Regis Article

I found Helen Regis’ article insightful in that it explained to the reader what Second Line parades entail, in which the author defines as, “massive anniversary parades” (p. 755). Regis goes more into depth on what these parades can consist of and how there is not really an audience, but instead the viewer’s role is a participatory one (p. 757). However, what I find the most interesting point in Regis’ article is the claim that many of these parades are performed in working class black neighborhoods, away from the curious eyes of the tourists. Actually, many white residents of these areas have little to no understanding of second line parades (p. 756). Regis uses the example of the funeral scene in a James Bond movie to explain how a form of Second Line has been popularized, even commodified, for tourists. I find this a thought-provoking concept that Regis suggests; this idea of the commodification of black culture. Regis supports this concept in the statement, “…the cultural productions of the urban black working-class communities are increasingly featured as the principal asset distinguishing New Orleans from other tourist destinations and conference centers. Creole cuisine, historic architecture, blues, gospel, rhythm and blues (R&B), and, above all, jazz have long drawn travelers from throughout the world to New Orleans. That the primary producers of these sensual commodities are members of a low-income black population in a black-majority city has rarely been examined from a critical perspective” (p.  754). Although this commodification of black culture is problematic and there should be a lengthy discourse, I think it is notable that Regis does mention that these parades are very influential in the black community and not only “produce neighborhoods,” but participants also “become owners of the streets” during these performances (p. 756).