to and for us.
Interview: Treme was actually, the land was actually a plantation, which was named after Claude Treme. Who conveniently acquired this plantation from a former enslaved women that he married. The enslaved woman, whose name was Julie Monroe, acquired this plantation, and when they got married, he obviously had access to it as well.
And conveniently for him he named it after himself. Subdivided the property and you had Treme Plantation, and through that land, although it was named after a slave owner and a plantation owner; it truly was the black people that lived there that cemented into history the Treme what it is and what is was.
New Orleans was very unique in the sense that free people of color owned property here, and Treme had a very high population of free people of color. Who were entrepreneurs, they owned property in the Treme right outside of the French Quarters which was just unheard of.
You had people like Tommy Lafon, who was a philanthropist and who … came up on some money, a whole lot of money and gave it all to black children and built schools across the city and donated to places like Sisters of the Holy Family and St. Mary’s Academy and Dillard University and really prioritized education and well being of black New Orleans children.
Even in the Treme you have St. Augustine Church, the oldest black catholic church in the nation and its just things like that , that … the Treme is really one area in New Orleans where, it truly is black excellence. And then whether you talking about years later with, you know, you have Dooky Chase and how important Ms. Chase was to the Civil Rights movement.
If you want to talk about under the bridge and how Claiborne Avenue was a black owned business district um with the Circle Food Store at the corner and even that being a black owned grocery store, which provided with everything from a dentist, a chiropractor. You get your school uniforms upstairs, you cash your check, you get your groceries. It was truly what a self sufficient black community looked like.
Outside footage (background noise): So Claiborne Avenue what we know as under the bridge was a home to many things at one point in the 1950s to 1960s. You had large beautiful oak trees going all the way down. As you can see that are still painted on these columns and the area was basically like a park, a meeting area where people in the neighborhood would come sit under the shade, children would play.
And more famously, would have the black Mardi Gras traditions, where the indians, the Mardi Gras Indians would stop under the bridge and celebrate those traditions that we actually still do today.
Closing: The Treme really is like the jewel of New Orleans and it was truly a place where and still is where a lot of our traditions were able to thrive.
Outro: Shake It Fo Ya Hood by Ricky B
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
4 minutes and 8 seconds
Compression
Type/rate of compression for moving image file (i.e. MPEG-4)
Adobe Premiere
Producer
Name (or names) of the person who produced the video
Nigell Moses
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
NOLA's Rich History
Creator
An entity primarily responsible for making the resource
Nigell Moses
Format
The file format, physical medium, or dimensions of the resource
Video
Subject
The topic of the resource
This is Cierra Chenier's story of New Orleans history and culture; New Orlean's native and daughter of the city.
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 10, 2019
Contributor
An entity responsible for making contributions to the resource
Cierra Chenier
Rights
Information about rights held in and over the resource
My Nola My Story
Relation
A related resource
My Nola, My Story 2019 Exhibit
Language
A language of the resource
English
Type
The nature or genre of the resource
Adobe Premiere, 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.
Description
An account of the resource
Noir Nola, Cierra Chenier tells the history of the oldest black neighborhood in New Orleans: The Treme
Identifier
An unambiguous reference to the resource within a given context
https://www.youtube.com/watch?v=cMC-9UT0krE
2019
Cierra Chenier
Claiborne Ave
My Nola My Story
New Orleans
New Orleans History
New Orleans Residents
NOLA kids
NOLA'S Rich History
Treme
XULA
XULA Mass Comm