Second Line

            The most interesting aspect of Regis’ article in terms of what we’ve learned in class thus far was introduced on page 755. Regis discussed the idea that there is no clear distinction between performer and audience. In most performance art that we’ve learned about, there is a clear delineation between performer and audience, even if the audience is encouraged or even forced to participate at some point. With the New Orleans second line, anyone who may possibly be seen as an audience member is immediately transformed into a participant or judged for not participating. Simply observing the performance is not an option. Because one significant aspect of the parades is solidarity in the black community with special regards to particular groups, could refusal to participate perhaps appear to be either a refusal to accept the legitimacy of the parades or a complete disagreement? For example, Regis mentioned a particular parade that blocked preparation for Mardi Gras, which is more of a white celebratory parade. Could the inclusion of this happening perhaps hint at the idea of race relations and also make clear that although there is no obvious audience, the performers do have to meet specific criteria. Is there an underlying tone in the article that hints at the idea that because these parades are an effort to promote blackness or comment on issues specific to the black community, that those who are not black or in support of the parades are completely excluded from the parades. The idea that the parades take place on back streets and roads that are significant to the black community, rather than main roads also lends to the idea that Regis is presenting a specific focus on blacks utilizing these parades to completely focus on blacks and issues specifically relevant to blacks and intentionally ostracizing whites.