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.That s theway a funeral band was.22Jackson s story typifies the corpus of fragmentary narrative accountsof early jazz funerals, in which churches are important, but rarely ex-plored, in the effort to understand the fragments of African ancestralmemory from Congo Square in these community healing rituals.Mahalia Jackson s narrative re-creates in my memory the openingscene of Chief Montana s jazz funeral.Hundreds of second-liners, mu-sicians, and spectators assembled outside St.Augustine Church waitingfor his casket to be released from the Catholic funeral mass in order tobegin the long processional to the graveyard.The dirges of brass hornswarming up and the rhythms of African drums, Congo Square music,and second- line dancers rehearsing their steps echoed in the humidair around the church on that Saturday morning, July 9, 2005.St.Au-gustine, a black Catholic Church on the corner of St.Claude Avenueand Governor Nicholls Street in Tremé, is one of the most historicallyimportant black churches in the United States.Established in 1841 byAfrican-descended free people of color and slaves, it is also one of theoldest black parishes in the U.S.The church, in the 1850s, was home tothe second oldest religious order of African American Catholic womenin the nation, the Sisters of the Holy Family.Near the church, and linkedto its historic mission to African Americans, is the Tomb of the Un-known Slave, a shrine with a large fallen cross constructed with ironballs, shackles, and marine chains welded together. 23 Father JeromeLe Doux, the African American priest and community leader who con-ducted Chief Montana s funeral mass, explains the fragments of an-cestral African memory (from Congo Square) that is re-created in theshrine:The Tomb of the Unknown Slave, of course, is analogous to the tomb ofthe unknown soldier in Arlington, Virginia.It s pre y much the sameidea.And the big difference is that it s slaves, and what we do know is thatall over this country, there are many slaves buried, and nobody knows 100 · Ja z z R e l i g i o n, t h e S e c o n d L i n e , a n d B l a c k N e w O r l e a n swho they are or where they are, and especially in this part of the country,here in Tremé, where there was a.concentration of slaves.We know anumber were murdered and when people murder you, they don t tell any-body where the body is.They bury it secretly.So there are many se-cret burials.The other problem is plague, things like malaria, yellow fever, in par-ticular here, so you get thousands of people dying on occasion.There sno place to bury them.The cemeteries won t hold them.And so, we knowthey re buried around the city.And we know exactly where they are,choose someplace.What be er place than on the side of a church whereslaves actually worshipped, where they had their own seats on the two-side aisles, seats bought for them by the free people of color, and giventhem to be their own in perpetuity.24St.Augustine Church is also an important site of political resistancethat looms large in historical memory, because a member of the churchwas Homer Plessy, the African American Creole citizen of New Orleanswho challenged the legality of racial segregation in public accommoda-tions in the landmark U.S.Supreme Court case Plessy v.Ferguson in 1896.On May 19, 1996, Father Jerome Le Doux, pastor of the church, blessedPlessy s tomb in St.Louis Cemetery No.1 in a large public ceremony fol-lowing a jazz funeral in Plessy s honor in the streets of Tremé that leadto Congo Square.25St.Augustine was the church of the great early-twentieth-centuryjazz saxophonist Sidney Bechet, whose slave ancestor, Omar, was a Vo-douist and musician in nineteenth-century Congo Square.It is an im-portant landmark for jazz funerals and second- line culture because ofits location in Tremé, New Orleans oldest fauburg (suburb). 26 Treméwas established in 1812 and ever since the late 1700s was the home ofmany skilled artisans [and] gens de couleur libre (free people of color) 27of African American, Haitian, and Cuban origin.Tremé is historicallysignificant for Congo Square music and religion, and for its architec-ture, nightclubs and bars, second lines and street culture, and numerousjazz musicians who resided there before Hurricane Katrina; indeed, ac-cording to the New Orleans musician Milton Batiste, Tremé is the veryepitome of where blues and jazz actually was born. 28St.Augustine Church is across the street from an important second-line institution the Backstreet Cultural Museum at 1116 St.ClaudeAvenue [ Pobierz caÅ‚ość w formacie PDF ]
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.That s theway a funeral band was.22Jackson s story typifies the corpus of fragmentary narrative accountsof early jazz funerals, in which churches are important, but rarely ex-plored, in the effort to understand the fragments of African ancestralmemory from Congo Square in these community healing rituals.Mahalia Jackson s narrative re-creates in my memory the openingscene of Chief Montana s jazz funeral.Hundreds of second-liners, mu-sicians, and spectators assembled outside St.Augustine Church waitingfor his casket to be released from the Catholic funeral mass in order tobegin the long processional to the graveyard.The dirges of brass hornswarming up and the rhythms of African drums, Congo Square music,and second- line dancers rehearsing their steps echoed in the humidair around the church on that Saturday morning, July 9, 2005.St.Au-gustine, a black Catholic Church on the corner of St.Claude Avenueand Governor Nicholls Street in Tremé, is one of the most historicallyimportant black churches in the United States.Established in 1841 byAfrican-descended free people of color and slaves, it is also one of theoldest black parishes in the U.S.The church, in the 1850s, was home tothe second oldest religious order of African American Catholic womenin the nation, the Sisters of the Holy Family.Near the church, and linkedto its historic mission to African Americans, is the Tomb of the Un-known Slave, a shrine with a large fallen cross constructed with ironballs, shackles, and marine chains welded together. 23 Father JeromeLe Doux, the African American priest and community leader who con-ducted Chief Montana s funeral mass, explains the fragments of an-cestral African memory (from Congo Square) that is re-created in theshrine:The Tomb of the Unknown Slave, of course, is analogous to the tomb ofthe unknown soldier in Arlington, Virginia.It s pre y much the sameidea.And the big difference is that it s slaves, and what we do know is thatall over this country, there are many slaves buried, and nobody knows 100 · Ja z z R e l i g i o n, t h e S e c o n d L i n e , a n d B l a c k N e w O r l e a n swho they are or where they are, and especially in this part of the country,here in Tremé, where there was a.concentration of slaves.We know anumber were murdered and when people murder you, they don t tell any-body where the body is.They bury it secretly.So there are many se-cret burials.The other problem is plague, things like malaria, yellow fever, in par-ticular here, so you get thousands of people dying on occasion.There sno place to bury them.The cemeteries won t hold them.And so, we knowthey re buried around the city.And we know exactly where they are,choose someplace.What be er place than on the side of a church whereslaves actually worshipped, where they had their own seats on the two-side aisles, seats bought for them by the free people of color, and giventhem to be their own in perpetuity.24St.Augustine Church is also an important site of political resistancethat looms large in historical memory, because a member of the churchwas Homer Plessy, the African American Creole citizen of New Orleanswho challenged the legality of racial segregation in public accommoda-tions in the landmark U.S.Supreme Court case Plessy v.Ferguson in 1896.On May 19, 1996, Father Jerome Le Doux, pastor of the church, blessedPlessy s tomb in St.Louis Cemetery No.1 in a large public ceremony fol-lowing a jazz funeral in Plessy s honor in the streets of Tremé that leadto Congo Square.25St.Augustine was the church of the great early-twentieth-centuryjazz saxophonist Sidney Bechet, whose slave ancestor, Omar, was a Vo-douist and musician in nineteenth-century Congo Square.It is an im-portant landmark for jazz funerals and second- line culture because ofits location in Tremé, New Orleans oldest fauburg (suburb). 26 Treméwas established in 1812 and ever since the late 1700s was the home ofmany skilled artisans [and] gens de couleur libre (free people of color) 27of African American, Haitian, and Cuban origin.Tremé is historicallysignificant for Congo Square music and religion, and for its architec-ture, nightclubs and bars, second lines and street culture, and numerousjazz musicians who resided there before Hurricane Katrina; indeed, ac-cording to the New Orleans musician Milton Batiste, Tremé is the veryepitome of where blues and jazz actually was born. 28St.Augustine Church is across the street from an important second-line institution the Backstreet Cultural Museum at 1116 St.ClaudeAvenue [ Pobierz caÅ‚ość w formacie PDF ]