Why was it important for 300Forward to participate in Personal Structures – Reflections?

It is important for the Mardi Gras Indians to tell their own story, culturally and individually. This is an old and hidden culture whose traditions are richly expressed through music, song, tribal structure, rules of engagement, procession, and dress, with unique expressions that connect with ancestral African roots.  While each costume they prepare, known as a “suit,” is unique and tells a story rich with symbolism and meaning, often only those close to the Indian’s inner circle will ever come to know the true intentions behind it. Moreover, very few exhibits of Mardi Gras Indian suits and artworks have been presented outside of New Orleans. Although Mardi Gras Indians have travelled and performed internationally, the exhibit at Palazzo Mora is the first international exhibit of multiple Mardi Gras Indian creations.  

An invitation to present the artwork of a little-known culture to the art world at the Venice Biennale in Palazzo Mora is a special honour. Mardi Gras Indians don’t create their costumes in pursuit of the art community.  In this spiritual and meditative endeavour within their tradition, the suits are the individual creative manifestations of their larger culture. 

It is important to give the Mardi Gras Indians recognition for their contribution to the art and culture of New Orleans. This cultural treasure would not be sustained but for the deep commitment of the individuals who comprise the many tribes. In addition to thousands of hours spent on creating an individual suit, each Indian will spend thousands of dollars on materials including glass beads, pearls, rhinestones, velvet, ostrich plums, feathers and trim.

Being this the first time to present in Venice, how has this experience been for 300Forward? What were the challenges as well as satisfactions to present such work in a different context?

Time was a serious challenge in compiling the artwork for presentation. Although beadwork and construction are ongoing endeavours, the invitation to participate at Personal Structures came during the busy sewing season: while concepts are usually sketched out and developed in a month or so after Mardi Gras, the lengthy process of beading and construction continues in earnest during the winter and ultimately the attention is focused on the upcoming Mardi Gras.  

Funding was another hurdle. We were fortunate to find a benefactor in Greg Keller, whose foundation funded our most critical expenses.

However, the most rewarding aspect was the success in bringing recognition to a relatively unknown and underserved culture to the global art world featured at Palazzo Mora during the Venice Biennale.

You are bringing to Venice a living memory, a beautiful culture and a rich history. For a public unfamiliar with Mardi Gras Indians and their traditions, what is the key message or reflection to capture?

The social and cultural activities of Mardi Gras Indian tribes continue throughout the year and they endure as carriers and preservers of their ancestral heritage. The culture challenges the authority of historical racial prejudices using art, music and community alliance as cultural resistance to racial violence and oppression.  

The origins of Mardi Gras in New Orleans come from French settlers. In the New World French colonies, everyone was required to be Catholic, including the enslaved, yet historically, people of colour were prohibited from masking during Carnival season. The 150-year-old Black Mardi Gras Indian culture evolved organically partially in response to the exclusivity of “white” Mardi Gras, as an expression of resistance and as a tribute to the Native Americans who assisted the escaped enslaved surviving in the swamps around New Orleans. The French Code Noir allowed the enslaved to gather in Congo Square, outside the ramparts of the old city, on Sundays to practice their African traditions of food, dance, ceremony and market. When the escaped enslaved living in “Maroon” camps with Indigenous Indians would go to Congo Square, they often dressed like the Indigenous with whom they lived. They were perceived as Indian and therefore perceived as free people. 

Early on Carnival morning, the Mardi Gras Indians emerge from their houses to reveal for the first time unique “Suits” of beads, sequins, and feathers that have taken the entire year to make. Each participant makes their own suit. It is a centuries-old tradition with mysterious beginnings and complex oral history.  The act of “Masking Indian” is an expression of Freedom, Resistance and triumphant cultural Resilience.

How are these different tribes and what figures constitute these?

The culture is complex and fully formed, with music, song, patois, and dress with a hierarchy of tribal structure and engagement. Big Chief is the leader of his tribe, Wild Man is the spiritual leader and protector, Flag Boy carries the colours and symbols of his tribe, and Spy Boy is the scout. Each of these positions has its own style of suit. Big Chief is of course the most elaborate. Wild Man always has horns on his headdress. Flag Boy has his staff. As Spy Boy ventures out first in search of rival tribes to engage, he must be nimble in his smaller trimmed suit. He will send a message using a variety of signals to the Flag Boy as to the whereabouts of rival tribes. The Flag Boy signals the Wild Man and Big Chief.  The Big Chief will decide if the tribe will engage in mock battle or tribute or pass around. Only Big Chiefs talk to Big Chiefs.

Also important to notice that despite historically it has been a male-dominated activity, in recent years women have participated as tribal Queens whose suits continue with the theme of the tribe.