In the next room, a small mountain of colorfully bizarre fabric suggests something the Society of Saint Anne
marching krewe might have left behind.
Not exact matches
Soon after, the
krewe of Zulu would
march, followed by the
krewe of Rex and finally, the truck parade.
All are invited to
march along with the
Krewe of Turtles as they parade along the streets of the Vieux Carre and return home to the glorious historic residence with a blessing, champagne sabering, and complimentary hors d'oeuvres and confections.
KIPP Central City Academy students
march in the 2012
Krewe of Pontchartrain parade.
The Cohen College Prep High School band
marches with the Mystic
Krewe of Nyx on Magazine Street on Wednesday, Feb. 22, 2017.
Students from KIPP Central City Academy
march in the
Krewe of Pontchartrain parade in February.
Jules Cahn (1916 - 1995) was a New Orleans businessman with a passionate interest in jazz, who left behind an outstanding photographic legacy that documents
marching club parades, Mardi Gras Indian processions,
Krewe of Zulu festivities, Preservation Hall, and jazz musicians» funerals.
Standouts include Carrie Mae Weems» holographic narrative about race, sex, and politics portrayed by ghostly characters on a burlesque stage; The Propeller Group's video that draws parallels between funeral practices in Vietnam and New Orleans, along with the collective's sculptures of tricked - out musical instruments, which were also photographed with members of Louisiana
marching bands; Glenn Kaino's installation of water tanks that turn military machines into coral reefs; Jean - Michel Basquiat's paintings and works on paper that reference the cultural legacy of the Mississippi Delta and the South; Camille Henrot's video exploration of the universe by way of the storage rooms of the Smithsonian Institution; Tavares Strachan's 100 - foot long neon sign declaring «You belong here» from a barge on the Mississippi River; and Andrea Fraser's monologue, in which she recreated a heated debate by New Orleans city council members during a 1991 vote to racially integrate the Mardi Gras
krewes — changing her voice and expression as she dynamically alternated between speakers, both black and white.