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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/ZSssAPeEMT8" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
13:26 (thirteen minutes and twenty-six seconds)
Producer
Name (or names) of the person who produced the video
Ariel Shorter, Keziah Smith, Brandon Dixon, Kaleb Macklin, and Darren Metoyer
Director
Name (or names) of the person who produced the video
Dr. Shearon Roberts
Transcription
Any written text transcribed from a sound
Mardi Gras Indian 1 - Super Sunday started in 1970, by Jerome Smith. Civil rights activist, Jerome Smith. And it was for commemoration in support of the four girls that were killed in 1964 in the bombing of the church in Atlanta. And his friend was Tootie Montana. So, he had a parade, and he asked his friend Tootie Montana to come with his Indian gang. And it started like that. And then over time it became more and more Indians, and then, it became the Indian parade. It started as a support and protest for those girls; Four girls killed in the bombing. 1970 was the first parade. Jerome Smith. Jerome Smith was one of the guys who sat at the counter at the Woolworths on Canal Street. He's still alive. If you have a chance, you should find Jerome there.
[Music]
Attendee 1 - Right! Then understanding like it's more history then just running to Canada. Running to New York. You know what I'm saying. It's more like what about the hidden, and the fact that they used to do it as a secret because of [inaudible] right but that was cool to me to so all that kind of stuff is like interesting and that's why we out here, yeah.
Keziah Smith - So how did you head about the event?
Attendee 1 - Well we from Chicao. We here to visit and realizing that its more to the city than just the French Quarter. I started investigating, and I found out about this. And I'm like we eating there and that's it. You know.
[Indian chants]
Maine - My name is Maine. Kelly Dynamite. They call me Maine. We love Super Sunday. This is us. This week is Super Sunday in the 3rd Ward. Next week is Super Sunday in the 7th Ward. And the week after that is going to be Super Sunday in the... across the river, Algiers.
Darren Metoyer - How long have you been attending...
Maine - All my life. All my life.
Darren Metoyer - And how old are you?
Maine - I'm 69.
Darren Metoyer - What makes this different from Mardi Gras or any other New Orleans event? What makes it special?
Maine - It's always special. Anything going in New Orleans is special. We thank our Lord for our blessings that we get when we ever do our thing here. We love it.
Kaleb Macklin - So do you have any children or anybody that you would like to pass this event along to or anything like that?
Maine - I just want people to be safe. Come here, enjoy yourself, and be safe. Keep your eye on your surroundings. Everything is dangerous here. But this our thing. This our 3rd Ward. This our 3rd Ward. We representing this three. We representing this three! Make ‘em know that!
Keziah Smith - How has Super Sunday changed over the years?
Maine - Well this don't change that much. It's always the same. Third Ward thing is a third Ward thing, and when its downtown, its a downtown thing. And when it's across the river, it's an across the river thing.
Brandon Dixon - Have you noticed any like forms of assimilation throughout the years with the parades or anything like in your community.
Maine - Like what?
Brandon Dixon - Assimilation. Like white people taking over.
Maine - I ain't gon’ say that. We all. We love each other. We don't care about white folks. White or black, we can all enjoy yourself. Look at that. That’s the Baby Dolls. It’s about enjoying yourself. Nobody got no hate out here.
Brandon Dixon - Nobody got hate out here?
Maine - Nah. Unless it’s some clown that come out here and start dumb s***. Other than that, everything is good.
Uncle Clyde - They call me Uncle Clyde. Those Baby Doll Girls just passed by, all them call me Uncle Clyde. My niece is the queen of the original wild Tchoupitoulas Indians. Her mom was the queen, and she was a Baby Doll Girl. She masked ‘till she was 91 years old. Then, she passed on, and three years later, she passed it to her daughter. Then she called, and she said “Uncle Clyde, I need you”. But when she said Uncle Clyde, they need me. They know that means they're in trouble. And all I say is “where at”. They say “You better tell him. He gone be here 15 minutes.” Which they knew I was. She said, “I'm sorry.” She said, “I'm the queen now, and I had a vision of you being my ambassador.” No other Indian tribe has an ambassador. This about nine years ago. I said, “You got it baby”. I said, “What about the suit?” She said, “No. I want you to dress just like I know my Uncle Clyde. He always dressed sharp. So you come. Whatever color I say, you put it on.” So I said “Yes, I'll do that. Call the color.” Every year, the Indians pick a new suit? That's their song. They pick a new suit or you pick the colors. Our colors this year was royal blue and cream, and this is what you pick so I just throwed this together. Even the shoes.
Brandon Dixon - Does it come from any like inspiration or anything? Does it have any inspiration or inspired from anything?
Uncle Clyde - Feel. The Spirit of Soul.
Brandon Dixon - The Spirit of the Soul?
Uncle Clyde - Yes. You see. You feel things.
Keziah Smith - So, why do you think the tradition of this event is important?
Uncle Clyde - Because everybody didn’t come here on the slave ship. Y’all start digging at that. They got a lot of the Indians were already here. They're dark skinned, light-skinned, all kind of different complexion. They were already here. The Indians up in Natchitoches, up there in North Louisiana, already here thousands of years ago.
Mardi Gras Indian 2 - The celebration of culture. You know. They come out. They tell these stories on they suit. They beat them. They put their work in. You know, it takes about a year just to finish your entire suit.
[Indian chants]
Brandon Dixon - Where does the inspiration come from?
Mardi Gras Indian 2 - Your life. Just your story. It tells your story. It tells who you are as a person; how you became that person you are today.
[Tambourine Playing]
Kaleb Macklin - This question is what is Super Sunday to you? Like what does it mean to you?
Musician 1 - Super Sunday is pretty much… It's a family reunion for us. If you're from this area, from the City of New Orleans period, Super Sunday not only represents the culture in itself, but it represents the Indians. It represents from the Baby Dolls to the Mardi Gras Indians to the second line world. So it's a conglomerate of everything. So it's our annual family reunion. So that's what it represents.
Kaleb Macklin - How long have you been coming?
Musician 1 - Since I was a puppy, so I mean it pretty much since we [inaudible] can pretty much remember. He’s a little bit older. I mean we’re probably all median age. So, I mean we've been coming and playing ever since we can remember. So, like I said, not only it's just from people that you grew up with. It’s people where you started. Chill out.
Kaleb Macklin - So like, so what is one thing that you would tell to a tourist about this event or to your kids or like a future generation?
Musician 1 - Um just uh just have fun so it's a big party. If you look at it got a lot of food vendors. A lot of things that happening historically. There a lot of um, there's a lot of culture things that's happening right now so just be open-minded and have some fun. I mean it's not all about the glitz and glamor. It's all about “man I haven't seen you this year.” I mean you have tubas walking down the street. From tubas to tambourines. From little kids masked as Indians to grandmothers you haven't seen forever. So, it's a little bit of everything man. It's a big gumbo man. We love Uptown. This what we do man. It's our area. It’s our section.
Brandon Dixon - So, the music that y’all play, does it vary every year or is it like the same?
Musician 1 - No, I mean it varies by songs. So I mean like um like you may hear um songs on the radio um that may be played by brass bands. So right now, I mean anywhere from Beyonce to the Beatles has been playing right now with any Brass Band. So it's pretty much on how you feel. We get with the Associate and Pleasure Clubs, and then, you know you know something from the Lady Buck Jumpers, Men Buck Jumpers, do Main Street Game. The list goes on and on. So, just pretty much on how they feel, but we feed off of what they do.
[Band Playing]
Keziah Smith - How does the music keep bringing on the tradition?
Musician 2 - How does the music? Well music, it varies. It varies from bands. Like you hear stuff from the radio. You hear stuff like from like Louis Armstrong. So the music varies in the city of New Orleans.
Keziah Smith - How do we pass on the tradition through music?
Musician 2 - Well I try. What I try to do is try to pass it on to my kids that I teach, and also to the younger generation as well. Because I know I won't be playing this forever So, it's time to bring some new faces in. So… these old faces… I feel like an old head now.
[Mardi Gras Indian marching]
Keziah Smith - Can we get your name?
Eric - Eric.
Keziah Smith - So, how long have you been coming to Super Sunday?
Eric - Since I was about three years old.
Keziah Smith - Okay, who brought you?
Eric - My momma
Keziah Smith - What do you think is the importance of this event?
Eric - It helps out with the culture. It keeps the culture going.
Kaleb Macklin - What’s your favorite part about this event?
Eric - Huh?
Kaleb Macklin - What’s your favorite part about this event?
Eric - Second-Lining.
Kaleb Macklin - I understand that. I understand that.
Brandon Dixon - So, what do you do again?
Eric - Huh?
Brandon Dixon - So, what do you do again?
Eric - I second-line.
Keziah Smith - You second-line?
Eric - Yeah.
Keziah Smith - Can you explain kind of the importance of second-line, and what you do?
Eric - It’s like a culture thing. It’s something you feel in your soul. Not just something that you just pick up. It’s something in your soul. It’s like a tradition. Basically.
Keziah Smith - So, how do you think we keep this going? How do we pass on the tradition?
Eric - What you said?
Keziah Smith - How do you think we keep this going? How do we pass on the tradition?
Eric - Starting them off young. You got to start them off young, and then, when they get older, they gon’ pass it to the new ones that’s coming behind them.
Kaleb Macklin - So, if you have kids, like you would pass it off to them…
Eric - Yeah, of course! Of course!
Kaleb Macklin - That’s what it’s all about.
[Bands playing]
[Indians chanting and marching]
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
My Nola, My Story: Super Sunday
Format
The file format, physical medium, or dimensions of the resource
video
Subject
The topic of the resource
This is a a collection of interviews and video footage of Super Sunday.
Description
An account of the resource
Super Sunday is a procession and festival to give the public a chance to witness the Mardi Gras Indians. It is an consisted of incredible craftsmanship, unique music and street rituals. New Orleans natives and tourist share their experience with Super Sunday and why the legacy is important.
Creator
An entity primarily responsible for making the resource
Ariel Shorter, Keziah Smith, Brandon Dixon, Kaleb Macklin, and Darren Metoyer
Source
A related resource from which the described resource is derived
My Nola My Story via YouTube
Publisher
An entity responsible for making the resource available
Xavier Exponential at Xavier University of Louisiana
Date
A point or period of time associated with an event in the lifecycle of the resource
April 14, 2023
Rights
Information about rights held in and over the resource
My Nola, My Story
Relation
A related resource
My Nola, My Story 2023 Exhibit
Language
A language of the resource
English
Type
The nature or genre of the resource
CapCut, video
Identifier
An unambiguous reference to the resource within a given context
https://youtu.be/ZSssAPeEMT8
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
A Digital Humanities project by Xavier University of Louisiana's Xavier Exponential department students, led by Dr. Shearon Roberts.
Indian Mardi Gras
New Orleans History
second line
Super Sunday
-
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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/RUiEeHRMlcY" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Transcription
Any written text transcribed from a sound
Noor: Good afternoon Dr. Sara, thank you so much for joining me today. I just have a couple questions to ask you about New Orleans and Medicine, especially Health disparities. My first question for you is why did you choose Pharmacy?
Dr. Sara: Well first, thank you for having me. I'm so excited to be able to answer these questions for you. Pharmacy grew out of a natural desire to be at the healthcare field, my uncle was a pharmacist-he actually work for the Ministry of Health in Iraq- so we- I come from a long line of pharmacists and particularly Pharmacy allowed me the opportunity to be particularly involved in therapeutic management of patients, which I was more interested in the management side as opposed to the diagnosis side so that's why pharmacy was very attractive.
Noor: That's interesting and then for my next question I have for you is what do you enjoy so much about New Orleans and why did you choose New Orleans for your work?
Dr.Sara: So my family moved here when I was 4 years old, so that wasn't necessarily my choice but I was raised in New Orleans- I did spend time in other parts of the United States; I did live on both the west coast and the east coast and even though both of those are near Water, neither of them have seafood as good as New Orleans so probably, the number one reason is the food. Also the culture here is different than the rest of the United States and I find it very accepting, very warm and it's really ideal for a community's to- to work together across because New Orleans has a very integrated approach to in terms of how it deals with its history as well as how it invites new people, so I've been in New Orleans for quite a long time, raised and educated largely in New Orleans.
Noor: Thank you so much, Speaking of communities, as a Muslim woman yourself, what [how] would you describe the Muslim Community in greater New Orleans, especially in the health fields?
Dr. Sara: Well the community changed a lot. New Orleans is a port city so the Dynamics of who would choose to settle in New Orleans has changed over the years and I particularly changed post- Katrina. After Katrina, we did lose a lot of the older families and it was replaced with people looking for newer opportunities. New Orleans does have a pretty robust Health Care industry particularly for training, when we had Charity Hospital which is now UMCNO but Charity itself was one of the Highlight trained medical training institution in the world particularly with trauma care, so individuals who were attracted to the healthcare education through Ochsner or LSU or Tulane, were drawn so we've always have that large cohort of healthcare practitioners within the Muslim Community and they would come here for training. Some of that was transient and many of them I leave so because it was mainly seen as a train place for training opportunities,we didn't have the opportunity to really build robust health care systems for recent migrants whether they be Muslim or not as well as-what you might see in Los Angeles or Chicago- was like the Umah Clinic, we didn't have those because many of our Healthcare practitioners in here for training would leave or be placed elsewhere and so I still think with regards to the Muslim Community and health care, I hope they get trained here but I also hope they stay and help build our our system which serves our community.
Noor: Of course, and could you briefly explain your work with local mosques and COVID-19.
Dr. Sara: Sure, my training is in infectious disease and critical care as a Pharmacist and I’ve spent the last three years getting a second doctorate with John Hopkins University looking particularly at vaccines. So I’ve spent three years training on vaccinations and vaccine equity globally. So when the pandemic arose, there were several funding opportunities offered by the National Institute of Health. One of them was LA-CEAL another one is called Radx-Up, all of these are COVID based. And in order for any research to be effective, particularly on- in Health Crisis, we need community involvement. So we have always had-both my family and through our relief agency my family runs which is called Medical Relief Fund, we had a very robust relationship with many of the masjids, particularly those masjids which represent communities that were disproportionately impacted by COVID and by that I mean African American community. We saw the early disparities emerge, we know they were contextualized by historical disparities related to lack of healthcare access and discrimination within the larger U.S. context but also within the Healthcare System, so when we received the funding to help alleviate the impact of COVID. I was able to leverage our long relationship with the African American Muslims and their masjids to use it as ,not only to provide COVID testing and vaccination education but also for them to share with us how they think we can overcome the pandemic and prevent these disparities in the future. I would say that as a researcher, we’ve benefitted far more from them than they did from us.
Noor: Thank you so much, and do you wish to see any specific future developments for Muslim Americans in health, in the health fields?
Dr.Sara: Well the Muslim American community is probably well represented in the health fields and what I’m hoping is that they branch out and see it beyond just the clinical practice, so what I have done recently is looking for opportunities for research, for advocating for equity across groups- not just Muslim groups- and also becoming in vloved in policy making, If- I’m hoping for the next step for Muslim American health Professionals is really to move towards these decision making roles that are informed by research roles, so when we’re addressing health care disparities or as well emgering health issues that we’re doing it from a much higher level than just direct patient access. Now direct patient access is of course the key and heart but I think we’re now well trained enough and represented enough that we can move to the next levels and start sitting at policy decision meetings.
Noor: I mean that’s all the questions that I have for you today… Thank you for your time.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
6:48 (6 minutes 48 seconds)
Producer
Name (or names) of the person who produced the video
Noor Alrashed
Director
Name (or names) of the person who produced the video
Noor Alrashed
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
Muslim Americans and Health Disparities with Dr. Sara Al-Dahir
Format
The file format, physical medium, or dimensions of the resource
Video
Subject
The topic of the resource
Muslim Americans in New Orleans and Health Disparities
Description
An account of the resource
This interview captures Dr.Sara Al-Dahir's work with Muslim Americans and health equity during COVID along with her history.
Creator
An entity primarily responsible for making the resource
Noor Alrashed
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
28th April 2021
Contributor
An entity responsible for making contributions to the resource
Noor Alrashed
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
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Video
Identifier
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Health Disparities, Muslim Americans, New Orleans
COVID-19
Health Disparities
Louisiana
Medicine
Muslim American
New Orleans History
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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
An entity responsible for making the resource available
Mass Communications Department at Xavier University of Louisiana.
Date
A point or period of time associated with an event in the lifecycle of the resource
December 5, 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
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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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