Guide to New Orleans

Activities 

2nd Line Parades

Every Sunday in New Orleans, you can experience a Social Aid and Pleasure Club 2nd Line Parade. Historically, Social Aid and Pleasure Clubs have helped support the Black community in New Orleans by raising money to support their members in times of need. These organizations continue to show off pride and culture and community through 2nd Line parade. The 2nd Line Parades is one of my favorite parts of New Orleans. You will see some amazing fashion, great brass bands and so much joy. Hundreds of community members attend 2nd lines to dance in the streets, and have a good time. During my time in New Orleans I had the chance to go to the Divine Ladies, Money Wasters and DAM social aid and pleasure clubs. This is an experience that cannot be missed. 

Frenchmen Street

For an amazing live music experience, head over to Frenchmen street. Every night, you will find a diverse range of range of music from various musical artists. You might even stumble upon an award winning artist jamming out. Enjoy the late-night markets and art displays which add to the overall vibrant atmosphere. 

Know NOLA Tour

Discover the rich Black history of New Orleans through a guided Know NOLA tour. Led by a native New Orleanian, Malik Bartholemule, you will learn the history of the Treme neighborhood, the French Quarter and the Garden District. This tour will explain the significance of the Black community in each place. Make sure to book reservations ahead of time to guarantee that you will get a tour during your trip. 

New Orleans Historic Voodoo Museum

Learn the history of Voodoo in New Orleans at the New Orleans Historic Voodoo Museum. The religious practice of Voodoo is a combination of African religions and Catholicism that developed during the transatlantic slave trade. This museum breaks down the history of voodoo in New Orleans and works to disrupt harmful stereotypes surrounding voodoo. You can see many artifacts that highlight the voodoo tradition and the history of voodoo practitioners such as Marie Laveau.

Preservation Hall

Experience the soulful sound of jazz at Preservation Hall, one of the iconic Jazz venues in New Orleans. This venue has played a large role in the preservation and celebration of Jazz over the years. Some of the most talented jazz musicians in the city play at this venue. The space is small and intimate so every seat is a good seat. Prepare for an experience that you will not forget.

Backstreet Cultural Museum 

Discover a hidden gem in the historic Treme neighborhood at the Back Street Cultural Museum. The museum has displays of Mardi Graw Indians, Social Aid and Pleasure Clubs and New Orleans Bounce music. The collection, curated from local donation, provides a glimpse in the the cultural heritage of New Orleans. The knowledgeable museum curators are available to answer many of your questions about life in the city. 

Le Musée de f.p.c

Explore the historical significance of Free People of Color in New Orleans at Le Musée de f.p.c. During the era of French Colonialism, some black people were able to buy their freedom and live as free people in the city. This historic house converted into a museum honors that group that lived free in New Orleans. Don't miss the free hour-long historical reenactments on Friday and Saturdays. Unfortunately, during my time in the city I did not have the chance to attend a reenactment but it’s definitely worth checking out. Tours are by appointment only so make sure to schedule ahead of time. 

The New Orleans Historical Pharmacy Museum

Learn fascinating medical history at the New Orleans Pharmacy Museum. This museum is a  bit random for New Orleans, but it offers a unique and intriguing experience. It displays old techniques and practices of medicine through time. Trust me you will be surprised by some of the things you find.

New Orleans African American Museum 

Immerse yourself in the history of Black people in New Orleans at the New Orleans  The African American Cultural Museum. Learn about the triumphs and struggles of Black New Orlenians from enslavement to present day. This museum highlights topics such as free people of color, hometown heroes and New Orleans traditions. 

The Presbytére

Located next to Jackson square in the The Presbytére offers an insight on Mardi Gras and Hurricane Katrina. The top floor focuses on the history and traditions of Mardi Gras. In this exhibit you will learn the bits of history that shaped the way Mardi Gras is celebrated today. On the bottom floor is an exhibit about hurricane Katrina. This museum tackles the difficult topic of the storm that devastated New Orleans in 2005. At the exhibit where you can hear first person testimonials of their experience in the storm. 

Ashe Cultural Arts Center 

The Ashe Cultural Center is a nonprofit organization that works to preserve the art and culture of the Black community in New Orleans. During my time at the Ashe Cultural Arts Center I had the chance to see over 150 featured photographs from New Orleans photographers from the 1950s until present. Every couple months they are a new exhibit all centered around the Black New Orleanian experience. 

French Quarter Phantoms Ghost Tour

No visit to New Orleans is complete without a ghost tour. The French Quarter Phantoms ghost tour blends the history of the city with spooky stories about ghosts and vampires. This talks about New Orleans myths such as the Old Ursuline Convent, Vampire Alley and LaLaurie Mansion. On my tour even the most confident became a little skeptical by the end.

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Places to Go

Garden District 

Take a stroll through the Garden District and visit the beautiful Victorian style architecture and massive homes. In the garden district check out Lafayette cemetery No. 1 with out of ground tombs iconic to New Orleans. While you are in the area, walk down to Magazine Street and check out the local boutique shops.

City Park

Take a break from the busy city life at City park. This park is full of beautiful oak trees with Spanish moss, green space and bench swings. It’s a great place to slow down, pull out a book and read. Enjoy activities such as a small train for sightseeing, swan boating on the lake and a Café Du Mon in case you get hungry. City Park is also home to the New Orleans Museum of Art and Sculpture Garden. This art museum carries a diverse range of artwork from classical to modern with an emphasis on people of color, LGBTQ+ and women artists on the second floor.

Congo Square 

Visit Congo Square in Louis Armstrong Park and experience the historical gather place where enslaved Africans would gather to perform cultural practices and play traditional music. There are sculptures of honoring the history and benches for observing. Today, there are still drum circles on Sundays to honor the history of the space.

Lake Pontchartrain

Walk along the beautiful lakefront of Lake Pontchartrain. As a person from Cleveland I have a soft spot in my heart for lake fronts. Lake Pontchartrain is definitely a sight to see. This lake is so large you might even mistake it for the ocean. You can walk along the path by the waterfront and see people fishing and barbecuing. If you have some time take a drive on the bridge over the lake which is 23 miles long, one of the longest over water bridges in the world. 

Royal Street Art Studios and Antique Shops 

If you are spending time in the French Quarter take a stroll down Royal Street and check out the art studios and antique shops. There are so many talented artists in the city and it is so beautiful to see their work. The antique shops have beautiful chandeliers and luxury furniture and interior design options.

Bayou Road and Broad Street 

Explore the intersection of Bayou Road and Broad Street. This area is one of the oldest Black business centers in New Orleans and it is full of Black Women owned shops and businesses. Bayou Road recently got a face lift with the help of the New Orleans façade renewal program. The build exteriors show beautiful murals featuring artwork by Studio Be artist Brandon Odums. Some highlights of broad street include Addis Ethiopian Restaurant, the Community Book Center, and The Andre Cailloux Center of Performing Arts and Cultural Justice.

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Food Staples

Gumbo 

During your time in New Orleans you are likely to encounter many types of gumbo. It’s important to know the cultural significance behind it before trying. There are two main types: Creole and Cajun. Creole Gumbo is influenced by French, Spanish, and African culture. This type of gumbo has a reddish tint from the use of tomatoes while cooking the stew. On the other hand, Cajun gumbo is heavily influenced by Acadian culture. This stew appears darker and has a flour base. Regardless of these descriptions each person puts their own spin on the gumbo and gives it an original taste. So it’s definitely worth your dollar to try it at a couple of places.

Jambalaya

Jambalaya is a rice based dish usually cooked with tomatoes. The rice based dish is traditionally mixed with meats and vegetables. The origin of this dish stems from the combination of West African and French and Spanish cuisine.  Similar to gumbo there are Creole and Cajun variations of the dish. This was one of my favorite dishes that I tried while in New Orleans and it’s definitely worth a try. 

Beignets

A Beignet is a deep-fried breakfast pastry that is usually covered in powdered sugar. Depending on where you go the beignets can be flaky or fluffy, topped with chocolate or even filled with crawfish. Café du Monde in the French Quarter is always what we think of when it comes to beignets, but don’t be afraid to try them at other places too. My favorite place for beignets while in New Orleans was at Cafe geaux and the criollo restaurant. 

Crawfish 

Crawfish is a small crustacean found in the freshwaters of New Orleans. In New Orleans you will find crawfish featured on many menus. You can have it prepared as a crawfish boil, crawfish étouffée, a crawfish roll and more.  If you like seafood make sure that you get a taste of crawfish before you leave the city.

Poboy

Poboys are simple yet delicious sandwiches that consist of a type of meat and are dressed with lettuce, tomato and mayonnaise on a French bread roll. You don't have to spend an arm and a leg to get a good poboy the best ones can be found at mom and pops shops and stands. Whether you want shrimp, roast beef or fish a poboy offers a good lunch option.

Seafood Boil

Seafood boil is a combination of shrimp, crawfish, corn, potatoes or whatever you can get you hand on boiled in a giant pot with lots of seasoning. A New Orleans native told me that you know it’s good when the seasoning stings your nose. There are a few places to get seafood boil around the city, but if you have the chance to dine with a local at a cookout, take it. At crawfish boil people pour the food across the table and have a feast. Overall it’s a good time.

New Orleans is a city that is full of activities, music and joy. There are plenty of things that I missed on this list, so take the time to find your favorite paces. Remember to take it easy and let the spirit of the city guide you.

American Folklore

On May 8th 2023, a native of New Orleans was released after being wrongly convicted of a crime and spending 29 years in jail. He was sentenced to life in prison at the age 15 for a crime that he did not commit. He is now 45 years old.

In 1988, Walter McMillan was wrongly convicted of murder, despite numerous eye witness testimonies supporting his alibi. He was originally sentenced to life in prison, but his sentence was changed to the death penalty through the process of judicial override. He spent 6 years on death row before his sentence was overturned.

In 1993, five teenagers in New York were wrongly convicted of several crimes in 1993.Yusef Salaam, Kevin Richardson, Raymond Santana and Antron McCray were sentenced 5-10 years in juvenile detention due to illiteracy and coercion. Kory Wise, 16 years old at the time, received a 15-year prison sentence All charges were overturned in 2002.

In 1946, Willie Francis murdered a store owner whom he accused of sexual abuse. After a short two-day trial Willie Francis, 16-year-old, was sentenced to death by an all-white jury. Due to a malfunction in the electric chair, known as “Gruesome Gerti,” he was sent to be executed again only a year later. 

As time passes, the details of these cases may fade. One person's story may become intertwined with another’s, names may be forgotten, and specific details become unclear. However, these stories are remembered in fragments, combined, and retold. They become part of American folklore and serve as reminders of the injustices endured by Black people. 

Folklore is often described as the stories passed down through generations of a community. These stories are usually rooted in reality and carry a message. “A Lesson Before Dying” is rich with stories of American history and sheds light on the experiences of Black people and the history of injustice in the judicial system.  

In “A Lesson Before Dying,” a 16-year-old boy named Jefferson is a witness to the death of 3 people, including a store owner. He is put on trial for murder in front of an all-white jury. During the trial Jefferson is demeaned and compared to a hog. He is wrongly convicted of murder and sentenced to be executed by electric chair for being in the wrong place at the wrong time. 

Jefferson, a 16 year old, was a witness to the death of three people, including a store owner. He is put on trial for murder in front of an all-white jury. He is wrongly sentenced to death for being in the wrong place at the wrong time. 6 months later, he was executed by an electric chair. Does this sound familiar? 

Jefferson’s story represents more than just the story of Willie Francis; his story symbolizes the experiences of all Black men who have been mistreated by America’s criminal justice system. Throughout history, Black men have been disproportionately criminalized and imprisoned. In the criminal justice system Black men have been portrayed as “black beast” and “super predators.” These racist ideals have disrupted the Black community due to over policing, wrongful convictions, and extreme sentencing. 

These stories served as a warning of the cruelty of the world when I was growing up. Every day, before leaving the house, my parents would remind me to be safe. I could see the fear in their eyes fueled by these stories. They fear that like Jefferson, being in the wrong place and the wrong time will unjustly cost me my life.

The novel is set in the late 1940s in the fictional town of Bayonne, Louisiana. After Jefferson’s sentencing, his godmother Miss. Emma and Tante Luo enlist a schoolteacher named Grant to help teach Jefferson that he is a man that deserves dignity in his last six months to live. In the novel, the author Earnest Gaines tackles difficult topics that all fall in the realm of American folklore such as unjust sentencing, dehumanization and sacrificing oneself for the greater good.

Over 3 days of travel across southern Louisiana I unpack the story of Jefferson and dive deep into the generational trauma that is shared in the Black experience in the American South. During this journey I aim to uncover the ways these lessons have impacted my life and how they continue to be shared in the Black community. 

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Day One - The Courthouse

The Romanesque courthouse is made of baked red masonry. Just as it was described in the book, “it looks like a small castle you might see in the countryside somewhere in Europe.” Yet, this is not Bayonne; it is New Roads, Louisiana. The resemblance between New Roads and the fictional town Bayonne is no coincidence. In fact, New Roads is only a short distance away from the plantation that the author Earnest Gaines spent his childhood years. The location of this story is deeply intertwined with Gaines' own life and the experiences that shaped him. 

The grim interior of the jail house is a stark contrast to the vibrant red brick exterior. There is a long hallway complete with a metal detector and a guard wearing a blue grey uniform. As our group of ten people approach the metal detector, the guard stops our professor and inquiries about his purpose. Immediately, a rush of unease washes over me, fueled by the stories I have heard about unjust questioning by law enforcement. While the guard talks to our professor, I twist my mouth into an uncomfortable smile and make jokes with my classmates. 

There is an underlying fear within the Black community surrounding interaction with law enforcement.  This fear is exemplified by Grant, who instinctively lowers his head whenever questioned by someone in power. It is a learned behavior, born out of the power dynamic that was prevalent on plantation. Black people were expected to lower their heads, avoiding direct eye contact with white individuals unless explicitly instructed otherwise.  and not look a white person in the eyes unless instructed to do so. This behavior is replicated in Grant's actions and even in my own forced smile. 

Fortunately, Tammy intervenes and rescues us from further conversation with the guard. She guides us upstairs to the courthouse proper, where peeling paint and scratched benches adorn the space. Much like Grant, I did not need to be physically present in the courthouse to know what to expect. Through the book and other stories, I have heard, I had already formed a mental image of this room. Standing within its walls, listening to our guides' intellectual discourse, I envision the all-white jury occupying the box to the right of the judge. I imagine Jefferson seated among the audience, awaiting the pronouncement of his sentence.

Fortunately, Tammy, an employee at the sheriff's office intervenes and saves us the conversation with the guard. She guides us upstairs to the courtroom. The ceiling of the room is peeling toward the ground and the benches are full of scratches. Similar to Grant, I did not need to be in the courthouse to know what to expect. Through the book and related stories, it felt like I had already visited this room. While standing in the front row I imagine the all-white jury in the box to the right of the judge. I imagine Jefferson sitting in the seats waiting for the sentence to be declared. 

Leaving the courtroom, we proceed to the jail cells. Tammy takes us in the elevator that would separate the guard from the convict. Upon reaching the top floor, the first thing that strikes me is the heat. The lack of air conditioning makes the cells feel even smaller. Some of these cells would hold four people at a time chained next to each other. At the end of the hall there is a room that is fully enclosed. Its door creates a barrier from the other inmates with the exception of a small window used for delivering food. 

This is the cell that I imagine Jefferson would stay in. The room has nothing but a dirty toilet and barred window. The cell remains unchanged from the time the building was built. Even without a bed the space is tight and leaves extremely little room for standing. I imagine Jefferson in the room contemplating being called a “Hog,” while Miss Emma and the Reverend huddle in a corner. I think about how a small radio would echo off the walls, even at a low volume. The share the history etched into them by the former prisoners who documented their stories while incarcerated.

America has the largest prison population in the world. Like Jefferson, countless people in America spend years of their life confined in cells similar to the ones found in the Pointe Coupee Courthouse. Unfortunately, for Black men, it is more likely that they will receive harsher punishments for the same crimes as others. The prevalence of all white juries, mandatory minimums and judge overrides has eroded the Black communities trust in the judicial system. 

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Day 2 - The Schoolhouse 

The church located on the plantation quarter appears smaller in person than I imagined. Inside, eight wooden pews fill the space, while an elevated stage occupies the front. In the book, Grant describes in the book how students were divided by grade and assigned separate areas within the room. However, standing in the room now, it feels too cramped to fit a whole class, let alone six grades of students. If I were a child in this room, it would have been easy to become distracted from the other class and students' conversations.

In the schoolhouse, Grant feels a responsibility to teach children survival lessons alongside the curriculum. He teaches the children how to act in the presence of authority figures, such as the superintendent. He emphasizes that even small actions done incorrectly could potentially lead to outcomes similar to Jefferson.

The strict rule enforcement and emphasis on respect that Grant instills in the children feel eerily familiar my experiences in elementary school at Bethlehem Christian Academy. My elementary school prided itself on its high academics and commitment to discipline. These two factors are what drew my parents to the school. They believe that education and discipline will help me to be successful and safe in my future. I recall being in first grade and being forced to stand after reciting my weekly Bible verse incorrectly. Respect for elders and teachers was ingrained in us, and any form of talking back was disciplined and deemed unacceptable. 

In many Black households, parents and guardians feel the need to teach their children the lessons of surviving as a Black person in America. These teaching are direct responses to the overt systems of oppression that have shape the Black experience. While common example included guidance on interacting with police officers during traffic stops, there are numerous lesser known lesson on navigating life as a Black person. 

Throughout the novel, Grant plays the role of educator and mentor. Having grown up on a plantation and had a college education, he has learned how to navigate the world. However, it is evident that he resents having to abide by the rules imposed by people in power. He also recognizes the dangers of neglecting not teaching the children how to react and the possible harmful implication it could have on their lives. Grant carries a heavy expectation of educators on his shoulders and many times he considers running away because of it. 

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Day 3 - The Ernest Gaines Center

At 10am I arrived at the campus of University of Louisiana Lafitte to visit the Ernest Gaines Center. Cheylon, the archivist for the Ernest Gaines Center and doctoral student in Folklore, welcomes our group. Cheylon’s research focuses on Gaines’ novels, arguing that they serve as acts of historic preservation, capturing the stories of Black individuals growing up in the rural areas of Southern Louisiana. She emphasizes that while fictional, each of Gaines’ stories contain underlying truths preserved through the art of storytelling. 

Our conversation contemplated the ways Gaines' life story is expressed through his novels. We draw parallels between the plantation quarter where he spent his childhood and the plantation quarter described in “A Lesson Before Dying.” As a young boy, Gaines himself worked in the sugarcane fields and was raised by his aunt when his parents moved to California. His aunt was known for disciplining the children and keeping the children of the quarter in line. She mirrors the portrayal of many women in “A Lesson Before Dying” who cook, clean and care for Grant. 

In the Gaines Center, we explore the recurring theme of sacrificing oneself for the greater good. In the text, Grant dreams of leaving the small town in Louisiana to join his parents in California. However, his commitment to teaching the children, driven by love and a sense of obligation, keeps him rooted in the community. In this way, Grant sacrifices potential personal opportunities to serve and uplift his community. 

In the novel, north Grant and Jefferson are put into positions where they feel the weight of representing all Black people. Jefferson must walk to the execution chair with dignity to prove to the jury that he is deserving of human treatment. After he dies, he will serve as a martyr for the and people will retell his story with honor. 

These ideas continue today in the notion of “Black excellence.” From an early age, I have been taught that I must strive to be the best, as my achievement will be a reflection of my family and the Black community. Reading the text, I realize how the concept of Black excellence stems from the desire to counter stereotypes surrounding Black people and prove that we are capable and deserving of equal opportunities. 

Exploring Southern Louisiana with the guidance of Gaines' novel provided an insight into lived experiences in the American South. The experiences of Grant and Jefferson reflects broader realities of the experiences in the Black community. Through their stories he highlights the complex history of survival that gets passed down through generation in Black households. “A Lesson Before Dying” speaks on American history and its relevance lies in its reflection of ongoing struggle with American society.

Captured by the Rhythm

If you watch me closely, you will notice that I can’t sit still. I am always rubbing my feet on the ground or bouncing to an imaginary tune in my head. This trait was pointed out to me by my Nana a few years ago. She told me that I have done it since I was a baby, and It is one of her favorite things about me. 

In the novel “Coming Through Slaughter”, I see the story of someone who can’t sit still - Buddy Bolden. He paved the way for many Jazz musicians today by creating a style of music that was unheard of before. As a Jazz performer, there is a constant rhythm that flows through the body. This rhythm flows through Buddy, into his hands and out of his instrument. He would take traditional tunes, deconstruct them and then rebuild them into what we now call jazz. In his music, there's a sense of freedom, with no set path to follow. He would digress on long tangents and get captivated by certain notes. There was no right answer or wrong answer; he simply did what felt right. 

Buddy Bolden’s legacy is seen in the brass band that follows the Divine Ladies Social Aid and Pleasure Club. I patiently wait on the corner of Claiborne and Toledano Ave for the parade to march down the street. I hear music approaching from down the street then I see The Divine Ladies dressed in blue jumpsuits and riding on a float. For the past 20 years, this Social Aid and Pleasure Club has paraded down the streets of Central City, showcasing New Orleans pride and community.

As the parade comes closer, I see hundreds of smiling faces in the procession, creating the Second Line. The music grows louder, and I catch the end of a song as the brass band passes by. I join the line after the band, ready for the next song. They play “Joy and Pain” by Maze. The sound is manipulated in a way that I would not have recognized it without the crowd singing along. I listen closely, trying to hear the baseline set by the sousaphone, but the song has a new spin on it. The other brass instruments add small solos, each interpreting the song in their own way.

During the parade, I cannot help but reflect on the pages of “Coming through Slaughter”. I read the novel while sitting outside a cafe in the French Quarter, where I could hear the Royal Street Brass Band playing in the distance. “Coming through Slaughter ''becomes the soundtrack of my experience, as the writing in the novel creates a rhythm that replicates the motion of New Orleans and the Second Line. The lines are poetic and break down the traditional rules of prose. There are pages that only fill half the sheet, leaving the rest open to interpretation. The writing is chaotic and sometimes hard to follow, but it beautifully captures the essence of jazz and the story of Buddy Bolden. 

In the Second Line, I discover a group of people with rhythm flowing from the tops of their head to the tips of their toes. It’s clear that their movements don’t stem from their brains; they are a part of their bodies. The improvisation in their movements mirrors the sounds of the instruments. As the music reaches a crescendo, the dancers kick out their legs and arms in perfect harmony.

As the brass band from the Second Line passes, I notice a man pressed against the rope barrier dancing next to the trumpet player. It is one of the most impressive things I have ever seen. He seamlessly transitions from a jump onto his knees and up to a graceful spin. From there, he effortlessly moves into a bounce step. Then he glides in a synchronous motion with the extension of the trombone. I am captivated by the freedom he expresses through his movement. I wanted to embrace this form of rhythm, just as did with the book. After the song ends, I approached him and shared that I am not from the area. I ask him to teach me what he is doing. Without missing a beat, he responded that he cannot teach me; I have to listen to the music and let my body guide me. 

This is also how jazz was described in the novel. Buddy Bolden is portrayed as someone who doesn't think; he lets the moment take over. He creates a connection between the body and the music and expresses it in any way possible. The sounds of Buddy’s cornet are loud, emotional and honest. This emotion in the music is what set Buddy apart from the rest of the musicians he would play with. The emotion and expression of jazz is reinterpreted by everyone that hears it. Every person around me is creating their own art as a response to the sounds. 

At this point in the parade, I find myself next to a local who has been dancing the whole way down the street. I have stopped analyzing her moments. Instead, I listen to the beat and let my feet follow the rhythm. I step back and forth, hop and kick, just like I have done a million times before. I feel like a kid on a playground, unbothered by shame or judgment. I dance what I feel. For a moment, my body moves faster than my body can keep up with. Again, I step back and forth, hop and kick. Then, with a sudden thwack of the horns, I’m on my heels. Another, thwack, and I lean forward on my toes. I feel my torso rushing forward. Without thinking, I float forward and spin. 

Buddy Bolden dared to try something new with his style of music. He let his mind take a break and let his fingers take over. Jazz is so captivating because it allows for the listener to form their own style and interpretation. While reading "Coming through Slaughter”, I immersed myself in the rhythm of jazz that is heard throughout the city. I experienced this first hand while dancing alongside the Divine Ladies. I continue to see the expression of Buddy Bolden in the brass bands on Royal Street, the dancers in the Second Line and every person improvising to the tune inside their heads. 

Confronting History

Today I went to the Whitney Plantation. Out of all the places on this trip the Whitney plantation was the last place that I wanted to visit. I feared that it would be a traumatic experience. Listening to the retelling of my ancestors' history is a challenging task, especially when very few in the tour group can truly relate to my family's experiences. So, I braced myself for the worst. 

We did not sugar coat conversations about slavery in my family. This was a constant conversation in my household. I do not know if it made me desensitized or resilient, but it became a topic I usually have no problem discussing. It became somewhat of a running joke between my siblings that my dad could bring just about every conversation back to slavery. For example, I would share that I had a chicken sandwich for lunch, then my dad would go on a 20 minute rant about how the chicken meat we eat today was a product of slavery. He took every opportunity possible to remember our history. However, the environment of the Whitney Plantation was still very overwhelming. It reminds me that this was a time full of pain and trauma that runs so deep that I inherited it because it was too much suffering for just one person to endure. 

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In passing our tour guide shares her connection to the identifier African American. She states that she is not African at all; her family was born and raised in the States which makes her an American. This comment reminds me of a series of drawings that I created to challenge the title given to me by those in power: African American. 

For me, the title African American is full of irony and contradiction. I don't feel African. I am given this title because I have brown skin and descend from the Ivory Coast. However, I am so far removed from African culture that I cannot speak the languages, I cannot make traditional foods or relate to the culture. In fact, if I were to visit Africa, I would be called an American.

However, I don't feel American. It was made blatantly clear that the saying “for the people” never truly included me. During the time this statement was created, I would have been considered someone’s property. I would have been deemed the other and stripped of my humanity. My family's enslavement was intended to be perpetual and we were never supposed to be acknowledged as human in America. 

Inherently, I am suspicious of this country and question all forms of history. And rightfully so. My personal history with the country is an example of Afrosurrealism. The experiences of Black people in this country are so gruesome and bizarre that you could mistake the facts as a work of fiction. 

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““Everybody work, young and old. If you could only carry two or three sugar cane, you worked. No school, no church 一 you couldn’t sin 一 and Saturday night dey always have a ance, but you worked. Sunday, Monday, it’s it all de same. And if you say, “lawd a-mercy”, de overseer whip you. De old people, dey just set down and cry. It like a heathen part of the country. You has to put your candle out early and shut yourself up, den get up while it’s still dark and start to work.” ”

— Cecile George | Louisiana slave

In Louisiana, some try to argue that slavery around New Orleans was better in terms of degrees of freedom. They argue that there were free people of color or that treatment in the big house was better than the field. However, our tour guide reminds us that the people that worked on Luisana plantations were still enslaved and the institution of slavery in any form is unacceptable. Even if a slave owner gives his enslaved people 10 years of schooling he is still a slave owner. They still play a role in a dehumanizing system and contribute to systems of oppression. 

I refuse to think of these people as tolerable. They were not brave for exploiting the natural resources and spreading their diseases to the native people. They were cowards for creating a system that prosepers on the suffering of Black people. If they wanted to be successful they should have picked themselves up by their bootstraps and picked the sugar themselves. 

There is no time to glorify this time in history. At the Whitney Plantation our tour guide cautions against believing the happy slave depiction in Hollywood and Disneyland. She warns us that most of the history we are taught is created by the people in power to justify their actions. The versions of history found in our history books and media serve as nothing but a lullaby to help some of us sleep soundly at night. 

The memorials at the Whitney Plantation offer the perspective from enslaved individuals. The tour guide shares the history facts. She warns us that the truth can offend people, but it must still be shared. At different moments in the tour, she shares a watered down version of the history, then waits eagerly for questions so that she can share more. It is clear she has accumulated a wealth of knowledge over the years living in Louisiana and working at the Whitney Plantation. 

What I find most powerful about this space are the testimonies from people who were enslaved across Louisiana. The act of etching someone's oral history into a plaque gives their story power. Their stories are raw and undeniable. There is no space for justification; their testimonies simply reflect the truth. Unlike when listening to someone speak or reading from a textbook, it is hard to doubt when confronted with firsthand accounts of people who lived on a plantation like the Whitney.  

Slavery is at the core of every story in this country regardless of race, ethnicity or region. Slavery is the backbone for this country's prosperity therefore this story is woven through all aspects of life. It is about time we start telling the true story of what happened here. The Whitney has just started this process but there are a lot more stories to be told.

The Start of Something New

On Saturday, May 13th, eight of my peers and I arrived at the Louis Armstrong airport in New Orleans. This marked day one of our 25-day bookpaking trip through Louisiana. Escaping the humid air, we squeezed into a white van filled to the brim without luggage. With my massive green suitcase riding shotgun, we ride over the elevated highways cutting through the swamplands towards Grand Isle, Louisiana. For two hours, I watch the overgrown houses that flash by my window, immersed in the melodies of New Orleans swing jazz in my headphones. 

On December 12th 2022, I told my partner “I think if I could get on this trip, it would be life changing.” I saw this trip as an opportunity to learn about a new place and community, while simultaneously beginning to figure out my own identity. It is a rare experience to travel to a new place for three weeks with people I haven’t met before. It gives me the opportunity to be authentically me, free from judgment. Little did I know then, I was searching for an awakening, and what better place to start than Grand Isle.

In the spirit of bookpaking, I grab my copy of The Awakening and take a short walk to the beach on Sunday morning. I follow the story of Enda Pontellier, who had recently married into a Creole community. While reading, I couldn't help but relate to her struggle to find her place in this new environment. 

In the opening pages of the novel, we get a sense of how Enda is different from her husband and the people she encounters on Grand Isle. Raised as an American protestant with modest ideals, Enda finds herself amongst a crowd that questions her traditional belief system. Robert, Adele and many of the people from the Creole community are affectionate and open. This clash of belief systems propels her on a journey to discover her true values in life. 

 Grand Isle is not your traditional beach vacation. It does not have white sandy beaches. There are no fancy restaurants or massive chain hotels. However there’s a charming simplicity to the town. There is one small grocery chain, a school and a church. At Jo-Bobs, the local convenience store, you can get deliciously seasoned chicken and a slushie for under six dollars. Meanwhile, the Starfish restaurant serves as a gathering stop for locals looking for some Louisiana staples.

Grand Isle with all its charm is not the first place I would think of to have an awakening. However, on this holiday island there are limited responsibilities and few distractions, which leaves a lot of time for contemplation. Similar to Edna, I have excess time to entertain long drawn out thoughts for the first time in months. At USC, I am constantly in planning mode, thriving for academic success. With the pressure of school I find it extremely hard to let my mind flow in and out of conversation. However, on Grand Isle I embraced the opportunity to let my mind run free during moments of rest.

As I walked along the beach, I immersed myself in Edna’s world. Grand Isle has changed a lot since the 1870s when Edna would have wandered along these shores. Renovated beach houses line the Gulf shore, displaying hipped roofs and colorful window panels. Every so ofte, I encounter an empty plot on land beside the beach houses, which reminds me of the destruction from Hurricane Ida. Despite the changes, I still feel the same warm breeze pressing across my back. As I walk further down the beach I feel the sand pick the bottoms of my feet like it would to Enda on her walk home.

Grand Isle is a symbol of independence for both Edna and me. Enda recognizes her freedom through small acts like listening to the piano, swimming and taking a walk on the beach. In these moments, she realizes the agency that she has over her actions. Similarly, I recognize my independence by being able to leave the house without needing to tell someone where I am going. I stay out on late nights walking with friends and listening to the waves. I take time to genuinely learn about the people around me, and learn about myself. 

With her newfound independence Edna begins to live for herself. In Edna’s journey, I see the parts of myself that I neglected for so long, trying to conform to societal norms. Edna’s exposure to the Creole community embracing the things that she was raised not to do changes her outlook on the world. She realizes that breaking the rules can be liberating and that it’s more fulfilling to live on her own terms. 

I had a similar realization on Grand Isle. I let go of my tightly planned days and began to do what feels right in the moment. I sat in the front of the house and enjoyed breakfast. I took long walks along the shore with bare feet. I napped in the middle of the day. I spent hours sitting and thinking about everything and nothing at the same time. 

Similar to Enda, my story of independence and self discovery doesn’t end on Grand Isle. My journey will continue as I travel to the French Quarter in New Orleans. It will be an experience of learning and unlearning and I cannot wait for the next chapter to begin.