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Queer Memory: Loss, Martyrs, and Memorialization in Southern Florida

...nightclub, Orlando, Florida, July 8, 2016. Photograph by Flickr user Dannel Malloy. Creative Commons license CC BY 2.0. Makeshift memorials at Pulse, Orlando, Florida, August 1, 2016. Photograph by Flickr...

"The Room that We're Able to Take Up": Forrest Lawson's Queer Aesthetic

...this show will be donated to Gay City in Seattle, and Lawson will donate his personal proceeds to Black Visions Collective. Through October 31, 2020, Lawson’s work will be featured...

Inside the Jackson Tract: The Battle Over Peonage Labor Camps in Southern Alabama, 1906

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Back to the Future: Mapping Workers Across the Global South

...South operated with a 1:4 wage differential compared with northern factories. In the Global South, that differential is even greater, with some workers earning less than 10 percent of the...

The Battle of Atlanta: History and Remembrance

...miles east of Atlanta, toward the fortified city. Hood gambled that he could overwhelm the advancing Federals with a long flank movement and surprise rear attack coupled with a frontal...

Segregationists, Libertarians, and the Modern "School Choice" Movement

...number slightly above the percentage of the Asian school-age population. Only white students and students with Asian ancestries were in private schools in numbers that exceeded or generally matched their...

Scales Intimate and Sprawling: Slavery, Emancipation, and the Geography of Marriage in Virginia

...Barbour, other whites were willing to testify to their longstanding relationship. Contacted by Barbour and by Poe to serve as a witness, Winn's former owner wrote to the local Freedmen's...

Six Degrees of Alan Lomax: A Review and Multimedia Excerpts

...into the state's Francophone musical traditions, with a portable recording device in tow, began an intermittent but deeply influential engagement with Cajun and Creole music across his long career. Indeed,...

References
1.	"Cajun' Music,"Weekly Iberian, April 28, 1938.
2.	Irène Thérèse Whitfield, "Louisiana Folk Songs" (MA thesis, Louisiana State University, 1935); John A. Lomax and Alan Lomax, Our Singing Country: Folk Songs and Ballads (New York: MacMillian, 1941); Barry Jean Ancelet, Cajun Music: Its Origins and Development (Lafayette, LA: Center for Louisiana Studies, 1989); Barry Jean Ancelet, Jay Edwards, and Glen Pitre, Cajun County (Jackson: University Press of Mississippi, 1991); Shane K. Bernard, Swamp Pop: Cajun and Creole Rhythm and Blues (Jackson: University Press of Mississippi, 1996); Barry Jean Ancelet, "Research on Louisiana French Folklore and Folklife," in French and Creole in Louisiana, ed. Albert Valdman (New York: Plenum Press, 1997), 351–356; Ben Sandmel and Rock Olivier, Zydeco! (Jackson: University Press of Mississippi, 1999); Charles J. Stivale, Disenchanting Les Bons Temps: Identity and Authenticity in Cajun Music and Dance (Durham: Duke University Press, 2003); Mark F. DeWitt, Cajun and Zydeco Dance Music in Northern California (Jackson: University Press of Mississippi, 2008); Ryan André Brasseaux, Cajun Breakdown: The Emergence of an American-Made Music (New York: Oxford University Press, 2009); John Szwed, Alan Lomax: The Man Who Recorded the World (New York: Viking, 2010).
3.	For more on the cultural politics of Alan Lomax's agenda, see Robert Baron, "'All Power to the Periphery': The Public Folklore Thought of Alan Lomax," Journal of Folklore Research 49, No. 3 (September/December 2012): 275–317.
4.	Traditional Music in Coastal Louisiana: The 1934 Lomax Recordings developed out of Caffery's dissertation advised by Barry Jean Ancelet. Joshua Clegg Caffery, "Ride les Blues: The Lomaxes in Coastal Louisiana, 1934" (PhD dissertation, University of Louisiana at Lafayette, 2011).
5.	"The Realm of Negro Lore," St. Landry Clarion, May 25, 1912.
6.	Ibid.
7.	For more on the Lomax family legacy, see Nolan Porterfield, Last Cavalier: The Life and Times of John A. Lomax (Urbana: University of Illinois Press, 1996); Szwed, Alan Lomax.
8.	"Cajun' Music."
9.	Joshua Clegg Caffery, Traditional Music in Coastal Louisiana: The 1934 Lomax Recordings (Baton Rouge: Louisiana State University Press, 2013), 130.
10.	Whitfield, "Louisiana Folk Songs," 22.
11.	John and Alan Lomax never served in any official capacity as advisors for Sarah Gertrude Knott's National Folk Festival. However, their influence was certainly felt despite their tangential relationship to the festival. Michael Ann Williams, Staging Tradition: John Lair and Sarah Gertrude Knott (Urbana: University of Illinois Press, 2006), 22.
12.	Lauren C. Post, Cajun Sketches: From the Prairies of Southwest Louisiana (Baton Rouge: Louisiana State University Press, 1974), 159.
13.	Ibid., 160.
14.	See William A. Owens, "Cajun French: Lapping Over from Louisiana," in Tell Me a Story, Sing Me a Song: A Texas Chronicle (Austin: University of Texas Press, 1983), 116–152.
15.	For more on Mr. Bornu and "Je m'endors," see Caffery, Traditional Music in Coastal Louisiana, 25–31. For information on Virgil Thompson and the Lomax recordings see, Ryan André Brasseaux, "The Backstory on Louisiana Story," Louisiana Cultural Vistas 20, No. 1 (2009): 20–29.
16.	As quoted in F. A. de Caro, "A History of Folklife Research in Louisiana," http://www.louisianafolklife.org/LT/Virtual_Books/Guide_to_State/decaro.html. This is an online reprint of F. A. de Caro, "A History of Folklife Research in Louisiana," in Louisiana Folklife: A Guide to the State, ed. Nicholas R. Spitzer (Baton Rouge: Office of Cultural Development, 1985): 12–34.
17.	Szwed, Alan Lomax, 349.
18.	As quoted in de Caro, "A History of Folklife Research in Louisiana."
19.	As quoted in Ibid.
20.	Now the University of Louisiana at Lafayette.
21.	For more on dancehalls, see Malcolm L. Comeaux, "The Cajun Dance Hall," Material Culture 32 (2000): 37–56; Ryan André Brasseaux "Social Music" in Cajun Breakdown, 27–48.
22.	Barry Jean Ancelet and Philip Gould, One Generation at a Time: Biography of a Cajun and Creole Music Festival (Lafayette, LA: Center for Louisiana Studies, 2007). Ancelet considers his brand of folkloristics "guerrilla academics." Barry Ancelet, "The Center for Acadian and Creole Folklore: An Experiment in Guerrilla Academics," in Sounds of the South: A Report and Selected Papers from a Conference on the Collecting and Collections of Southern Traditional Music (Durham: Duke University Press, 1991), 148–156; Barry Jean Ancelet, "The Theory and Practice of Activist Folklore: From Fieldwork to Programming," Working the Field: Accounts from French Louisiana, edited by Jacques Henry and Sara Le Menestrel (Jackson: University Press of Mississippi, 2009), 55–76. There are a number of parallels between Lomax's and Ancelet's modes of public engagement. See, Baron, "'All Power to the Periphery'."
23.	Barry Jean Ancelet, "Lomax in Louisiana: Trials and Triumphs," Folklife in Louisiana: Louisiana's Living Traditions website, http://www.louisianafolklife.org/LT/Articles_Essays/LFMlomax.html. This article is based on the Phillips Barry Memorial Lecture Ancelet delivered at the 2003 American Foklore Society meeting, later published in the 2009 Louisiana Folklore Miscellany, a journal of the Louisiana Folklore Society. See also,"40 years of Festivals Acadiens et Créoles," http://blog.lafayettetravel.com/40-years-of-festivals-acadiens-et-creoles/.
24.	Ruth Laney, "Barry Ancelet has Established an Archive of Cajun and Creole Music in Lafayette," The Attakapas Historical Association No. 2 (2014), http://attakapasgazette.org/2014-issue-2/barry-ancelet-established-archive-cajun-creole-music-lafayette/.
25.	Ancelet came of age during a period in Louisiana's history when the number of native Francophones was in precipitous decline, a phenomenon that colored his scholarship and activism. For more on the decline of French in Louisiana, see Shane K. Bernard, The Cajuns: Americanization of a People (Jackson: University Press of Mississippi, 2003) and Jacques M. Henry and Carl L. Bankston III, Blue Collar Bayou: Louisiana Cajuns in the New Economy of Ethnicity (Westport, CT: Praeger, 2002).
26.	Barry Jean Ancelet, "A Perspective on Teaching the 'Problem language' in Louisiana," The French Review 61, No. 3 (1988): 353. This mediation took various forms, from scholarship to the Festivals Acadiens et Creoles. For more on the role of linguistic and cultural politics in French Louisiana, see Jacques Henry, "From 'Acadien' to 'Cajun' to 'Cadien': Ethnic Labelization and Construction of Identity," Journal of American Ethnic History 17, No. 4 (Summer, 1998): 29–62; Dianne Guenin-Lelle and Alison Harris, "The Role of Music Festivals in the Cultural Renaissance of Southwestern Louisiana in the Late Twentieth Century," Louisiana History 50, No. 4 (Fall 2009): 461–472; Mark Mattern, Acting in Concert: Music, Community, and Political Action (New Brunswick: Rutgers University Press, 1998), 79–100; Ancelet and Gould, One Generation at a Time. Some locals who identify as Cajun take issue with the emphasis on French as the defining factor in the Cajun cultural equation. See, Michael Tisserand, "Never Mind the Bowties—Here's The Bluerunners," in Accordions, Fiddles, Two Step & Swing: A Cajun Music Reader, eds. Ryan A. Brasseaux and Kevin S. Fontenot (Lafayette, LA: Center for Louisiana Studies, ), 477–85; Michelle Y. Fiedler, "The Cajun Ideology: Negotiating Identity in Southern Louisiana," (PhD dissertation, Washington State University, 2011), 166–172. For examples of other cultural mediation efforts through folklore, see David E. Whisnant, All That Is Native and Fine: The Politics of Culture in an American Region (Chapel Hill: University of North Carolina Press, 1984); Benjamin Filene, Romancing the Folk: Public Memory and American Roots Music (Chapel Hill: University of North Carolina Press, 2000).
27.	Laney, "Barry Ancelet has Established an Archive of Cajun and Creole Music in Lafayette."
28.	Janey McMonnaughey, "Father-Son Team of 'Ballad-Hunters' Preserved Louisiana Folk Songs," Los Angeles Times, February 21, 1988.
29.	Laney, "Barry Ancelet has Established an Archive of Cajun and Creole Music in Lafayette."
30.	Doucet and his band crafted a new arrangement of the a cappella composition "Je m'endors" originally sung by Mr. Bornu and recorded by the Lomaxes in 1934. Beausoleil, The Spirit of Cajun Music (Swallow LP6031, 1978). Caffery, Traditional Music in Coastal Louisiana, 25–31.
31.	Ancelet, "The Center for Acadian and Creole Folklore," 153.
32.	Alan and John A. Lomax: Cajun and Creole Music, 1934/1937 (Rounder Records 11661-1842-2, 1999); Alan and John A. Lomax: Cajun and Creole Music II, 1934/1937 (Rounder Records11661-1843-2, 1999).
33.	Laney, "Barry Ancelet has Established an Archive of Cajun and Creole Music in Lafayette."
34.	Ancelet, "Lomax in Louisiana."
35.	As quoted in Szwed, Alan Lomax, 57.
36.	Ancelet, "Lomax in Louisiana."
37.	Sharon Bernstein, "'Patchwork' Extends the Cultural Reach of PBS Television," Los Angeles Times, July 6, 1990; Paige Gutierrez, "Cajun Country: Lache pas la patate by Alan Lomax," Journal of American Folklore 109, No. 434 (Autumn, 1996): 465–468.
38.	Gutierrez, "Cajun Country," 466.
39.	As quoted in Ancelet, "Lomax in Louisiana."
40.	As quoted in Ibid.

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