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180108t20182018msu ob 001 0 eng |
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|a 2018000678
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|a DLC
|b eng
|e rda
|c DLC
|d OCLCF
|d N$T
|d YDX
|d EBLCP
|d P@U
|d JSTOR
|d OTZ
|d DLC
|d OCLCO
|d OCLCQ
|d SFB
|d OCLCQ
|d OCLCO
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|a 9781496817426
|q (epub)
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|a 1496817427
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|a 9781496817419
|q (epub single)
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|a 1496817419
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|a 9781496817433
|q ( pdf single)
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|a 1496817435
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|a 9781496817440
|q (pdf institutional)
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|a 1496817443
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|z 9781496817396 (cloth : alk. paper)
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|z 1496817397
|q (cloth ;
|q alk. paper)
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|z 9781496817402
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|z 1496817400
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|a (OCoLC)1019840844
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|a 22573/ctv5jwmtf
|b JSTOR
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|a pcc
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|a SOC
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|a 394.2509763/35
|2 23
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|a UAMI
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|a Walking raddy :
|b the Baby Dolls of New Orleans /
|c edited by Kim Vaz-Deville ; foreword by Karen Trahan Leathem.
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|a Jackson :
|b University Press of Mississippi,
|c [2018]
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|c ©2018
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|a 1 online resource
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|a text
|2 rdacontent
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|a computer
|2 rdamedia
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|a online resource
|2 rdacarrier
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|a Includes bibliographical references and index.
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|a "Since 2004, the Baby Doll Mardi Gras tradition in New Orleans has gone from an obscure, almost forgotten practice to a flourishing cultural force. The original Baby Dolls were groups of black women, and some men, in the early Jim Crow era who adopted New Orleans street masking tradition as a unique form of fun and self-expression against a backdrop of racial discrimination. Wearing short dresses, bloomers, bonnets, and garters with money tucked tight, they strutted, sang ribald songs, chanted, and danced on Mardi Gras Day and on St. Joseph feast night. Today's Baby Dolls continue the tradition of one of the first street women's masking and marching groups in the US. They joyfully and unabashedly defy gender roles, claiming public space and proclaiming through their performance their right to social citizenship. Essayists draw on interviews, theoretical perspectives, archival material, and historical assessments to describe women's cultural performances that take place on the streets of New Orleans. They recount the history and contemporary resurgence of the Baby Dolls while delving into the larger cultural meaning of the phenomenon. Color photographs and personal narratives of immersive experiences provide passionate testimony of the impact of the Baby Dolls on their audiences." -- provided by publisher.
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|a Description based on print version record and CIP data provided by publisher.
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|a Cover; Walking Raddy; Title; Copyright; Contents; Foreword; Introduction; "I Know My Ancestors Are Happy" A Conversation with Merline Kimble; "True Doll Stories" A Conversation with Cinnamon Black; Claiming Their Own Mardi Gras; Fighting for Freedom Free Women of African Descent in New Orleans and Beyond; Geographies of Pain, Geographies of Pleasure Black Women in Jim Crow New Orleans; Protectors of the Inheritance Black Women Writers of New Orleans; Black Women and Carnival Performance Traditions; Women Maskers Critics of Social Issues
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|a Operationalizing "Baby" for Our Good A Critical Cultural Commentary on Early Twentieth-Century Songs about Women as Baby and Baby DollFrom the Bamboula to the Baby Dolls Improvisation, Agency, and African American Dancing in New Orleans; Is the Unruly Woman Masker Still Relevant?; Memoirs and Musings; How the Baby Dolls Became an Iconic Part of Mardi Gras; In Memory: Uncle Lionel Batiste (February 11, 1932-July 8, 2012) "Colorful in Life-Rich in Spirit"; Baby Doll Addendum and Mardi Gras '49; Dancing Women of New Orleans Mardi Gras Baby Dolls
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|a Reinvention Miss Antoinette K-Doe and Her Baby DollsThe World That Antoinette K-Doe Made; Sass and Circumstance The Magic of the Baby Dolls; Visual Artists Respond to the New Orleans Baby Dolls; John McCrady's "Southern Eccentric" Regionalism "Negro Maskers" from the Mardi Gras Day Series of 1948; Culture-Building and Contemporary Visual Arts Practice The Case of "Contemporary Artists Respond to the New Orleans Baby Dolls"; Beyond Objectification and Fetishization Telling the Story of the Baby Dolls through the Visual Arts; Contemporary Artists Respond to the Baby Dolls Artists' Statements
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|a Ann BrucePhillip Colwart; Keith Duncan; Marielle Jeanpierre; Ulrick Jean-Pierre; Karen La Beau; D. Lammie-Hanson; Meryt Harding; Annie Odell; Ruth Owens; Nathan "Nu'Awlons Natescott" Haynes Scott; Gailene McGhee St. Amand; Charles Lovell; Steve Prince; Vashni Balleste; Afterword; Acknowledgments; Contributors; Index
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590 |
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|a JSTOR
|b Books at JSTOR All Purchased
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590 |
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|a JSTOR
|b Books at JSTOR Demand Driven Acquisitions (DDA)
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650 |
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|a Carnival
|z Louisiana
|z New Orleans.
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650 |
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|a African American women
|z Louisiana
|z New Orleans.
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650 |
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|a African Americans
|z Louisiana
|z New Orleans.
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651 |
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|a New Orleans (La.)
|x Social life and customs.
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650 |
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6 |
|a Carnavals
|z Louisiane
|z La Nouvelle-Orléans.
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650 |
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|a Noires américaines
|z Louisiane
|z La Nouvelle-Orléans.
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650 |
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|a Noirs américains
|z Louisiane
|z La Nouvelle-Orléans.
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650 |
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|a SOCIAL SCIENCE
|x Ethnic Studies
|x African American Studies.
|2 bisacsh
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|a HISTORY
|z United States
|x State & Local
|x South (AL, AR, FL, GA, KY, LA, MS, NC, SC, TN, VA, WV)
|2 bisacsh
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650 |
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|a African American women
|2 fast
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650 |
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7 |
|a African Americans
|2 fast
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650 |
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7 |
|a Carnival
|2 fast
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|a Manners and customs
|2 fast
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|a Louisiana
|z New Orleans
|2 fast
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700 |
1 |
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|a Vaz, Kim Marie,
|e editor.
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700 |
1 |
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|a Leathem, Karen Trahan,
|e writer of foreword.
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776 |
0 |
8 |
|i Print version:
|t Walking raddy
|d Jackson : University Press of Mississippi, [2018]
|z 9781496817396
|w (DLC) 2017054503
|
856 |
4 |
0 |
|u https://jstor.uam.elogim.com/stable/10.2307/j.ctv5jxpq9
|z Texto completo
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938 |
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|a YBP Library Services
|b YANK
|n 15325055
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938 |
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|a Project MUSE
|b MUSE
|n muse70482
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938 |
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|a EBSCOhost
|b EBSC
|n 1800694
|
938 |
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|a ProQuest Ebook Central
|b EBLB
|n EBL5372218
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994 |
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|a 92
|b IZTAP
|