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.
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