The Black Indians exhibition in the Quai Branly Museum, Paris

This movement was born at the beginning of the 19th century in reaction to discrimination and at the time of the official New Orleans Carnival organized by the white community.

The African-Americans, Blacks implanted by force in New Orleans, organized their own Carnival while parading in Indian costumes to thank the Natives who suffered with them and helped them during the French, Spanish and American domination.

A remarkable journey into the history of the United States, following a geographical route from Europe to Africa and America, and also chronologically, from the beginnings of the European presence in Louisiana until today.

Costumes de carnaval - Carnival costumes

Partition de Uncle Jasper's Jubilee, 1898 - Uncle Jasper's Jubilee sheet music, 1898.

Luth Banza - Banza luth.

 

The music practiced despite everything during these moments of suffering and displacement, was the basis of new sounds at the origins of jazz and blues.

In New Orleans, the Cité du Croissant was founded by the French in 1718 in one of the meanders of the Mississippi River. Congo Square was the only place where slaves were allowed to gather to exchange food but also dance to African music.

Harpa Baga - Baga harpa.

Banjo Stewart, 1905 - Stewart banjo, 1905.

 

The drum was the instrument of choice used by slaves. Those of the Caribbean used a long-handled instrument with 4 strings mounted on a hollow half-calabash, covered with animal skin.

Imported from Africa, this sort of luth or primitive harp was called "akonting" in Sénégal or "gourd banjo", or "banza" in Haïti. they are the ancestors of the American banjo.

Three specimens can be seen at the Quai Branly museum: the harpa baga, the banza lute and a magnificent 1905 Stewart banjo made in Philadelphia and lent by our banjoist friend, Hervé Tuel.

Article rédigé par Philippe Boutet