National Geographic : 2015 Aug
Tyrone Turner December 2014 Photography has allowed me to un- derstand New Orleans in a way I never did growing up there. Here, a bus takes participants from the Lower Ninth Ward to the start of the Big Nine Social Aid and Pleasure Club second-line parade. “Sec- ond line” refers to the dancers who follow the first line of musicians in a jazz parade. Social-aid and pleasure clubs have origins in the 19th-century African-American benevolent societies that helped pay health and burial costs for members. Post-Katrina, second-line parades served as places where dispersed people could reconnect, pass on information, and enjoy pride in their community again. Charles Fréger April 2014 Last year I made a series of portraits of Mardi Gras Indians from the different “tribes” in New Orleans. They are African Americans who, during Mardi Gras, wear heavily feathered costumes that reference traditional Native American dress. The organized groups are called tribes, and the members each have roles, including that of chief. I was interested in the history of this ritual, which some people believe stems from stories of Native Americans who sheltered escaped slaves. Many of the Mardi Gras Indians I photographed lived through Katrina. I tried to capture the resiliency of their mythology, their energy, and the intensity of their spirit.