1
20
15
-
https://d1y502jg6fpugt.cloudfront.net/32694/archive/files/28a21b2924675004d23b2be58276eb19.JPG?Expires=1712793600&Signature=j%7EPNzaHWAt27hD3RrgxR14cd82Ki8srXl-6ANMXyyYAIGDjX3rFEYVmJGI5Dx0WlzsA4XwyFdCfQqZ9NDT0HO8AqMok8mKSiV9Pi9ZZ0YOj8DUCQfyoRv4%7EoZjHkdy2hgYE69M9Or-obPPk-PAHNkg6wbHdSFAegEkvz2e%7EgjOASTOafnyO1QFQI-duBx0ZhrZfTZilXwig3EEQrMwENPsOVm95%7Ez9gqjmC7moXVB63lz1b0HZuxT6CzkmSKsfDIG5cOrngpTLaVIPiwjRg6L9dzWwnAwLKSmnm0HZ-NlS6fBFMo9nSapIWgR0IUX84lQu3j68S-i4T6Ar9bXUZaBA__&Key-Pair-Id=K6UGZS9ZTDSZM
cc22baef39a9c57de188a41b457d96a6
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
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
15:34 (15 minutes, thirty-four seconds)
Producer
Name (or names) of the person who produced the video
Leah Clark
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/c-8SGkGOWx8" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Transcription
Any written text transcribed from a sound
-Intro begins-
Dr. Calvin Mackie: Well that's a deep question. You ask do I have hope for New Orleans East in the 21st century? You know, I can get up every day. I can live without Mardi Gras. I can live without gumbo. I can live without the Saints winning. I can live without going fishing. I can live without my...my favorite beer, my best cigar, but I refuse to live a day without hope. Hope is that little voice in your head that says 'maybe' when the whole world is screaming 'no.' And for me, being from New Orleans, the way I grew up, how I grew up, I thought my name was no. Can I go to the store? No. Do you think I can be an engineer? No. Can I go to this school? No. I remember I would ask pretty little girls 'may I have their number?' Know what they told me? 'No.' So I had to have hope. So the work that we're doing is...part of the work we're doing is to instill hope into the eyes of children to let them know regardless of how they're growing up today they can get up every day and create a better tomorrow for themselves. Do I have hope? That's all I have.
-Intro ends-
Dr. Calvin Mackie: My name is Calvin Mackie. The name of my company is STEM NOLA, and I'm the founder and CEO.
-Video cuts-
Dr. Calvin Mackie: New Orleans is a different place. New Orleans is, you know, New Orleans has a culture. I believe it was Tennessee Williams that said 'Oustide of San Fransisco, New Orleans, and New York, everywhere else is Cleveland. New Orleans has a culture. It has a vibe. It has a history. New Orleans has a pulse, so as a kid growing up in New Orleans, it wasn't some big metropolitan area. So we just got...we were just allowed, we were able to roam from different neighborhoods. And the fact New Orleans has a history, I mean you got to tap into people who had grown up in the city, was two or three generations in the city. So you got to know elders, and you know, the fact that I got to know elders, I got to hear all this history that was passed down and the wisdom that was passed down, so a lot of times people from New Orleans, people say 'you know, you're like an old soul.' It's not that we are old souls. It's just that we've spent time with elders, and we have a sense of history that informs our present, that motivates us for the future.
-Video cuts-
Dr. Calvin Mackie: Growing up in New Orleans, I was a public school product. I was showing somebody a picture of me from my third-grade class the other day, and they were like 'wow you actually went to school... a public school with white people. So I went to elementary school in the early 70s, and that was when 'white flight' was beginning. Black people was moving into middle-class neighborhoods, and white people was moving out. So my, you know, all through elementary, there was a minority number of white people in elementary schools I went to, even though, you know, we had white people. So after middle school...after elementary school, I wanted to go to middle school where all my cousins had gone. I keep telling people I used to wanted to go to McDonogh 28, where my cousins had gone, and I dreamt of smoking weed and playing basketball just like my cousins did. There was a teacher in the sixth grade who called my mom and said 'I don't think you should go to that school. He has more. I don't think that school can offer what he, what he really needs.' My mom said 'where should he go?" And my teacher told my mom where I should go, and it necessitated me taking two buses every morning, so at, you know when my sons was in the seventh grade, I was still taking them to school every day. No, we took our sons to school all the way through, through K-12, but in seventh grade, I had to get up, walk a half a mile, and then catch two buses just to get to my middle school. And that middle school was Francis W. Gregory, and they had a program there where they invited kids from all over the city to come called the Accelerated Program. And we had teachers almost like an honors program, but it was like a smaller school in a bigger school, so even though we was taking these honors classes, I had the opportunity to interact with kids, again, from the community. And then, in my tenth-grade year, I actually went to a school with Catholics. An all-white, male Catholic school by the name of Brother Martin. Only reason that I went to Brother Martin is because they had a basketball team. The coach recruited me, and they had a beautiful gym with a scoreboard hanging from the ceiling and they had shoot shirts. And I went to Brother Martin, and it was one of the best-worst decisions I ever made in my life. Many of my classes I was one of two black boys. In that entire year at Brother Martin, I made one B. I made all A's and one B, but Brother Martin was one of the best decisions. Brother Martin introduced me to the world that I was going to have to live in and compete in. All my life I had gone to public school. This one year I go to this all-white male private school, and the teachers and the administration brought hell upon me, and I believe that's where I get my fighting spirit from because a lot of the other black boys just sat there and took it, and I fought them hook, line, and sinker. When I left that school, I made one B, and still to this day, I claim I didn't even make a B in that class. You know, the teacher screwed me that class, and I left that school, and I went to McDonogh 35. McDonogh 35 is first high school in the city of New Orleans...African American high school in the city of New Orleans. One of the most famous high schools in the state of Louisiana, and I had to fight to get in that school because they only except kids that are in the ninth and tenth grade. So my parents had to go to the School Board to fight for me to get admitted as a junior because I had gone to this private school. So then, I went to McDonogh 35, and I've taken time telling that story because my trek through education plays a large role in the person that I am and the work that I do.
-Video cuts-
Dr. Calvin Mackie: I really don't have a personal connection to New Orleans East, but being from New Orleans we remember what New Orleans East was. When we used to come to New Orleans East, this is where like the rich black people lived. This is was like the middle-class black people with new houses. As we used to go, come out to the 'East', and this is where the mall was. And you know, you had houses with big lawns and swimming pools, and that was New Orleans East. That was the dream. That was the Jeffersons moving up. If only I could move to New Orleans East, so when you look at New Orleans East in terms of what it is now versus what it was, the personal connection for me is that I want to be a part of the movement to bring New Orleans East back and give all our children access to what they need to...to achieve and succeed in the 21st century.
-Video cuts-
Dr. Calvin Mackie: You say, where was I when I got first introduced to STEM education? That's a very emotional question for me now because two weeks ago my godfather passed away, and I just went to Los Angeles weekend before last to bury him. And the reason why it's emotional is because in 1979 my dad had a roofing company. My dad dropped out of school in the eighth grade to pick cotton, but he started a roofing company, so every summer I used to work on a roof with my dad, even as a little boy. So I was always cutting things, hammering things, and nailing things, and you could consider that STEM, right? Because, you know, STEM is about doing. But in 1979, my dad put all his kids in a car, and we drove 2,000 miles straight down Interstate 10 and to Los Angeles, California to see my godfather. And I'll tell a story...I'll never forget: we get there, I ran up to him, and hugged him. First time I was in California, and we go in the house and him and my dad sitting there drinking beer, laughing about the good times. And he said, 'Hey boy. Let's go to the store,' and he took me to Sears. And Sears...robots...people, some of y'all may not even remember Sears, but he took me to Sears, and he got me an Erector Set. When we got the Erector Set, we went back to his house, and while he and my dad sat there laughing, drinking beer, I built a car and it had a little motor in the box with a rubber band. And I built that car, and the car rolled across the floor. And my godfather looked at my dad and screamed 'that boy is going to be an engineer.' I had never heard the word before. I couldn't spell the word, but the only thing that I remembered from that day was that my uncle said I was going to be an engineer. And all through my life when I went back to school, they said 'What you going to be?' and I said 'My Uncle said I'm going to be an engineer.' When I went to college with poorest test scores and things like that, they say 'What you going to be?' and I say 'I'm going to be an engineer.' And they say 'Well, we don't know if you got the scores' and the only that really resonated with me was that my uncle said I'm going to be an engineer. And that informs the work that I do now. My uncle gave me a kit when I was nine years old, and I sit here before you now with B.S. in Mathematics and three Engineering degrees including a Ph.D. in Engineering. He planted the seed, and the work that we're doing now is that we're planting those seeds that my uncle planted in me when I was nine years old.
-Video cuts-
Dr. Calvin Mackie: The story of STEM NOLA...one, I used to be a professor at Tulane. I'm the first and only African American ever tenured in the history of the College of Engineering at Tulane University. I was tenured in the Mechanical Engineering department. I was a professor at Tulane for twelve years. In the aftermath of Hurricane Katrina, Tulane decided to keep the football team and eliminate the engineering program, so you hear about people getting tenure. And professors say 'I got tenure. I got a job for life' well you're meeting someone that actually lost tenure. At 35 years old, making over $100,000, it was ripped away from me in the aftermath of Hurricane Katrina. I moved back to New Orleans to make a change and make a difference in my community. So other universities were recruiting me, but I decided to stay. So I started an alternative energy company. I started a consultant company to feed my family, but I'll never forget one day my son came home. My son said 'Dad, I don't like science anymore.' I'm like 'Boy you're out your rabid mind. It's in your DNA. Your mother is a pharmacist, went Xavier University. I got four STEM degrees. I used to whisper, you know, Newton's Laws to your momma's stomach. It's in your DNA.' And he said 'Daddy, the teacher just talk to the board, and I like to do stuff with my hands.' I said 'Well, that has to change.' So we went in the garage, and I started buying all these STEM kits. And he came to the garage. We started doing STEM on Saturdays. My other son came in the garage. We would do STEM together. All the kids in the neighborhood would see us in the garage. They started inviting their friends, so we started doing STEM together. And before you know it, we would have 20 kids in the garage at STEM on Saturdays. One day...couple days later, my son came home. I said to my son 'Son, what's your grades?' He said 'I got all A's' and I said 'Now, that's my boy.' He said 'Daddy, my friends want to know how I know all this?' I said 'Well tell them. Did you tell them that you do this in the garage with your dad?' He said 'Yeah Dad, but my friends need this.' Right then and there, my son realized that he had been exposed to somebody and things that his friends had not. In his heart of hearts, he believed that if his friends were exposed to those people and those things, they'll be just as bright as him. The frightening part about that conversation is that my son was attending a magnet school in Jefferson Parish, Louisiana. One of the top schools in Louisiana state, so if his friends were not being exposed, what does that say about all the rest of the kids? So right then and there, my wife Tracy and I decided that we had to do something. How could we give the community that which we have given our sons? And we took 100,000 of our own dollars, and December 14, 2013, we had the first STEM Feast. We went...we came to New Orleans East...Joe Brown Park, and we just bought everything that we could buy, and we just put it out. And we planned for 100 kids to show up. On that day, 350 kids and 150 parents showed up in the gym. It was cold and raining, and we realized that we were on to something. People really wanted this stuff, and since then, we've engaged over 100,000 kids, 20,000 families. We put over $1.5 million in the hands of college students as interns, and we...we believe we've built a model now that can be scaled across the country.
-Video cuts-
Dr. Calvin Mackie: We're embarking on building a $10 million 42,000 square foot STEM innovation hub in...in New Orleans East. I believe when people have to leave their community to get something of value that's a sign o the statement of value that society is...has placed on them. So why do I have to leave my community and go way across town to get something of value? Valuable things should b in our community, especially like STEM, so we want to create a place where kids can come. You know, if kids play football, there's gyms for them to go to. Even in New Orleans, there's something called the New Orleans Center for Creative Arts. My brother is Anthony Mackie. My brother is Captain America. The first black Captain America is my younger brother. Same momma, same daddy. And when he was in middle school, he said 'You know what? I'm interested in the arts' because I tried to push him in STEM, and his teacher said 'You know what? I think he'll be good on stage' because he had behavior problems. And they put him in the arts program, and he flourished. But you know what they had? The had something called the New Orleans Center for Creative Arts, and he could leave his school and go to the New Orleans Center for Creative Arts. If you want to be a quarterback, during the summer, they got all these football camps. They got AAU. They got travel teams for people who want to be in sports, but if you want to be the next great scientist, the next great engineer, the next great innovator, where do you go? Most schools don't even offer STEM, let alone you becoming a great scientists. So we're going to create, for a lack of a better word, the New Orleans...like the NOCCA of STEM, where kids who got these talents, these gifts, and even these desires can come and learn the skills they need for the 21st century. So we not talking about learning plumbing, and learning welding, and learning being an electrician. We talking about the vocational skills and certifications that our kids need for the 21st century, so they'll be able to leave their schools and come learn the internet of things, data science, predictive analytics, machine language, coding, cyber security, sensors. They going to be able to learn everything they need to be a functional citizen in the 21st century.
-Video cuts-
Dr. Calvin Mackie: If there was a message I wanted to give young people, you know, on of my favorite phrases is 'keep pushing.' Man cannot create a test to measure what God has put in your heart. Man can't create barriers big enough that...that your God can't help you get over. So whatever it is, you know, that you have in you. Whatever it is you believe in. Whatever keep you up at night, and I ain't talking about Fortnite. I ain't talking about twerking, tweeting, or 'twating.' Whatever that keep you up at night that's in your spirit that's what you should get up every day and work like hell to accomplish regardless of the obstacles before you, regardless of who may tell you 'no.' But you need to know that you've been impregnated with greatness, and if you don't give birth to it, the world is just going to have to go on without it. The cure for cancer may be in you. The cure for AIDS may be in you. Like Kizzmekia Corbett, the cure for COVID was in her, and if she didn't bring forth that dream, we may still be in trouble. So you got to ask yourself, fall on your knees every night, and ask God, what is it within me that I'm supposed to do before my eyes close. And then, get up and work like there's no tomorrow.
-Credits-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
A Conversation with Dr. Calvin Mackie
Creator
An entity primarily responsible for making the resource
Leah Clark
Format
The file format, physical medium, or dimensions of the resource
Video
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 10, 2021
Rights
Information about rights held in and over the resource
My Nola, My Story
Relation
A related resource
My Nola, My Story 2021 Exhibit
Language
A language of the resource
English
Type
The nature or genre of the resource
iMovie, video
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.
Subject
The topic of the resource
This is an interview with Dr. Calvin Mackie, who is the founder and CEO of STEM NOLA.
Description
An account of the resource
New Orleans native Dr. Calvin Mackie began a non-profit dedicated to making STEM education accessible to all children after recognizing a lack of STEM education in schools. STEM NOLA, his non-profit, is now expanding to New Orleans East, an area once thriving with living that still suffers from the effects of Hurricane Katrina.
Contributor
An entity responsible for making contributions to the resource
Dr. Calvin Mackie
STEM NOLA
Identifier
An unambiguous reference to the resource within a given context
https://youtu.be/c-8SGkGOWx8
2021
A Conversation with Dr. Calvin Mackie
Dr. Calvin Mackie
Leah Clark
My Nola My Story
STEM
STEM NOLA
XULA
XULA Mass Comm
-
https://d1y502jg6fpugt.cloudfront.net/32694/archive/files/32153bc3d90ff70f2858c1f1938a0e70.png?Expires=1712793600&Signature=qFPjdUtdefMSi-2VjQr3K4N4SGbUfDzjk5I73VgCP5MrL88t7E5Yq4CDQ5Ad4sNe33Bd-pJkW%7EXqrlRnr8nj-Ra9DrEH9ylidzYWhd7zPQLhdPg0LZwfNRd95iglmXEx0LIwznhqzonmg1EpwxVI9SHMpDw1pkIMJsUrLM4-b7GtYI7qbx9Dilt8RjI6eCHPs-GIOSFUbDpc6wLzW56Z0xewSSvPduxbjCWUYPEs-sd0N5Jl-xCUthnCLFHRAuOy9qNnYqVwLw%7Et3mv7RDdX%7EY1nMUJVgWr0ppIU2Xj8JIrEwOZitYbhz2cseYL5Ztnfxykn6auIhRwI6WSivFix%7EA__&Key-Pair-Id=K6UGZS9ZTDSZM
dc7b3a4312b82ea84dfccb5d5f15935a
Moving Image
Videos
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
2:58 (two minutes, fifty- eight seconds)
Producer
Name (or names) of the person who produced the video
Amyre Brandom- Skinner
Director
Name (or names) of the person who produced the video
La'Shance Perry
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/a77tg-ViJzg" frameborder="0"></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
A New Orleans Second Line Experience
Format
The file format, physical medium, or dimensions of the resource
Video
Subject
The topic of the resource
New Orleans has a very rich and vibrant history composed of several cultures. Second Line traditions take place across the city: Uptown to Downtown.
Description
An account of the resource
The Men of Class Social Aid and Pleasure Club host a second line parade featuring Ladies of Class & King of Kings S.A.P.C. "Da Truth Brass Band" is also featured.
Creator
An entity primarily responsible for making the resource
Amyre Brandom-Skinner
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
October 23, 2018
Contributor
An entity responsible for making contributions to the resource
Ka'Lya Ellis
Rights
Information about rights held in and over the resource
My Nola, My Story.
Relation
A related resource
My Nola, My Story 2018 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
Identifier
An unambiguous reference to the resource within a given context
https://www.youtube.com/watch?v=a77tg-ViJzg
2018
Amyre Brandom-Skinner
La'Shance Perry
New Orleans
parade
second line
Sunday
xavier
Xavier University of Louisiana
XULA Mass Comm
-
https://d1y502jg6fpugt.cloudfront.net/32694/archive/files/59d27f8663fa0d6f72c872a5ef06031c.jpg?Expires=1712793600&Signature=O4S0CzyKy4NaTSVfIxJXFA-vvGh45iPhud2EYKfXmozsWc7s8pvWnSK%7EeG0277QL8mvxaQ9B8abd2Jvl0EagZLEiTXgzJx5oyrh4J9IPr94vc1soph2oNCrtZfc99vQCnWI3EXtZkkBsoSVDxr8gV9rwDpwVUNOjTj%7EplqYoMabJ0q-hZgTvhViI8d-p3ikLd0i1CfLjK2F43REoPEIQEcNeAIKCkR3pRbgnLxeV4sRsMeY-0aVmbgocD8jq9X893Yk3EHWCSezXj3nw0Vyrx38RXDrHqEogb5dPi86OhCCVGcjIzWh8mAmkLCv07RhiRVUHss0qPADjI9rBZIbFLw__&Key-Pair-Id=K6UGZS9ZTDSZM
1c46d19beea79caef8f8dd3b7bdf6327
Moving Image
Videos
Transcription
Any written text transcribed from a sound
Intro:
Located in the business district of New Orleans is the Pythian Market where you can find an array of different restaurants and many of them happen to be black owned. The two most popular restaurants in the market are 14 Parishes and Willie Mae’s. We are going to explore these booming black owned businesses and how they got their start.
14 Parishes is a Jamaican restaurant started by Chef Blake who is Jamaican native who moved to New Orleans after settling down with his wife. Now Blake isn’t a rookie chef he has been cooking since he was 14 years old in a restaurant located in his hometown of Portmore. He has been cooking ever since and even has a restaurant in Atlanta that he started with his brother. 14 Parishes is run by Chef Blake and his wife, and this location was opened in October of 2016. Due to the success of the location here at the Pythian Market, the couple was able to open a two-story restaurant on Oak Street and are taking their gained knowledge to this new space. Lauren Blake attributes their ability to thrive during the pandemic to the comfort of Jamaican food and how easy it is to take to go and have at home.
A Local’s Take on Food in NOLA:
Chris Taylor: So New Orleans food and the impact that it has on the culture is truly amazing. You know growing up in a New Orleans household, my mom always truly cooked food maybe for thanksgiving or really just on a Sunday for a Saints game or something like that and that truly is something that I connected to. And so being around food every day in my household really made me want to go out and taste different foods at different restaurants and maybe you know take photos even or do stuff like that. And food can really truly give you a signature mindset or signature memory, just like eating a certain cup of red beams or bowl of red beans or eating a certain cup or bowl of gumbo or some type of signature meal like beignets. That signature flavor that the food gives is something that you can’t get and there’s always a memorable moment. When you’re cooking in the kitchen with your parents and you’re listening to certain music, or you know when you’re out at a restaurant and they got a second line band playing or some type of jazz music just to go along with that culture of food. Its kind of a “gumbo pot” of different things that you can actually experience here in New Orleans. This is some fried chicken here, an original meal that we all like to eat and some juice here. New Orleans culture and the food it just ties in so much and the memories and everything that comes behind it is so great. I love it myself personally.
Now while the Pythian Market location of Willie Mae’s isn’t the first one, the history of the restaurant still lives in it. Willie Mae’s was opened and operated by Ms. Willie Mae Seaton it was originally a bar and soon later became a bar with a barbershop and beauty supply. The beauty salon eventually closed and caused a rise in the demand from bar patrons for a restaurant to be opened in its place. The restaurant became a New Orleans staple and even had such a large fan base, they were able to get enough donations to fix the restaurant after Hurricane Katrina. But before the tragedy of Hurricane Katrina Ms. Willie Mae was presented with the prestigious James Beard Award for “America’s Classic Restaurant for the Southern Region.
That award gave the restaurant the national recognition it deserved and only two years later this New Orleans staple was presented “America’s Best Fried Chicken.” by the Food Network and the Travel Channel as “America’s Best Fried Chicken. “The restaurant is still owned and operated by the same black family and it’s leader is Kerry Seaton Stewart, Ms. Willie Mae’s great-granddaughter.
An Outsider’s Look into NOLA Food:
Dorleon Pittman: Hi! So being from Houston and coming down here to New Orleans you really get a food shock like a culture shock but in food. And you can’t really get the food down here anywhere else like it’s not the same, it doesn’t taste the same, like the vibe isn’t the same. It’s really very family oriented, you get a different experience here too from being anywhere else. Like New Orleans is the city of food basically.
Now a Word from the Co- Creator:
Madison Grant: When I was younger my dad started teaching me how to cook and so many of those recipes surrounded New Orleans Cuisine. My dad was a Xavier student and New Orleans has always been a part of his life which made it a part of mine. So, it was wonderful to come down here and finally understand all the culture that I was raised on and grew to love. New Orleans to me is just a city with so much culture and life and resilience out of all things. It’s a city that has continued to bounce back and I truly admire that. And I just have so much appreciation now that I live here and I’m able to see New Orleans every day and eat everyday so.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
5:14 (five minutes, fourteen seconds)
Producer
Name (or names) of the person who produced the video
Madison Grant and Jordan Booker
Director
Name (or names) of the person who produced the video
Jordan Booker and Madison Grant
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/ae890DeS2EU" 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
Black Owned in NOLA
Creator
An entity primarily responsible for making the resource
Jordan Booker and Madison Grant
Format
The file format, physical medium, or dimensions of the resource
Video
Subject
The topic of the resource
These are the stories of two black owned business located in the Pythian Market.
Description
An account of the resource
14 Parishes and Willie Mae's are some of the most popular restaurants in the Pythian Market and this is a look into their history and what makes them so popular.
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, 2021
Contributor
An entity responsible for making contributions to the resource
Christopher Taylor
Dorleon Pittman
Rights
Information about rights held in and over the resource
My NOLA, My Story
Relation
A related resource
My NOLA, My Story 2021 Exhibit
Language
A language of the resource
English
Type
The nature or genre of the resource
iMovie, video
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
14 Parishes
2021
Food
Jordan Booker
Madison Grant
My Nola My Story
New Orleans Food
New Orleans restaurants
Pythian Market
Willie Mae's
XULA
XULA Mass Comm
-
https://d1y502jg6fpugt.cloudfront.net/32694/archive/files/3baedf41d8c0e0bb377d78214e368616.png?Expires=1712793600&Signature=ZlKm05qIT7q1TkgqhIm3qltBW6GIRprsLzZZ5FcJ5QRtXaN%7EnPJH5eQWfjThn2MJbMVJa0BT5vOZHr3zt5uQfY3SxAXRnXUb5HCbqLS40cXWOlLZwWG5uAOkV-pFtzrWudIBHooK-nCfI0R4vF2ZnqbC7k3xtx%7ELVfum7OQ-6zzRbcJyvdTDeqUy9B43eamvhnvB3FUcxhh9sXOhFAlv0k9OpaPYnmxUEoTNwSIY4qSyn-7DyYPVvNEQAdJBe-3xGccBVxZI8V1UdfNtKDib3D0rd4jYekHsRi0HIWypaJFq8e13CIcL1SnGmX4M4LEgZESLagpBclVY5PQZ4enV2A__&Key-Pair-Id=K6UGZS9ZTDSZM
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
-
https://d1y502jg6fpugt.cloudfront.net/32694/archive/files/2a0fd438910c0f710f27f5c96b6f6c64.png?Expires=1712793600&Signature=pIsaVAMR9ZPqt8xdgvczsJoRCjiHoiI3FdnrH5iYwfY5UJpDqJtTfGEhjAwyJhXCIQWhqibeJ-i%7Ey55Cboct4conCfPPFku1TAEiro%7EGIKwtUlDuekwJClY0uXyfqAo-k4cM9Nr2zIQuPSrIeweUStBYQg3xA0KNV2iF4Sx9fPN6pLX%7ErCl7UFX4zeVg1G%7E1gdWayYyhh5hWS64lgrwzeD%7EGKK13mqGse71nxuTLNG1CaFRTSUdpG3aNGR7QxmUAHHKZAMnozDEiOIgw7CLMkc6MRkRwrzst-tLfmHeJWYxL9qMcw4Z6eJ34JxmB1bZe1Xnm9vimULcWEHlQgLAc0Q__&Key-Pair-Id=K6UGZS9ZTDSZM
90e77c2a78f0b2b34190d82fbeb2acc3
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
-
https://d1y502jg6fpugt.cloudfront.net/32694/archive/files/4cd106074977e356fbe138a91e3844df.JPG?Expires=1712793600&Signature=rnzTlMXbf0n8%7E1-oT9kr0OT2hNb4p0MY9kOCTjHmye3MIk1ls-DkOJzsGF12F-WarhnZNWmVEI0KIRN0x4RF-TLUdr7p6RSf6HYH81BWFTBmj87-XcR8Rv-l5%7EBfxiMjvwdySU8f%7EtRZXUUcK2oksj3Ils7SPrFYw7y9od17oKlQW05Ou4BXX6XlLlrgU64XhKPg-9OihHPobtvFgg9F19C8V%7E568AKcIhlOAZKivr61--9mgVROg-VQDzQln0tIBge12IHI8ylN3hvnR5GJsxQ8t14Ppl4-EjRxSj3NTNe-TLJD830U0%7EDunOLLZGaWAddkpK5wekoZTARwjJCqGg__&Key-Pair-Id=K6UGZS9ZTDSZM
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
-
https://d1y502jg6fpugt.cloudfront.net/32694/archive/files/0b45654d06cdac1a80e5bf121b7683ed.JPG?Expires=1712793600&Signature=N0CY-vTDYsE82Ny4vtNF94t1sGnLwoRrntFP8%7E74b5oT69vEel4DGJRZXRzeoQamYOnXK0qOr4zOIUhjw7l7N9ML-OS2LkrCBBbdWg5HwkaIFl4YJ3d8XEiuV3SwkV1eSTLm3woN8dI4fvoiFkAMK82dpDz1nJncnWtBbmImeMP0xhemJG80A%7EZ4e0dmi3h0F8zODVXfamN6re7jhinA1IhOuALbj2nIJCj6Z4suYGTuAkK16nAQdD2UJnLrGrD-qmmQiSvNsYJ1hkmCZUEQlwoyXYsvAgzuu5DdH3BcVmv%7EUuFAylxAyuPXpN508mwwHU6W5e4ifg4ZPUSy3P3LDA__&Key-Pair-Id=K6UGZS9ZTDSZM
81036495f6624d301e70181f2724be40
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
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/RDkYUxk36jk" frameborder="0"></iframe>
Transcription
Any written text transcribed from a sound
Amyre: (Intro) Second line paraders are the descendants of the city’s famous jazz funerals and, they carry many of the same traditions with them as they march down the streets. There are dozens of different second line parades put on throughout the year, usually on Sunday afternoons, and held in the French Quarter and neighborhoods all across the city.
This the story of Jayla Nash. She is a 9 year old Uptown New Orleans, Louisiana. Ever since her first second line she has been named the bay of Second Line.
When was your first second line parade?
Jayla “Bean” Nash: Four
Amyre: Four. Okay!
With four years old being your first second lone parade, How old are you now?
Jayla “Bean” Nash: Nine
Amyre: Which one would you say is your favorite experience?
Jayla “Bean” Nash: I think my favorite experience was when I was four.
Amyre: Who are some of your family members that have participated in second line with you?
Jayla “Bean” Nash: The whole, entire family! Like… its their thing. And we have our own band called Family Ties and its broken up into two groups. There’s the Alligators, I don’t know why they call them that, and there’s the Jazz Ladies.
-Video begins-
Jayla “Bean” Nash: Some background knowledge of when I was younger… two maybe. My mom was in the second line and they came out at Joe Mack. And my mom said, “When you saw me, I was like, hey Mom” and then when my auntie came out I was like Hey Auntie, Hey, Hey(waving)! And then she was in her feelings for a little while and I said ma (chuckle) it was a long time ago.
-Video ends-
Amyre: Being the mother of Jayla, what influenced you to want to bring your child into it?
LaToya Kirton: It wasn’t that I wanted to bring her into it, she just had… its like she almost had a feeling for it. She loved it she, she danced, she liked the music so it was like natural for her. So it wasn’t too big of a deal for me to have her to go out in second line.
Amyre: That’s really sweet! And she was telling me that her first one was at the age of four. Was that her first when she could remember or did she have one earlier?
LaToya Kirton: That’s what she could remember. Jayla started second line at the age of two. Every year it’s a different color and every year it’s a different theme, every year. And it’s no; it’s just… it’s almost like. You can’t. You can’t do the same thing twice. We probably would make eight. Actually participate, we do one. We come out the first Sunday of every October. For us Family Ties, that’s our name. So it’s all family and the ties are ties in together they know us some kind of way whether it was a neighbor, a childhood friend, but that, if you hear us you know we’re all family.
-Dance Clip-
-Credits-
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
3:21 (three minutes, twenty- one seconds)
Producer
Name (or names) of the person who produced the video
Amyre Brandom- Skinner
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
Growing Up Second Line
Creator
An entity primarily responsible for making the resource
Amyre Brandom- Skinner
Subject
The topic of the resource
This is the story of Jayla "Bean" Nash's life. She is a nine years old; Uptown New Orleans, Louisiana native.
Description
An account of the resource
Jayla experienced her first second line at the age of two with her family. She is now nine, and reflects back on her most memorable experiences while participating in second line.
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 4, 2017
Contributor
An entity responsible for making contributions to the resource
Jayla Nash
LaToya Kirton
Jonas Nash
Rights
Information about rights held in and over the resource
My Nola, My Story.
Format
The file format, physical medium, or dimensions of the resource
Video
Relation
A related resource
My Nola, My Story 2017 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://www.youtube.com/watch?v=RDkYUxk36jk
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
2017
Amyre Brandom-Skinner
Growing Up Second Line
Jayla "Bean" Nash
Jayla Nash
My Nola My Story
NOLA kids
second line
XULA
XULA Mass Comm
-
https://d1y502jg6fpugt.cloudfront.net/32694/archive/files/0aed27d218805648596aeff02b25cb3b.jpg?Expires=1712793600&Signature=aWIdmBwV7OKBrjNM4g1FezfLj2SbMwIQqjiSmIOKbnryZOmgGwfilHonvmfUfpirWTnXlTPb58n9btDo9EintB0unktkJ4Yilhi-Q9354KB3kF7AFik6Z587fslQMfM9eVIpqHCU058oLDSEDg4Pu45PrfVQ3wEkaH53eQ3fZS%7EI-1KY%7ED%7ELvHPVuiG6CVoZuOymOc7URH8kY1HYyKljbRRaBFesBBuYM41ytlLspJHCbLTPZXBV7bPWv5QCnn1y6UyrYBc7TSxmgl9FokM6UvUnP2eT24XcJVMOAOexQu-WDPWiKtRcbhblDllBZM32h0XmpZ9gbWoz3RLK5Bdi8Q__&Key-Pair-Id=K6UGZS9ZTDSZM
9ba2403b5af1b861decb7c486d50ff16
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
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/fjDp6RZimTA" frameborder="0"></iframe>
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
11:17 (eleven minutes, seventeen seconds)
Producer
Name (or names) of the person who produced the video
Sydney Odom
Director
Name (or names) of the person who produced the video
Dr. Shearon Roberts
Transcription
Any written text transcribed from a sound
*Living With a Legend Title appear*
Parnell: Hello Sydney.
Sydney: Hi. Why don’t you introduce yourself?
Parnell: Ok. Well, Hi. I’m Parnell Herbert. I’m the godfather of the most beautiful young lady *Video of Parnell Ervin* in the world.
*Black Screen* *Then drawings with four faces* *Music begins to play* *The Blank Panther Image With Man Holding Fist In The Air* * The President’s Commission on White House Fellowship Pin Picture* *Free All The Angola 3 picture* *Witness The True Story of the Angola 3 picture* *Picture Parnell Ervin*
Sydney: Legend a noun that describes a person or thing that inspires. Parnell Herbert can be described in many ways godfather, community activist, leader, and a pioneer for equality and justice for all mankind. By doing this, he continues to advocate for change inspiring the world around him. A living legend.
*Black Screen~Start from the beginning*
Parnell: I was born...um at Charity Hospital in New Orleans on the colored side. When I was born the hospital was separated from coloreds to white. And um. It was back in 1948, family lived in the Lafleet projects we actually lived in a one bedroom apartment and there was nine people in that house back during that era growing up in the project was more of a family environment. Today is where all the projects considered rough or violent. But back then it was a wonderful place to grow up. I was alittle bit of a problem child. I was suspended three times in the first ten months in the tenth grade and after the third suspension, I just decided why go back? Everytime I go back all they do just suspend me again and it was all about blaming them not me. So after that first year, I just thought I would go back to clark and they wouldn’t take me back. So I had to go to Booker T. Washington, but by then I had gotten use to making my own money and being what I call the man. At sixteen years old, I decided I didn’t want to stay in school so I dropped out of Booker T. Washington but I knew that for me their were three paths to take either be killed in the streets, become addicted to drugs, or wind up in prison. My two older brothers were both in the navy at the time and they convinced me that I should join the navy. So I joined the navy and that was a big change in my life, worked on the flight deck of an aircraft carrier for three and a half years and that was the most exciting period of my life. This feeling explains a feeling of power and energy from this aircraft fueling the plane loading the bombs on the plane and this was during Vietnam so um during that era I actually did a three cruises to Vietnam from the ages of 17 to 20 years old. At that time the voting age was 21 and the drinking age was 21 I went to Vietnam and back three times. I could not vote nor could I buy a drink.
*Black screen with question~ How did you become a community activist and help the Angola 3?*
A community activist was long before I became involved with Angola 3. I went to a workshop an organization called People’s Institute For Survival And Beyond it’s a multiracial multigenerational organization that deals with the undoing of racism. Their policy or their philosophy is racism is created by man, anything created by man can be dismantled by man. During that time one of the things that I um..one of the missions that I have adopted was the Angola 3. Angola 3 was three men who were incarcerated at Louisiana state penitentiary in Angola Louisiana. And they were framed for a murder that they did not commit while they were in the prison. My daughter Shauran came home and told me she met a man who had said he had been in solitary confinement for twenty-nine years. And she insisted that this guys name was Robert King. Said it was Robert King, Herman Wallace and Albert Woodfox. You know said, well wait a minute I grew up with a guy named Albert Woodfox And she said hold up come on ….Let’s look at the computer! His photograph came up of the kid that I grew up with. You know I said that’s Fox the guy I grew up with and that’s when I got serious about learning about Angola 3 and their plight. And those brothers their story was amazing. Robert King the brother that she met actually did twenty-nine years in solitary and eventually he was exonerated and released. Herman Wallace and Albert Woodfox remained in Angola in solitary and Herman did forty-two years in solitary. He was exonerated and released and two days after his released he died. He was home but he did get to die a free man. Okay fast forward, two years ago Albert Woodfox on his seventieth birthday was exonerated and released and now he is home and he is doing fantastically well it was a couple of lawsuits that they had found, they won those suits and Fox bought himself a house and a car. He bought his daughter a house and a car. He’s taking care of his family, his grandchildren and he is just doing fantastic. It does my heart good to think of where this brother came from, what he went through and where he is now. It’s a wonderful thing to see.
* Black screen Tell me about the Angola 3 play you wrote*
I realized that part of their problem was that no one knew of their plight. One of the things I thought I could do was to help expose their plight and bring it out to the publics eye. So I did the play, I wrote the play Angola 3 and told their story and whatever manner I could tell it as a playwright. That was after my first play the Motherland before they came because I’ve always been political because everything I’ve done. I don’t know. Throughout life really it’s been political. Alot of people like to compare them to Nelson Mandela. Brother Mandela spent eighteen years in solitary But um…well…. these brothers when Albert Woodfox got out he has spent forty-four years in solitary confinement. Longer than anyone in documented history. These brothers have become panthers and as panthers but they were trying to do is humanized the penitentiary that they were in. Angola was the most brutal penitentiary in the nation. Inmate rapes, beatings, segregations, it’s a horrible place to be. Theses brothers got indoctrinated into the black panther party, they adopted the ten point plan with the black panthers. And they put an end to an inmate rape in that penitentiary. They put an end to the abuse. They fought very hard and that’s why they were framed for murder they did not commit in that penitentiary to silence them to break the hold that the panthers were doing because the penitentiaries feeling like we cannot have the inmates around the asylum. It was all about shutting them down so they were framed for these murders but even while they were in solitary confinement they were still able to do the work they were doing before and preventing some of these young inmates from being raped, brutalized, better conditions at the penitentiary.
*Black Screen So what comes after?
What comes after well I tried to lead a much normal life as I could. I can tell you right now I still work for the People’s Institute For Survival and Beyond. We continue to do undoing racism workshops. I’ve become very close to Robert King, and Albert Woodfox The two surviving members of Angola 3. About a year ago...a year and a half ago I was diagnosed with prostate cancer and because of the early detection I was able to get proton therapy and proton therapy cured my cancer. So I sit here now cancer free. Again because of early detection, That’s the message that I carry now. I go to places, I hang out with people and I talk about it. Especially black males
* Black Screen - Would new orleans still be home?*
New orleans was not not a bad thing. I see so many advantages elsewhere .At one point I wanted to live in San Diego. In fact for my travel….during my travel in the navy I went to several different companies and states and cities. I always said that there are two places that I saw that I would like to live, If I didn’t live in New Orleans. One was San diego, California and the other was Vancouver Canada. They were just very clean and there was just flowers on the interstate, instead of trees and weeds like we have here. Opportunities in all the wrong places. New orleans is not a very opportunistic city and I would suggest for the young people growing up today it’s fine New Orleans is a good city you’ve got your family, friends, a culture and traditions but there are opportunities elsewhere .
Alright and we’re done
*Picture of Parnell and two kids*
Thank you
*Music and 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
Living With A Legend
Creator
An entity primarily responsible for making the resource
Sydney Odom
Format
The file format, physical medium, or dimensions of the resource
Video
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 6, 2018
Rights
Information about rights held in and over the resource
My Nola, My Story
Relation
A related resource
My Nola, My Story 2018 Exhibit.
Language
A language of the resource
English
Contributor
An entity responsible for making contributions to the resource
Parnell Herbert
Type
The nature or genre of the resource
Adobe Premiere,video
Identifier
An unambiguous reference to the resource within a given context
https://www.youtube.com/watch?v=fjDp6RZimTA&t=82s
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
Subject
The topic of the resource
Parnell Herbert's life and motivation to be an act of change.
Description
An account of the resource
Parnell Herbert talks about how he grew up in New Orleans and how he went on to become a community activist.
2018
Living with a Legend
My Nola My Story
Parnell Herbert
Sydney Odom
XULA
XULA Mass Comm
-
https://d1y502jg6fpugt.cloudfront.net/32694/archive/files/eb60a0c5b1ea186d26c1643859dac30b.png?Expires=1712793600&Signature=HWM0XZDLLCUZsWON92y-83s8HCGOfUZboC0F0fjKnYO-I-EbQ4Ty-7MCu3TuOhGgVBm2k40SU0VHP10oRnQxXJrjW%7EBuVcb6A764yQ5NHsLAtgoiLmBxP3EiKGsy7ludywcGiRD2pbMJOiuWr-gmDK5fA3frBei57NXO3hUgZi4cBUm65lT9KXu2XCHkpE1rB9RWqXs1vWbAQhKuoF42TRXRJavgENcgNYIk1yJntlwrOd2trIbVnIIPqxfPdMPOGtiwyx2D-wcil6zb8qTsONMdeNNBuyN2NaHlL5rjaR1%7El5t-gaXOQduW%7EORuCqdBvpiGpzpWhENn25iQ6a%7EeIQ__&Key-Pair-Id=K6UGZS9ZTDSZM
f6884e411bde2753ea6f6b9969633ab3
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/e4ct138HeuA" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Transcription
Any written text transcribed from a sound
(Voice note) "New Orleans, Louisiana raises many creative minds, as it is a city filled with art. Mardi Gras inspires artist all over the world to make a statement in society. I spoke with a New Orleans native who began his journey with art in the very city that amazes tourist everyday with is freedom of expression."
Interview:
Watson: "Hi, my name is Marcus Watson and I am a New Orleans native. I've lived there for, about maybe, 32 years I would say."
Question (What was your experience growing up as a black New Orleans native?)
Watson: "I had a pretty positive experience. Um, I didn't...I don't know, I had a good childhood in New Orleans. I would...um I always went to the parks or the movies or um you know, did a lot of the New Orleans scenic things like um...the zoo and French Quarters and, and all of that. So I would say that growing up, um, it was pretty positive. I didn't really have any type of negative uh experiences or responses or anything like that, so it was pretty decent."
Question (What part of NOLA did you grow up in?)
Watson: "I grew up in the...close to like the Lakeview area, so that was close to, um, UNO, the Lakefront, um. I lived about five blocks from UNO, um, off of, um, Leoncesimon um, and then Saint Anthony, so not too far from there."
Question (Do you think your childhood was different from the average black NOLA native?)
Watson: "Yeah, I would say so. Um, um, its the seventh ward and it um, it was pretty mixed I would say. It was uh, a mixed class of people, both class, um race wise, all of that. Um of course there were some areas in New Orleans that are you know like heavily populated by blacks, and whatnot, and then there's white areas and what have you, but the elementary school, the um high school to a certain degree was just pretty diverse and I felt safe. I think that you know of course there's some areas that are kind of seedy, um but for the most part, where I stayed it was relatively safe."
Question (How did being from NOLA influence your passion for art?)
Watson: "Well I... I always kind of knew how to draw, I mean nobody really had to teach me, it was just like one of those um, gifts, one of those talents that was just kinda bestowed on me. Um, and it was just a hobby, but I think New Orleans kind of influenced me um in the artistic sense with going to...when I went um on field trips to the um, to NOMA um and the wax museum and really the... like Mardi Gras (laughs) Mardi Gras. This is kinda crazy but um, one of the things that I absolutely loved as a child was looking at the floats, and how the floats were decorated. Um with the color and the scenes and the themes, and I really really got into that. And at one point in time, I wanted to be like um, like a float maker (laughs) um someone that would design the floats and and paint the floats and just decorate it. Um so it really really kind of influenced me there to...to do the work that um, that I would later produce as an adult. So um, and im just actually now thinking of that, I haven't thought about that in a while. It inadvertently did that, so, um, New Orleans also had a lot of um galleries I um have come to find later on in life as an adult and I knew that um I wanted to study art, go to school for art, create art. Um, and...yea there just a number of galleries in like the uptown area. Um, I would love to um go back to visit and, um, and see them, so, hopefully get into one of them one day.
Question (What kind of art do you specialize in?
Watson: "A lot of my work concentrates on the figure, on the male figure in particular, and I am, um, my work, the way that I see it is more talking about a social consci-conscience. Just looking at what I see around me and commenting on that through um, my art. So, originally I was a classic train artist. So usually I would, what I see in front me, and drawing it to the T, and drawing it realistically. Um getting a little bit of that um Trompe-l'œil, um appearance. Um but, when um, when I started grad school and um when I started talking to my professors, it had me experiment and try out different mediums and really just trying to get out of my comfort zone. Um, so now, my art was now more, I still have a little bit of that photorealism, that realistic, classical work, but I now try to blend in um, shapes and colors and forms, um, in order to build of the figure, so, its kind of like both worlds within one.
Question (Did you have any role models from NOLA that influenced your passion for art?)
Watson: "My Role models would be those that actually, had the courage enough to paint, like, big murals (Niya: "Yeah
'laughs') um, clowns in new Orleans and, um, like I was saying before, the floats and whatnot. Those, in a sense, are kind of like murals. They're on a surface, they're larger than life, and they, they entertain to a certain degree ,um, people. They teach people whatever theme, it is on the float, so, I don't think I could um, pin it down to one person. It's more so the group of people that have created all of that work."
Question (Why did you leave NOLA?)
Watson: "I left as a result of Katrina, Hurricane Katrina, in 2015. I moved and ,um, I was still living in Louisiana, I moved to a small town, um, west of New Orleans called Lake Charles, Louisiana. (Niya: "mmhm") It was there where, um, I wanted a change, I wanted something new, I wanted something different; so, that's where, um, I enrolled in, um, the college there, the university there, and that where I started art. So, um, I made sure to get my bio degree first, because, you know, if I couldn't make anything or do anything with my, um, bachelors in art, then I could also always fall back on that, so, um, really it was after Hurricane Katrina, where it just kind of- I just left New Orleans, and um, from Lake Charles, Louisiana, I went up to Seattle for grad school and did two years there, masters, and then came back down to New Orleans, and, um, I was just-I was looking for a teaching job, I wanted to teach art, um, but New Orleans had changed a lot, um, I as far as from what I knew, um, I didn't really think of going back to my old high school and teaching there although, I probably could've, um, but, again New Orleans had just changed so much, I don't know , it just changed, so, thats when I decided to um, look elsewhere and I got a teaching job in Memphis and, um, I've been here ever sense and that was, uh, again in 2015."
(The Art of Mardi Gras)
Watson: "I will say that, um, Mardi Gras-and not to sound stereotypical or anything like that- But Mardi Gras is one of those events that really brings people together, regardless of class, regardless of race, um, New Orleanians, Louisianians just love to have fun and you don't see that elsewhere. You don't see that really anywhere else across the country and there's something about New Orleans that has that flavor, that vibe, you know, and people just get so seduced by it and they're in it, you know, when you're born into it, its a commoner, regular, everyday thing, um, but it isn't until you go elsewhere where you realize the magic-(laughs)- that was there, um, that you just had grown accustomed to. It's just regularly, ordinary thing
New Orleanians just get it, they, you know, it's standard to them. Whereas, you know, someone from elsewhere that's coming to visit New Orleans, especially at Mardi Gras time, they're like 'Oh my god (laughs), oh my god', you know, people dancing, and singing in the streets and just having a good time, and it's-it's wonderful really to see that, you know, um, and I think, you know, what's sad about this whole thing with Covid is that we won't get to have it this year and , um, you know, pe-we need that (laughs).
(Thanks for watching! Check out MarcusWatsonArt.com for more art!)
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
11:05 (Eleven minutes and Five seconds)
Producer
Name (or names) of the person who produced the video
Niya Davis
Director
Name (or names) of the person who produced the video
Niya Davis
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
Marcus Watson: The Beauty of Art
Creator
An entity primarily responsible for making the resource
Niya Davis
Format
The file format, physical medium, or dimensions of the resource
Video
Subject
The topic of the resource
Marcus Watson (NOLA Artist)
Description
An account of the resource
This is an interview-style video about an artist, Marcus Watson, who centered his art around making a statement, beginning in the very city where art brings people of all class, color, and culture together.
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
29th November 2020
Contributor
An entity responsible for making contributions to the resource
Niya Davis
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
Inshot, Video
Identifier
An unambiguous reference to the resource within a given context
https://youtu.be/e4ct138HeuA
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
art
Marcus
MassComm
MyNolaMyStory
Nola
TheBeautyOfArt
Watson
xavier
XULA Mass Comm
-
https://d1y502jg6fpugt.cloudfront.net/32694/archive/files/8aa5749e02ea98aad77e628d1f4a443e.PNG?Expires=1712793600&Signature=Lm2C4y35-Pk60QQCeYJytq-OisJsSyKnSY6PC6HooHdA55VIdGvcf73UUnK8ByYI4n9ubu9-MR7629Wvn-hnVD0yctxAGO6w1a3vweco3ddkvU8-CFvqSgn3o2vTKcTIZ2sFcZ4QYy2CWdUZySNiGnrhzy%7ET1dw5WQZj0lyimdF4U0JKIPGMmQVkCXpep6-%7Ee2QdmBeJpOy%7EpgxffN601TKZbfc45g%7Evr7RNtNfME%7EcMGV6LYgy9v3QDOXM8qhzzDaAzpU48Pvsvwgkpt1Tw--g4ZCN39yDEO02QkYq3Rpz0u4pzM38U4ZLEzUekvPpKeMLlMzrdVsa0e3mli1QWLA__&Key-Pair-Id=K6UGZS9ZTDSZM
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
The file format, physical medium, or dimensions of the resource
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
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
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
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
-
https://d1y502jg6fpugt.cloudfront.net/32694/archive/files/bcc16faa39a84786019cbcc77392e74f.png?Expires=1712793600&Signature=iZoVLqBV6o-6--Y5EPjHqSDpKfka7VlJSxwI2jdXTgdrOceEm0kyXRMviHbh1EUGzHapKamBm0HiZc6MsoJajiASOh7MMGlXXLA9sKZbGQaASUhxSYwu6AgJ4R-EjLNnaD04J4FnmoCxSKg%7EBnsCp2IH3N8xduYIwOJxHWM3q7-n7Q1PoNVM8RsrHB8HREJo7CvLAa-GUjqrhNQfVIE4S8ioOJkyq3ph8A7DtTraVQRRbcoxFRVWfdSKVk1mW6BWsSQfBIRN%7EOW5Dbl6mNxPDwz-tnBxpjrhQ4-qgk9eYb9XXMNBe0lCtVbk8Utgbr0pgKaGkOHjPol57JUJW2DusQ__&Key-Pair-Id=K6UGZS9ZTDSZM
0e53f0e39ddbc58480acb01bf8234017
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/-9NiKXRhLuA" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Transcription
Any written text transcribed from a sound
Intro
My name is Howard Rollins jr. I was sergeant Rollins. I went to Vietnam, I’m 71 years old. I went to Vietnam in January 22, 1970.
I cried from New Orleans to Dallas. It took a nice stewardess to pat me up, quiet me down and my flight went from Dallas all the way to Tacoma, Washington and from Washington to Alaska, from Alaska to Japan, and from Japan to Vietnam.
After jungle school, a week in jungle school you go to your assigned unit and mine was the 173 rd Airborne Brigade , 2nd battalion, 503 infantry.
The First Day
The first day I got there going back, before I was made a radio man, after I left jungle school. When I arrived at the unit they were already in some kind of fire fight. And I remember the helicopter sitting me down, on top of the hill, which is base camp and I sit on the log and I’m watching the helicopter go in and out. Coming back with bodies, flushing the helicopter with water to flush the blood out and TOP which is the first sergeant, he came out and said the COB which is the commanding officer, CO Captain, he’ll be with you in a minute. He came out and he welcomed me to the unit.
And He told me he said, if you follow my orders and follow your sergeant orders and things, you may get home alive.
Second Day
This the second day and the way it really worked, we operated in what we called five men hawk teams. It could be five men, it could be seven men, but it was just small groups. This particular time now, was my first time out, humped out of the base camp which means we marched or walked out of the base camp. However, if it’s 20-15 -20 maybe 40 miles from base camp we travel out of a helicopter, and it’s called a combat assault.
Well we humped out the base camp this time, this was my first time and we all walking along, came through the jungle, came out of the hills. We hit the rice patties, we was approaching a village, when the enemy started firing up on us. I froze. Which is normal when you first go into combat and you’re not used of it. When the shooting starts, I froze and the guys that were with me and were used of it, they all jumped in the rice patties. I didn’t want to jump in there. But somebody eventually pulled me by my pants and pulled me down in the rice patties. The edge is where the people sit down and relieve themselves; that’s where they pop and so the edge of the rice patties was like maggots and stuff, we jumped in that and the bullets were flying. If it hadn’t been for the guy that pulled me down, I’d probably would’ve been shot and killed then.
Best/ Good Moments
Let’s talk about the best and good moments. I guess the best moments were, I met my wife, your grandmother in Hawaii’ but then I had to go back after five days. And then sometimes when we were on stand down, if after a heavy heavy action, they’d send us to a beach called Loto beach on south channel sea. And another company would perform perimeter guard and all we’d do was eat steaks, drink beer, eat seafood and swim. Sort of like an end company R&R, relax and recuperation. And that was some good times cause then you really get to know some of the guys other than as just soldiers.
Coming Home. Part One
Coming home, was a different story, I experienced people spit at me but not on me, I experienced some talking about you, but I was one of the few that just still wore my (boonie hat) or jungle boots as part of my dress. In other words I didn’t hide, even though they acted like they didn’t like us.
I don’t regret any of it, except during my military service I was offered NCO school, non-commission officers school, I turned that down, I was offered Warrant Officer school to fly helicopters, I turned that down, and I was offered officer candidate school OCS. That’s the one I regret, I wish I would’ve have taken cause i probably would’ve did what I wanted to do which was fly jets. So that’ll be the only regret that I didn’t except Officer Candidate school.
Coming Home: Part Two.
Coming home was really good but this is what I did. I was too excited and I couldn’t wait so I took a flight that would’ve gotten me there at like ten-11 o’clock that night. I got to the airport in New Orleans, I kissed the ground, the last bus stop running was at 11:00 and I got there and just missed it. So with my duffel bag and I had a riffle which was a war trophy, I walked down Airline Hwy from the Airport to Tulane and Galvez. Where my wife was staying on Perdiddo street and I told her I was going to catch her sleeping. So when I got to the front of the house, Smokey, is a big German Shepard, he had a habit of pushing the curtain and he saw me and he saw me go to the side of the house alley so he knew I was going to the back, he rushed through the back. I didn’t think he would remember me but he did and he cut up when I went through the back door. They didn’t keep the back door locked, that’s the way it was during those times. I come in through the back door, played with Smokey and I went in the bedroom where she was sleeping and I dropped my Ruck and my riffle and she just opened her eyes... HOWARD! She was so excited. Your ma-ma was laying next to her, between her and Honore, her sister cause they slept together. And I woke up the whole house and was some excited I said I told her I’d catch you sleeping. But that was a joy. But also it was like I couldn’t believe I made it home, so it took me a long time to wind down, really long. The end.
(Voice note):
Howard Rollins Jr. has been awarded with numerous medals for his time and service in Vietnam. Like the Airborne Badge, Army Emblem Badge, Combat Infantry Badge, Jumping Badge for finishing parachute school, Bronze Star Badge, Purple Heart Badge, Air Metal for doing over 150 combat assaults, Army Commendation-Medal for putting wounded soldiers on helicopter during fire fight, National Defense Medal, Vietnam Service Medal, Republic of Vietnam Gallantry Cross Medal, Vietnam Campaign Medal, Expert in M-16 medal, Expert Automatic Riffle Medal, Marx-men with M-60 machine gun Medal and the Brownstone for serving the country.
Closing Credits
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
9:51 (9 minutes 51 seconds)
Producer
Name (or names) of the person who produced the video
Kai Davis
Director
Name (or names) of the person who produced the video
Kai Davis
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
New Orleans Native, Vietnam Veteran
Creator
An entity primarily responsible for making the resource
Kai Davis
Format
The file format, physical medium, or dimensions of the resource
Video
Subject
The topic of the resource
71 -year old Vietnam Veteran, Howard. Rollins Jr.
Description
An account of the resource
This video is about the experience a 71-year old New Orleans native, Howard Rollins Jr. encountered during is time in the Vietnam War and coming back home.
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
2nd December, 2020
Contributor
An entity responsible for making contributions to the resource
Kai Davis
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
Apple iMovie
Identifier
An unambiguous reference to the resource within a given context
https://youtu.be/-9NiKXRhLuA
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
Howard Rollins Jr.
My Nola My Story
New Orleans native
Vietnam veteran
XULA Mass Comm
-
https://d1y502jg6fpugt.cloudfront.net/32694/archive/files/08a0607fc25160f5fd54e0ab82ed35af.png?Expires=1712793600&Signature=WAZ7RjI3ehxLW59kSosQqMysVVaqZfgRr%7EPm8W9t1WYook1G4riRbi8-TqfV38nrqbeD56OQCgNjf3uXl25uLZvte2aiBJYe0rLYs%7EhNZXCEo5xseTFdvjvCt0BYvsu7NJdyPC0I5q7zm0et-EmTK0EZhzMr59%7E4lmXQBAIbgVk-6ebFCb-MfOp790FxNHAYm%7EImfFRTQnw6WtD5NiQOA%7EGeVGHrVJbecFMYDwBtk2LijraQLgahioigt5OirC40bJTpaCHBEd2xqbbXXNGEOtt5GA7uKhPG9szkP5Cw-YTzThDoTG5J9dQU0%7EiSY9Km8b5Tepn6jCDkagyXD8mr2Q__&Key-Pair-Id=K6UGZS9ZTDSZM
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
-
Moving Image
Videos
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
4:42 (four minutes, forty - two seconds)
Producer
Name (or names) of the person who produced the video
Allison Swann
Director
Name (or names) of the person who produced the video
Dr. Shearon Roberts
Transcription
Any written text transcribed from a sound
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.
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 New Orleans Art Diaspora
Creator
An entity primarily responsible for making the resource
Allison Swann
Format
The file format, physical medium, or dimensions of the resource
Video
Subject
The topic of the resource
This is an exploration of the New Orleans art scene.
Description
An account of the resource
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.
Source
A related resource from which the described resource is derived
My Nola My Story via Youtube
Publisher
An entity responsible for making the resource available
Mass Communications department at Xavier University of Louisiana.
Date
A point or period of time associated with an event in the lifecycle of the resource
December 5, 2021
Contributor
An entity responsible for making contributions to the resource
Irvin Washington
Rights
Information about rights held in and over the resource
My Nola, My Story.
Relation
A related resource
My Nola, My Story 2021 Exhibit.
Language
A language of the resource
English
Type
The nature or genre of the resource
Final Cut Pro X, 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
2021
Allison Swann
My Nola My Story
New Orleans
New Orleans Art
Skate
XULA
XULA Mass Comm
-
https://d1y502jg6fpugt.cloudfront.net/32694/archive/files/32411e50a4f4e67255370ed99a3dcab1.jpg?Expires=1712793600&Signature=D8Oi8DtJg4C3EIVdKm2OohTwmI3-uuoFhzIyeZeVzp%7EJahrnj%7EOUmqxQA1-5DGa5lsbu2VztBWdbxltyDmVj2c9w4lVHxw0N34S3s2la-SU%7E8vDA4mwdpdfE0yNWNrK-dFzTqNVbFC4VOohtCmat3m0CCwo%7EBVApHXmpQXI24RX6rs%7ESM5zpOQBX8EerlqX4AqVmhxO80Hf4grfn%7Eo57g4HtVBNernzZvfVPRd8pVjcF%7E-KSrnH%7EPck289gLsTTeyvN010POhx54FwkB7di%7EfQuIs8zAW-sBLTP-MIJNcSP6lmbSAw-cGibUJyOpbn3cX2ISpBoj-QEUBNUuIF1wSw__&Key-Pair-Id=K6UGZS9ZTDSZM
fd6ec179dbbbc878dc8b52223d5feb48
Moving Image
Videos
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
https://youtu.be/D-QMX9FByBU
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
3:36 (three minutes, thirty-six seconds)
Producer
Name (or names) of the person who produced the video
Skylar Stephens
Adriana Williams
Director
Name (or names) of the person who produced the video
Dr. Shearon Roberts
Transcription
Any written text transcribed from a sound
*second line music plays*
Adriana: How was life after Katrina?
Man: After Katrina? It was hard. Ummm..lost everything and just homeless ever since.
Adriana: Sorry to hear that.
Man: But the way I do is try to help the other homeless people. I walk around and sell beads. Stuff like that. Got some people that’s kind of cuckoo, some that’s crippled, some that’s just not right. I’m out here trying to do what I can do to help them also.
*second line music plays*
Man: We weird. We like to have fun. We can hangout till 5 o’clock in the morning on Bourbon, if we want to.
Skylar: What about the music?
Man 2:*inaudible* …Like the bounce music? The music crazy. We got a different flavor than everybody else. Our flavor is different. You know how you put gumbo, add all the seasoning. Put too much seasoning, it get hot! It get spicy! It’s spicy so you got to make sure it’s just right. You put too much of that seasoning, what happen? Your mouth goin’ burn. *inaudible*
Des’Monte Scott : I don’t know what y’all heard, but I wouldn’t want to be from anywhere else. Growing up in New Orleans was just a moment. Kicking down the Westbank girl that was my little stomping grounds. *Laughs* But goin down the street to my granny house and just smelling the gumbo like in the parking lot and then just walking in the apartment she cooking, got stuff on the stove, and the pecan candy child. That pecan candy just melt in ya mouth. It was top tier, It was amazing *laughs*
Adriana: So what do you like most about New Orleans?
Man 3: The culture, hands down the culture.
Skylar: What about the culture?
Man3 : Uh, its so original. The people make up New Orleans, It’s not just the building and the festivities. It’s the people that make New Orleans, the people that actually work this shit and live out here
Adriana: Um How was life after Katrina?
Man 3: Um, totally different in regards of uh the uncertainty of how it was gonna be going forward. Meaning like where your mom work, your dad work. Uh the same store you may have went to growing up may not be there, but I will say this, the comparison of post Katrina to like Covid it totally different. Cause covid has made thing all the way weird ya know what I mean? like Katrina was like ok, devistation, we can rebuild. Covid has just made you have to change your whole life.
Adriana : What do you love most about New Orleans?
Man 1 : What I love most about New Orleans? Bourbon Street.
Adriana: *Laughs*
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Why I Love Nola
Creator
An entity primarily responsible for making the resource
Skylar Stephens
Format
The file format, physical medium, or dimensions of the resource
Video
Subject
The topic of the resource
The stories and feelings of Nola natives.
Description
An account of the resource
Nola natives explain the love that they have for their city and the impact of Hurricane Katrina.
Source
A related resource from which the described resource is derived
My Nola My Story via YouTube
Publisher
An entity responsible for making the resource available
Mass Communications department at Xavier University of Louisiana
Date
A point or period of time associated with an event in the lifecycle of the resource
December 5, 2021
Contributor
An entity responsible for making contributions to the resource
Nola natives
Rights
Information about rights held in and over the resource
My Nola, My Story
Relation
A related resource
My Nola, My Story 2021 Exhibit
Language
A language of the resource
English
Type
The nature or genre of the resource
video
Identifier
An unambiguous reference to the resource within a given context
https://youtu.be/D-QMX9FByBU
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
A Digital Humanities project by Xavier University of Louisiana's Mass Communication department students, led by Dr. Shearon Roberts
2021
Adriana Williams
My Nola My Story
Nola
Skylar Stephens
XULA
XULA Mass Comm
-
https://d1y502jg6fpugt.cloudfront.net/32694/archive/files/b22bd1781182b523620be04fcfcaf995.jpg?Expires=1712793600&Signature=mH0soU7YUXfeDeO-IEPCGMTQVdk7vshT%7ECsorPEATSZcUhaupuwRpLP3hDwiO-TyKM7DfdhmzgBp%7E00SXFPUdKhbU9mNCntt4MVT8ZwxT-N1F-42ByljXhal46iAeplvXAqdHuTzgvJfAKOBW8A3ysHJFiY3larlu38HoTiLD7tAV9ZgRM0Xs3K1pBVowbFG11PcqAGDU3Lx9NbS9n8GF362za1DrtCVYEhxCJ0zgbUCdAUwtNlIv9WuFliRFkHdz43BGigsl1%7E3YL53gywflWDhuu8KeyBEYhMw7jYcOdLw7EMV3VS1kLL66QgUwCEKP3bHePFyRE5aJPAOCh8%7ELA__&Key-Pair-Id=K6UGZS9ZTDSZM
fd6ec179dbbbc878dc8b52223d5feb48
Moving Image
Videos
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
https://youtu.be/D-QMX9FByBU
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
3:36 (three minutes, thirty-six seconds)
Producer
Name (or names) of the person who produced the video
Adriana Williams
Skylar Stephens
Director
Name (or names) of the person who produced the video
Dr. Shearon Roberts
Transcription
Any written text transcribed from a sound
*second line music plays*
Adriana: How was life after Katrina?
Man: After Katrina? It was hard. Ummm..lost everything and just homeless ever since.
Adriana: Sorry to hear that.
Man: But the way I do is try to help the other homeless people. I walk around and sell beads. Stuff like that. Got some people that’s kind of cuckoo, some that’s crippled, some that’s just not right. I’m out here trying to do what I can do to help them also.
*second line music plays*
Man: We weird. We like to have fun. We can hangout till 5 o’clock in the morning on Bourbon, if we want to.
Skylar: What about the music?
Man 2:*inaudible* …Like the bounce music? The music crazy. We got a different flavor than everybody else. Our flavor is different. You know how you put gumbo, add all the seasoning. Put too much seasoning, it get hot! It get spicy! It’s spicy so you got to make sure it’s just right. You put too much of that seasoning, what happen? Your mouth goin’ burn. *inaudible*
Des’Monte Scott : I don’t know what y’all heard, but I wouldn’t want to be from anywhere else. Growing up in New Orleans was just a moment. Kicking down the Westbank girl that was my little stomping grounds. *Laughs* But goin down the street to my granny house and just smelling the gumbo like in the parking lot and then just walking in the apartment she cooking, got stuff on the stove, and the pecan candy child. That pecan candy just melt in ya mouth. It was top tier, It was amazing *laughs*
Adriana: So what do you like most about New Orleans?
Man 3: The culture, hands down the culture.
Skylar: What about the culture?
Man3 : Uh, its so original. The people make up New Orleans, It’s not just the building and the festivities. It’s the people that make New Orleans, the people that actually work this shit and live out here
Adriana: Um How was life after Katrina?
Man 3: Um, totally different in regards of uh the uncertainty of how it was gonna be going forward. Meaning like where your mom work, your dad work. Uh the same store you may have went to growing up may not be there, but I will say this, the comparison of post Katrina to like Covid it totally different. Cause covid has made thing all the way weird ya know what I mean? like Katrina was like ok, devistation, we can rebuild. Covid has just made you have to change your whole life.
Adriana : What do you love most about New Orleans?
Man 1 : What I love most about New Orleans? Bourbon Street.
Adriana: *Laughs*
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Why I Love Nola
Creator
An entity primarily responsible for making the resource
Adriana Williams
Format
The file format, physical medium, or dimensions of the resource
Video
Subject
The topic of the resource
The stories and feelings of Nola natives.
Description
An account of the resource
Nola natives explain the love that they have for their city and the impact of Hurricane Katrina.
Source
A related resource from which the described resource is derived
My Nola My Story via YouTube
Publisher
An entity responsible for making the resource available
Mass Communications department at Xavier University of Louisiana
Date
A point or period of time associated with an event in the lifecycle of the resource
December 5, 2021
Contributor
An entity responsible for making contributions to the resource
Nola natives
Rights
Information about rights held in and over the resource
My Nola, My Story
Relation
A related resource
My Nola, My Story 2021 Exhibit
Language
A language of the resource
English
Type
The nature or genre of the resource
video
Identifier
An unambiguous reference to the resource within a given context
https://youtu.be/D-QMX9FByBU
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
A Digital Humanities project by Xavier University of Louisiana's Mass Communication department students, led by Dr. Shearon Roberts
2021
Adriana Williams
My Nola My Story
Nola
Skylar Stephens
XULA
XULA Mass Comm