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Southern Spaces

A journal about real and imagined spaces and places of the US South and their global connections

Unearthing the Weeping Time: Savannah's Ten Broeck Race Course and 1859 Slave Sale

...2007, http://www.ci.savannah.ga.us/Cityweb/minutes.nsf/80A034128361E60E85257337004B72AF/$file/08-02-2007.pdf, 10–14. Accessed, November 2007, and July 15, 2008. Probable Site Limits, Former Ten Broeck Race Course, Savannah, Georgia, 2007. Map by Martha Keber. In 2007, Keber produced an...

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

...and Miller shipped Rudolph Lanniger south to Savannah via steamship, then by rail to Lockhart. Ormanskey reported that many of the armed "negro" foremen, who took them from Savannah deep...

Taming Southern Waters: Christopher J. Manganiello’s Southern Water, Southern Power

...Detail of the Savannah River basin, 2013. Map by Amber R. Ignatius, from Southern Water, Southern Power: How the Politics of Cheap Energy and Water Scarcity Shaped a Region by...

Back to the Future: Mapping Workers Across the Global South

...quest for cheap labor and new sources of "nimble-fingered" women laborers to work the looms and ply needles in the increasingly global textile and garment trades. Actions by US industrialists...

All Roads Led from Rome: Facing the History of Cherokee Expulsion

...Historical Atlas of Georgia Counties, http://georgiainfo.galileo.usg.edu/histcountymaps/index.htm; Ga. Acts, Dec. 3, 1832, http://neptune3.galib.uga.edu; Daniel Haskel and J. Calvin Smith, A Complete Descriptive and Statistical Gazetteer of the United States of America...

Making Space: A Review of Robert Paulett's An Empire of Small Places

...contested spaces of houses and farms, Paulett looks at an entire river system, the Savannah, and its surrounding landscape. In Paulett's study, the British traders, white and African boatmen, and...

DDT Disbelievers: Health and the New Economic Poisons in Georgia after World War II

...Savannah, "Summary of Activities," May 1945, Folder: MCWA Carter Memorial Lab; Savannah, GA 1946, 1945, Historical Files, Box 2, Record Group 442, National Archives at Atlanta. Surviving health department records...

Six Degrees of Alan Lomax: A Review and Multimedia Excerpts

...topical ballads and crossover dance numbers such as "Little Liza Jane." While anglophone black string band and folk blues traditions have not thrived in south Louisiana, all evidence indicates that...

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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.
41.	A number of socio-historical factors, including transnational influences from French Canada, contributed to the vocabulary with which Louisianians express their culture and language in public discourses. For more on these factors, see Barry Jean Ancelet, "Negotiating the Mainstream: The Creoles and Cajuns in Louisiana," The French Review 80, No. 6 (May 2007): 1235–1255; Bernard, The Cajuns; Jacques Henry, "Le CODOFIL dans le mouvement francophone en Louisiane," Présence Francophone, 43 (1993): 27–28; Jacques Henry, "The Louisiana French Movement: Actors and Actions in Social Change," in French and Creole in Louisiana, ed. Albert Valdman (New York and London: Plenum Press, 1997), 183–213; James Dormon, "Louisiana's Cajuns: A Case Study in Ethnic Group Revitalization," Social Science Quarterly 65 (December 1984): 1043–1057; Dianne Guenin-Lelle, "The Birth of Cajun Poetry: An Analysis of Cris sur le bayou: naissance d'une poésie acadienne en Louisiane," The French Review 70, No. 3 (February, 1997): 439–451.
42.	Revon Reed, Lache pas la patate (Montréal: Éditions Parti Pris, 1976); Glenn R. Conrad ed., The Cajuns: Essays on Their History and Culture (Lafayette, LA: Center for Louisiana Studies, 1983); Glenn R. Conrad, New Iberia: Essays on the Town and Its People (Lafayette, LA: Center for Louisiana Studies, 1986); Carl A. Brasseaux, Founding of New Acadia: The Beginnings of Acadian Life in Louisiana, 1765–1803 (Baton Rouge: Louisiana State University Press, 1987); Barry Jean Ancelet and Elemore Morgan, Makers of Cajun Music (Austin: University of Texas Press, 1984); Carl A. Brasseaux, "Four Hundred Years of Acadian Life in North America," Journal of Popular Culture 23, No. 1 (Summer 1989): 3–22; Michael James Forêt, "A Cookbook view of Cajun Culture," Journal of Popular Culture 23, No. 1 (Summer 1989): 23–36; Darrell Bourque, "Plainsongs of the Marais Bouleur: A Selection," Journal of Popular Culture 23, No. 1 (Summer 1989): 37–45; David Barry, "A French Literary Renaissance in Louisiana: Cultural Reflections," Journal of Popular Culture 23, No. 1 (Summer 1989): 47–63; Mathé Allain, "They Don't Even Talk Like Us: Cajun Violence in Film and Fiction," Journal of Popular Culture 23, No. 1 (Summer 1989): 65–75; Marcia Gaudet, "The Image of the Cajun in Literature," Journal of Popular Culture 23, No. 1 (Summer 1989): 77–88; Sharon Arms Doucet, "Cajun Music: Songs and Psyche," Journal of Popular Culture 23, No. 1 (Summer 1989): 89–99; Barry Jean Ancelet, "The Cajun who went to Harvard: Identity in the Oral Tradition of South Louisiana," Journal of Popular Culture 23, No. 1 (Summer 1989): 101–115; Ancelet, Cajun Music; Barry Jean Ancelet, Capitaine, Voyage Ton Flag: The Traditional Cajun Mardi Gras (Lafayette, LA: Center for Louisiana Studies, 1989); Ancelet, Edwards, Pitre, Cajun Country.
43.	Ancelet, "Lomax in Louisiana."
44.	Caffery, Traditional Music in Coastal Louisiana, 2.
45.	Ibid., 1.
46.	Ibid., 2.
47.	Ibid., xx.
48.	Alan Lomax announces: "The spirituals on this record were sung by Becky Elzy, 86, and Alberta Bradford,73, who in their younger days were slaves on the Avery Island plantation. They've recollected these songs over all these years and still have wonderful voices to sing them as they should be sung. These spirituals, as they're sung, can be found in Mr. E. A. McIlhenny's book, Befo' de War Spirituals. These songs were recorded in Lake Arthur, Louisiana, in the month of June, 1934." Caffery, Traditional Music in Coastal Lousiana, 68.
49.	For a discussion of the meaning of stavin' chain, see my note to the song "Stavin' Chain" (217).