October 26, 2016
The Arc of Justice and the Long Run
Posted on Dec 23, 2013
By Rebecca Solnit, TomDispatch
Stripped bare of all possessions and rights, they carried memory, culture, and resistance in their heads. New Orleans let those things flourish as nowhere else in the United States during the long, obscene era of slavery, while the biggest slave uprising in U.S. history took place nearby in 1811 (its participants including two young Asante warriors who had arrived in New Orleans on slave ships five years earlier). From the mid-eighteenth century to the 1840s, the enslaved of New Orleans were permitted to gather on Sundays in the plaza on the edge of the old city known then and now as Congo Square.
“On sabbath evening,” the visitor H.C. Knight famously wrote in 1819, “the African slaves meet on the green, by the swamp, and rock the city with their Congo dances.” The great music historian Ned Sublette observes that this is the first use of rock as a verb about music, and in his marvelous book The World That Made New Orleans notes that what is arguably the first rock and roll record, Roy Brown’s 1947 “Good Rocking Tonight,” was recorded a block away.
In between, what Africans had brought with them continued its metamorphosis in the city: jazz famously arose from black culture near Congo Square, as did important rhythm and blues strains and influences, as well as performers, then funk, and eventually hip-hop. Funk arose in part from Afro-Cuban influences and from the African-American tradition of the Mardi Gras Indians—not Native Americans, but working-class African Americans. Their elaborate outfits and rites officially pay homage to the Native Americans who sheltered runaway slaves (and sometimes intermarried with them), but have a startling resemblance to African beaded costumes. The Mardi Gras Indians still parade on that day and other days, chanting and singing, challenging each other through song. One of the recurrent chants declares, “We won’t bow down.”
Though New Orleans is mainly famous for other things, it has also been a city of resistance—from the slave revolts of the late eighteenth and early nineteenth centuries to late nineteenth century segregation-breaker Homer Plessy to Ruby Bridges, the six-year-old who in 1960 was the first Black child to integrate a white school in the South. The span of time is not as long as you might think: Fats Domino, one of the founding fathers of rock and roll, is still alive and has a home in the Lower Ninth Ward. The midwife at his birth a few blocks away was his grandmother, who had been born into slavery.
Square, Site wide
New Orleanian Herreast Harrison, a woman in her seventies, mother of jazzman Donald Harrison Jr., widow of a Mardi Gras Indian chief, cultural preserver, and a dynamic force in the city, said to me of Mardi Gras Indian culture:
“But those groups remembered their cultural heritage and practiced it there, that memory, they had this overarching memory of their pasts. And when they were there, they were free. And their spirits soared to the high heavens. They were themselves. In spite of limitations in every aspect of their lives. Where they should have felt like, ‘we are nothing,’ because you get brainwashed constantly about the fact that you’re a nobody… but they didn’t, they brought back. And now it’s part of the world, that music.”
And her son, Donald Harrison, Jr., added:
“One other very important thing that Congo Square represented in the culture was that no matter what’s going on in life you transcend the culture and Congo Square helps you. It transcends and puts you into a transcendental state so that you are free at that moment. Even today, that’s the power of the music and that’s why it brings us together. You have a moment of freedom where you transcend everything that’s going on around you. Berthold Auerbach said it so eloquently: ‘Music washes away from the soul the dust of everyday life.’ At that moment you become free, which is why the music is part of the world now. Everybody wants a moment to transcend. It goes inside of you and you know where you can go to be free. No matter if you’re in Norway, South American, or Beijing, you know, ‘this music sets me free.’ So Congo Square set the world free, basically. It gives freedom to everyone around it.”
In my latest project, Unfathomable City: A New Orleans Atlas, I tried to convey what New Orleans music gave the world in a map labeled “Repercussions: Rhythm and Resistance Across the Atlantic.” Those involuntary émigrés brought by slave ship were said to have nothing, but what they had still reaches and spreads and liberates.
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What we call the Arab Spring was first of all the North African Spring—in Tunisia, Egypt, and Libya—and hip-hop was already there. It has, in fact, become a global means of dissent, from indigenous Oaxaca, Mexico, to Cairo, Egypt. Which does not mean that everything is fine (or that hip-hop can’t also be used for consumerism or misogyny). It’s a reminder, however, that even in the most horrific of circumstances, something remarkable more than survived; it throve and grew and eventually reached around the Earth.
Nearly three years after the first sparks of the Arab Spring began, it’s wiser to consider it, too, barely begun rather than ended in failure. More than two years after the first members of Occupy Wall Street began decamping in Zuccotti Park in lower Manhattan, that movement is not over either, though almost all the encampments have subsided and the engagement has new names: Occupy Sandy, Strike Debt, and more. That everything continues to metamorphose seems a better way to think of social upheavals than obituaries and epitaphs.
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