Daisy Pignetti* is participating on a panel at the Oxford Internet Institute symposium at Oxford University in England and is presenting her paper “Blogging the Unfinished Story in post-Katrina New Orleans” on Friday. Her paper features my writing from my … Continue reading
Category Archives: Oral History
Guest Blogger Sam Jasper: On Writing in the Wake of Katrina
On Writing in the Wake of Katrina
I watched CNN on Sunday for a long time, following the path of Hurricane Irene, worrying about relatives and friends who were in various states along the storm’s expected travels. As it became clear that the inland flooding from overflowing riverbanks would be by far the greatest danger to them, a tiny part of me jumped into a familiar anxiety mode, while another was outraged by the screaming coverage on television. While I pray for the families who lost loved ones, and I do empathize with the people, and there are many, who lost their homes, I was nevertheless annoyed by the continuous loop of video showing a lifeguard station in New Jersey coming off the sand and running into the boardwalk. That video was followed, on a fairly regular basis, by a photograph of a park bench, half hidden by water perhaps 3 ft deep, that the anchors kept looking at in amazement remarking that it had moved—all the way across the street. They were nearly dumbstruck with awe. I meanwhile remembered the endless loop of people on roofs, helicopters with little kids hanging in baskets and, of course, one bit of footage of a looter that was looped like the yarn on my grandmother’s crochet hooks around every other bit of footage as the levees broke six years ago. The coverage was frustrating and more than a little infuriating.
Doubtless there is someone in one of those states looking at the destruction Irene left behind and screaming with fury at the looping footage that doesn’t tell even a tenth of the story.
As Katrina headed in towards land, we had left on the Sunday afternoon before the storm after flipping a coin. Not the best way to make a decision, but one that we admit to as it is true. Under a sound roof in Alabama, we watched that looping footage, switching stations frantically to get more information, maybe better information. What was happening to our city, to the people in it? As the video of water coursing through neighborhoods started, we were shocked.
Then came the reports of what was happening in the Superdome, at the Convention Center, on roofs and overpasses. People. Lots and lots of people waiting for help. Some asking for water, just some drinking water. Reporters saying there were bodies floating near the overpasses. This in our city. Our country. Another couple days went by and we decided to return home after scouring nola.com for other news, connecting with some people, finding comfort in communication, being told we were crazy to go back. We were told it was the Wild West, it was a catastrophe of monumental proportions, it was illegal. We put the map on the dining room table, plotted a route home that would take us north through Hattiesburg and Bogalusa, a route that took us about 150 miles out of our way. We’d buy gas along the way wherever we could find it. We couldn’t sit watching the video loops another minute. We felt compelled to come back and at least make an attempt to help.
As we headed south to the Sunshine Bridge in order to come up 90, we hooked up with some other New Orleans-bound travelers. All of us with the same compulsion to get back, to pitch in. We talked a lot when we stopped for gas or supplies about what we’d do if we couldn’t get into town. What if all the exits were blocked by Guardsmen? We all decided to risk it. As we came north, the southbound lanes looked like something out of a Steinbeck novel. People with furniture tied to the roofs of their cars, passengers sitting on tied down mattresses in the beds of pickup trucks. Not a vehicle was moving. A giant parking lot full of frantic people and a few of their possessions. We wondered where they were planning to go, but we kept heading up toward the city. In the lanes next to us were a few National Guard trucks, humvees, and some personnel. We and the other couple traveling in their car were the only civilians we saw. We got to our exit and miraculously it wasn’t blocked. There was no one around as we approached our house. It appeared that there was no one anywhere. We saw no chaos other than a house in the middle of an intersection and downed trees and power lines everywhere. We lived on the Westbank at that time. We had been lucky. Just the other side of the river it was an entirely different story.
After a quick recon around the neighborhood, we found out who was home, and there were several. We gathered all the news we could, but the information void put us into an alternate reality: we only knew what we saw or what we heard in our little area. It was that way for people in other neighborhoods as well we found out later. We found out that a food distribution point was going to be set up at Blaine Kern’s Mardi Gras world so the next day we went to offer our services. The people on Powder Street needed medication. The lady by the levee was hooking up with animal rescue folks and needed our dog crate.
Our power was out but the phone line miraculously still worked. We had brought enough gasoline in with us to get us back out if that’s what we thought we should do. Instead we poured it into a generator that our neighbor had and we shared that generator one hour a day. I still had a dial up modem in my computer so I rigged a connection to a dial up number for AOL in New Mexico. It worked. On September 12, 2005 I wrote my first mass email explaining what we were seeing here at that time. I wrote every couple days after that well into March of 2006.
I was asked what it felt like to write during that time. Necessary. That’s how it felt. It was necessary. It was eminently clear that news coverage was limited at best. That people in other parts of the country were getting barely a piece of the story. While I certainly couldn’t give a view of the entire city, I could absolutely tell people what was going on in my neck of New Orleans: what we had, what we didn’t have, when the power was expected to come on, where the food distribution was and who was distributing it.
After one week my mailing list swelled to over 200 as people forwarded my emails to each other and dropped me a line asking to be included on any future updates. AOL was convinced that I was running a gigantic spam operation, so I wrote them and explained where I was and what I was doing. They relented, allowing the emails to go out, and eventually the mailing list grew by another 50. I was getting emails from locals asking if we could check on their houses and post photos, I was getting emails from people outside of the country asking what they could do, I got emails from friends and others asking what they could send and how to send it as the post office wasn’t in service. I was getting emails from people saying that the original mail had been forwarded ten times until it reached them and that their thoughts and prayers were with us.
What started as a simple “we’re okay don’t worry” email had morphed into an on the ground news dissemination system and people wanted the information, not the stuff they were seeing on the news. They wanted the stories of what we were doing, who we had met, the incredible generosity of some guys who drove through the night to deliver much needed goods. We eventually managed to photograph several houses for people who couldn’t get back, and although it was slow going on dial up, we sent them out. It eventually got to a point where we could no longer send individual thank you emails, there were too many and our generator time was too short.
I said earlier that it was necessary to write at that time. It was. Not just because the news coverage was initially so bad, but because once that first email went out the responses we got sustained us. I am not sure how we would have managed those first few weeks without the support of all those emails. People we didn’t know were keeping us going when all we wanted to do was cry. A bond was forged with those strangers on my computer screen. I kept writing. They kept responding, and I felt a duty to continue sending out updates.
Many people sent boxes of supplies. Others sent vitamins and tasty things. They all came with notes of support, often with cash in them, and all with a comment about the frustration of trying to find a tangible way to help in that moment. So many kindnesses to balance the unfathomable cruelty of Katrina. It still chokes me up.
I had always written, an article here, a story there but nothing as regular as the emails written at that time. As the anger mounted and the sadness dropped us into pits of despair, the words were there being read somewhere by someone who cared even if we didn’t know their name. They met the people in my neighborhood, the people helping out. They heard the stories of the noble sons who’d stayed with their elderly, ill mothers. They heard the stories of lost people and our panic over their whereabouts. They heard about little triumphs and major hurdles. They heard about the heat and the exhaustion, the jubilation of power being turned back on, our first sight of Jackson Square covered in satellite trucks and humvees and old bandages instead of artists, and how many nails a tire can absorb before it becomes unusable.
In the writing of those missives I found the strength to cope with what I was seeing around me, and if the responses were to be believed, I was giving the people who read them a more realistic view of what was happening here during that time. Interestingly enough, six years later, sometimes those emails swirl through my consciousness with the tenacity of a CNN video loop.
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Sam blogs at New Orleans Slate and is a contributing author and co-editor of A Howling in the Wires: An Anthology of Writing from Postdiluvian New Orleans. Her emails chronicling the days after Katrina can be read at Katrina Refrigerator.
Thousands of Gulf Coast Residents Sickened by Effects of Oil Spill
The following post was originally published April 12 on local blog American Zombie.
More Cries for Help
Last Saturday I spent the day at Dr. Michael Robichaux’s farm in Raceland talking with well over 60 offshore workers, fisherman, and family members who are experiencing extreme health effects from the BP oil spill. Many of the workers who came into direct contact with the oil and the dispersant, Corexit, are experiencing similar health problems ranging from mild sypmptoms to life threatening conditions. It’s not only the men who were out on the Gulf during the spill that are sick, family members are experiencing health problems as well. Even people who swam in the ocean are stricken.
While I can’t confirm this number, I am told by folks monitoring the issues that they estimate thousands, if not tens of thousands, of people along the Gulf Coast from Louisiana to Florida are suffering. Some are experiencing mild symptoms such as asthma, nausea, and headaches, while others are suffering extreme health issues such as internal bleeding, paralysis and even death….yes death.
The following video is a testimonial from Louisiana charter boat captain, Louis Bayhi. It’s 6 minutes long and I implore you to watch the entire thing:
Capt. Louis Bayhi – Charter boat captain and BP clean up worker experiencing severe health problems from Blackbird Media on Vimeo.
Louis was one of over 40 fisherman I spoke with on Saturday who is gravely ill. All of these fisherman confirmed to me that the Gulf is still full of oil and dispersant is continually being deployed….including areas which have been deemed safe for seafood harvesting.
There are more testimonials coming….please help spread this message…please help spread the truth. The nightmare BP left us with is not over, in fact it may just be starting. The MSM is not going to report what’s happening, but I implore you to dig deeper and don’t trust what you are being spoon-fed.
I fully expect to get attacked on the seafood issue but my response is fire away…I just spoke with over 40 guys who are out there every day and their concerns have now become mine. I will take their word over anyone.
Check out the LEAN – Louisiana Environmental Action Network website for more information.
In The Name of Oil
This video is a production – a very good production – of Pablo Neruda’s poem Standard Oil Co. If the oilspill catastrophe of the Deepwater Horizon last April (6 months ago today) affected you in any way, I think you’ll find this quite provocative. Even if you don’t like poetry.
Trust me.
Talkin’ Revolution
This Wednesday, join Ms. Doratha “Dodie” Smith-Simmons for storytelling and conversation about New Orleans’ role in the civil rights movement. Dodie has dedicated her life to the preservation of New Orleans culture, and will offer rememberings of her time as a task force member of the Congress of Racial Equality (CORE), a test rider for the Freedom Rides, and a youth member of the NAACP.
What: Talkin’ Revolution: Conversations with Elders who Led the Way, featuring Dodie Smith-Simmons
When: Wednesday, May 12, 7pm
Where: The 7th Ward Neighborhood Center,
1910 Urquhart Street at Pauger Street
Patois and Junebug Productions are proud to present this first installation of the monthly summer series Talkin’ Revolution: Conversations with Elders who Led the Way. Talkin’ Revolution highlights the voices of local heroes in the struggle for justice and equality.
NoLA Hosts Regional Premiere of ‘Ameriville’ This Week
Southern Rep Partners with Junebug Productions, Ashé Cultural Arts Center, and Tulane University
for the Regional Premiere of Ameriville by Universes, which runs February 24 – March 7, 2010.
In AMERIVILLE, the critically acclaimed Bronx-based ensemble group gives an emotionally riveting performance that is not only about Katrina, but also about the struggles and heartbreaks that happened in New Orleans. With the unbelievable power and passion that Universes brings to the stage, stories, facts, and memories are brought back through a mixture of poetry, hip-hop, jazz, and theatre.
Created by Universes, AMERIVILLE gives new insight and urgency to our national re-examination of what it means to be American – with heart, impassioned stomps, and incandescent harmonies. It’s a jubilant cry to rebuild America itself. Universes has created their own brand of high-energy performance, rooted in hip-hop but drawing on a global multitude of lyrical and musical influences and performance styles.
AMERIVILLE will be directed by Chay Yew, who is both a director and award-winning playwright, currently living in New York City. He has directed countless shows and is a recipient of the Dramalogue and OBIE Awards for Direction. As an alumnus of New Dramatists, he currently serves on the Executive Board of the Society of Stage Directors and Choreographers. Yew is a graduate from Boston University.
Steven Sapp, Mildred Ruiz-Sapp, Gamal Abdel Chasten, and Ninja make up Universes. All four actors are the founders of the company. Steven Sapp, a graduate from Bard College, is a playwright/actor. Mildred Ruiz-Sapp is part of this group as a playwright/actress/vocalist. Gamal A. Chasten is a songwriter/poet/screenwriter whose work has toured in over 25 U.S. cities and 5 countries. Ninja (William Ruiz) is a playwright/director and also a graduate of Bard College. Universes is a National / International ensemble Company of multi-disciplined writers and performers who fuse Poetry, Theater, Jazz, Hip-Hop, Politics, Down Home Blues and Spanish Boleros to create moving, challenging and entertaining theatrical works. The group breaks the bounds of traditional theater to create their own brand, inviting old and new generations of theater crafters as well as the theater goers and new comers to reshape the face of American Theater.
Southern Rep Artistic Director Aimée Hayes was drawn to this wide-reaching partnership out of a shared belief in the power of Universes’ production. “When I saw AMERIVILLE in last year’s Humana Festival, I jumped to my feet along with the rest of the audience to applaud before the lights came down at the end of the show. After seeing a production that spoke to my hometown in such a ground-breaking and inspirational way, I knew we had to find a way to bring it here to share with our friends and neighbors.”
Southern Rep is proud to be part of this expansive partnership project with Junebug Productions, Ashé Cultural Arts Center, and Tulane University Department of Theatre and Dance that brings together such a diverse group of stakeholders, including school principals, teachers, members of the media, church and business leaders, as well as organizations’ board members to ensure the widest possible impact of Universes’ work in New Orleans. Thanks to the support of the National Endowment for the Arts, Louisiana Division of the Arts, Arts Council of New Orleans, New Orleans Jazz and Heritage Foundation, and the National Performance Network, Southern Rep sees AMERIVILLE and Universes’ residency as fruitful and productive endeavor to benefit the New Orleans community at large.
Junebug Productions (JPI,) a professional African American arts organization located in New Orleans, Louisiana, produces, tours and presents high quality theater, dance and music that encourages and supports African Americans in the Black Belt South who are working to improve the quality of life available to themselves and others who are similarly oppressed and exploited. For the past 29 years, the company has toured the U.S. and performed internationally with John O’Neal, Junebug’s Artistic Director who co-founded the Free Southern Theater in 1963 as a cultural arm of the southern Civil Rights Movement. Junebug Productions is currently creating the Free Southern Theater Institute (FSTI) to codify the particular techniques, ethics, and aesthetics developed by FST and Junebug Productions. Artists from around the region and the nation will be able to come to New Orleans, learn the FST and JPI technique and work with the local community and artists. Junebug is currently offering the third of three pilot program courses, “From Community to Stage”, bringing in artists to work with community residents, high school and university students.
Ashé Cultural Arts Center is an effort to combine the intentions of neighborhood and economic development with the creative forces of community, culture and art to revive and reclaim a historically significant corridor in Central City New Orleans: Oretha Castle-Haley Boulevard, formerly known as Dryades Street. Ashé is a gathering place for emerging and established artists to present, create and collaborate in giving life to their art so as to activate the artistic, creative and entrepreneurial possibilities available in our community. Storytelling, poetry, music, dance, photography, and visual art all are a part of Ashé’s work to revive the possibility and vision of a true “Renaissance on the Boulevard.”
The Tulane Department of Theatre and Dance is a multi-disciplinary program that offers a fusion of performance styles and techniques in the framework of a liberal arts setting. Their diverse and international faculty teaches a mix of approaches that allow their students to explore all aspects of the theatrical and dance arts in order to help them prepare for the world around them. After beginning with the solid foundation of a hands-on curriculum, students are allowed to individualize their journey by choosing study in numerous areas that include academic research, storytelling, regional and international dance styles, acting methodology, community action, directing, choreography, design and technical stagecraft. The Department’s goal is to create the beginnings of a well-rounded dance or theatrical artist who understands where she or he fits into a larger performance community.
TICKETS AND LOCATION:
Regular ticket prices range from $20-$35: $35 for Opening Night, Wednesday February 24 (includes post-performance reception); Individual tickets are $26-$29 with special discounts for students, seniors, K-12 teachers, active military, theatre professionals (with ID) and groups of ten or more. $10 Student Rush tickets are available 15 minutes before curtain on a cash-only basis, with student ID. On the edge of the French Quarter, Southern Rep Theatre is conveniently located on the 3rd floor of the Shops of Canal Place, where validated parking is available. For more information and to order tickets, call (504) 522-6545, or visit southernrep.com.
Southern Rep continues to show that it is staging the most important, challenging, and downright mesmerizing pieces of theater New Orleans audiences are graced to experience. – Theodore P. Mahne, The Times-Picayune Lagniappe
“Their energy and realness is unmatchable.” — The Village Voice
Ameriville is an experience on many levels: percolating, bubbling, and broiling, flooding the theatre to the very last row. Hold your breath and dive in. – Theatre Louisville
“A headlong explosion of poetry, percussion, and multi-culti musical exploration that absolutely demands to be seen.” — The Boston Globe
Women in Song: Sweet Honey in the Rock
Words written here would only spoil the song and the message. Enjoy.
LadyFest New Orleans’ 3rd Year

LadyFest New Orleans is a non-profit music, spoken word and arts festival organized by local women to showcase, celebrate and encourage activism through the arts for and by New Orleans women. It also serves as a benefit for local organizations that support women.
The festival runs for five days at five different venues. It will begin on Wed., Nov. 4, 6 pm at St. Anna’s Episcopal Church, 1313 Esplanade, New Orleans, with a Homily by Deacon Joyce Jackson, the first and only black woman Episcopal deacon in New Orleans. This will be followed by gospel music from Tonia Scott and the Anointed Voices who were the featured choir in “Skeleton Key”. The Queen Clarinet of Louisiana, Doreen Ketchens, will close out the evening with lots of hot music from Doreen’s Jazz New Orleans.
The festival moves to Snug Harbor on Thur., Nov 5 with two shows 8 and 10 pm at Snug Harbor Jazz Bistro, 626 Frenchmen, featuring Cindy Scott, Leah Chase, Megan Swartz on piano, Cori Waters on drums and Cassandra Falconer on bass.
On Friday, Nov. 6, Sweet Lorraine’s, 1931 St. Claude is the place to be with Charmaine Neville, David & Roselyn, Estelle Compagne on flute, GaBrilla Ballard, Lynn Drury & the Pfister sisters accompanied by Amassa Miller on Piano, Cori Waters on drums and Cassandra Falconer on bass.
Poet Valentine Pierce will be reading from her work also.
Sat, Nov. 7th the show moves to the Marigny Theatre, 1030 Marigny at St. Claude to enjoy blues with Beth Trepagnier, hear Gina Forsyth, dynamite on guitar or fiddle, and be amazed by Kayne Reznick‘s lusty irreverent folk songs, Lindsay Mendez performing music from her new CD, Olivia Greene bringing a fresh slant to jazz accompanied by Cori, Cassandra and Estelle. Then Some Like It Hot tears up the evening.
Sun., Nov. 8th, LadyFest New Orleans 2009 has its final performance at the Ashe’ Cultural Arts Center 1712 Oretha Castle Haley Blvd., from 11 am to 6 pm with 30 X 90, Dixie Rose, Hazel and the Delta Ramblers, Kelcy Mae, Margie Perez, Olga and Troi Bechet with Mimi Geste on Piano, Cori Waters on Drums, Cassandra Falconer on Bass and Estelle Campagne on Flute.
For more info, including some great photos, visit LadyFest New Orleans.org
Not that different, you and I
I was spending the night as a guest in a refugee camp in Palestine, an area filled with sad eyes and stories of destruction and personal loss. Many of the people living in this camp have had their homes destroyed by the government’s failure to protect them, allowing corrupt government to take away everything they worked so hard to have. They fled after the homes were destroyed, to different areas throughout Palestinian territory: friends, family, and refugee camps like the one I was at that night. Images of the homes left destroyed, demolished, and ruined by Hurricane Katrina flashed in my head as I sat on Miss Eman’s make-shift front porch, a place where she welcomed friends and guests and they talked about their lives and sometimes they didn’t talk about anything at all and just sat in silence. The plywood and tin shacks that these families now live in were the Palestinian FEMA trailers that so many found refuge in after they had nothing left at all. As Eman offered me a glass a tea, a sign of love and culture for Palestinians, I smiled. I thought back to my first glass of sweet tea in New Orleans, made by Miss Dorothy, the 80-year-old woman who lived beside us.
Besides the king of mint, Palestinian tea was just like the sweet tea from back home. While I was observing everything around me with a heavy heart, it felt nice to be sitting out on the front porch drinking sweet tea. A bit of home in a country thousands of miles away, struggling, facing unspeakable odds every day. It was then I decided that the phrase, “Do you know what it means to miss New Orleans?” could apply to Palestine, offering reminiscence of a time when life wasn’t so controlled, so difficult, so full of destruction and strong spirits that would have been broken anywhere else. New Orleans has a sister out there in the world, that sister is Palestina.
Eman is a single mother, left so when her husband was killed by settlers as we was returning home from working in his fields. Eman’s family never got justice for her husband’s death, too often the case in an area where settlers are often given special treatment of military police and often times inhumane prison conditions, physical violence, and corruption among staff are not exceptions, but the rules. Human rights organizations have investigated these claims, much like the current situation happening at Orleans Parish Prison in New Orleans right now. The Department of Justice hasn’t come in to intervene on behalf of the Palestinian people, however, and the treatment has become expected, almost excused, because it is so widely-known to happen, what really can they do against a system that looks out for itself, not people.
Eman had seen many terrible things in her life, particularly during the second Intifada, a Palestinian uprising that led to many protests, demonstrations, and death. She wasn’t afforded the luxury of therapy – mental health services were nearly non-existent in her area – so she dealt with her troubles by using her hands. Some of her neighbors created clay pots to deal with their difficulties. Others wrote the most beautiful and depressing poetry I ever had the honor of reading. Eman cooked. I had told her about some of the dishes that New Orleans was famous for, surprised to find Palestinian equivalents. Qidra was the Palestinian answer to jambalaya, a dish with rice, meat, vegetables, and spices cooked in large quantities, often served at happy occasions and while surrounded by friends and family. Bandoora maqliya is tomato slices fried in olive oil with garlic and chopped basil, the Palestinian fried green tomatoes. They have their gumbo, too, often made with lamb. Their sweets include pastries with combinations of sugars and spices and nuts. Just as it is in New Orleans, cooking for loved ones and sharing food is an expression of love, a time to come together and enjoy one another’s company, to drink in all the blessings one has, even when it feels like the rest of the world has offered nothing but abandonment and looking the other way at the tragedy that has struck.
After visiting with Eman, I wandered a bit and found an old man surrounded by men much younger than him, all sitting on the beach. It reminded me of the men I often saw sitting on neutral ground while driving around the city. I was invited over to join them, the elder telling me stories about his Palestinian heritage, the resentment felt towards Palestinians by the rest of the Arab world, and gave me an oral history peppered with personal narratives. Occasionally I would look up and see a carriage pulled by a donkey pass, making me smile and think of the French Quarter. He went into detail about the Palestinian arts and the many wonderful artists that came from Palestine, too far ahead of their time to ever be awarded any real acclaim outside of Palestine, but important to the expression of the Palestinian people. He told me about authors I needed to read, boasting about which ones he saw writing outside a cafe in the city or while sitting alone on that very beach. He sang a song, lyrics unknown to me, that had the sadness, despair, and celebration that St. James Infirmary had – invoking in me the same emotions, the same deep thoughts.
Education was a problem in Palestine, not enough schools, not enough school supplies, not enough staff. It felt bizarre, being surrounded by another culture in another land and finding so many similarities between Palestine and New Orleans. It challenged my internal thoughts, being raised in the West and quite ignorant to Palestinian issues – not discussed on the news unless it portrayed Palestinians or Palestine in a bad light, talking heads saying Palestinians should just move away and stop the suffering.
New Orleans shouldn’t rebuild. Who cares about New Orleans. I am so sick of hearing about New Orleans and Hurricane Katrina. It has been four years, they need to stop whining. You have all heard phrases like this. You have all heard phrases like this and felt ire and spite and sadness as another part of the country called to take away your right to exist in the place that you love.
As I returned home, I reflected on what I had experienced. From sharing the sounds of Paul Sanchez with twenty-something Palestinians while they shared with me Palestinian hip hop, all from their front porch, to sharing stories of the culture and Palestinian heritage, to having their right to exist questioned, and choosing to exist despite a ruling system of corruption, crime and injustice.
Palestine and New Orleans, we aren’t that different after all.
Loup Garou: Howl To The World!
Loup Garou: A new performance by ArtSpot Productions and Mondo Bizarro

Former A Studio in the Woods artists-in-residence ArtSpot Productions, Raymond “Moose” Jackson, and Monique Michelle Verdin have collaborated on this amazing production – be sure not to miss it!
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ArtSpot Productions and Mondo Bizarro present Loup Garou, a new environmental performance that explores the deep interconnectedness between land and culture in Louisiana. The outdoor performance runs October 8-25, 2009 in the abandoned fields of City Park’s old East Golf Course. Performances are Thursdays at sunrise (7am) and Fridays, Saturdays and Sundays at 5pm.
Every half hour, Louisiana loses a football field’s worth of wetlands to the Gulf of Mexico. Six major hurricanes in the last four years have exacerbated an already dire situation. What will become of Louisiana’s rich cultural traditions and industries as the land that has nurtured them disappears?
Performed by Nick Slie, written by Raymond “Moose” Jackson, directed by Kathy Randels, and designed by Jeff Becker, Loup Garou is part performance, part ritual, part howl to the world about southeast Louisiana’s plight. We invite you to join us as we sing a song of love and hope for our precarious homeland.
Presented In collaboration with the Gulf Restoration Network and New Orleans City Park.
What is a Loup Garou?
He is a wild and dangerous entity (some say a werewolf) well anchored in the folk traditions of southern Louisiana. His story comes from France through Acadia down the Mississippi and numerous inland routes to Louisiana.
When: October 8-25, 2009
Thursdays at 7am; Fridays, Saturdays & Sundays at 5pm
Where: City Park old East Golf Course on Filmore near Wisner
Tickets: $15; $10 Artists, Students and Seniors.
Seating is limited. For reservations, please call 504-826-7783.
For more information visit www.artspotproductions.org
Red Tent For The Women Of New Orleans

“The Red Tent experience is such a cathartic event in my life. I will forever be thankful to you for allowing me that opportunity….just to tell my story…my way… in my words!
–participant of Red Tent NOLA at V-Day



