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Kim Marie Vaz - The Baby Dolls: Breaking the Race and Gender Barriers of the New Orleans Mardi Gras Tradition (Eisenhower Center Studies on War and Peace)

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One of the first womens organizations to mask in a Mardi Gras parade, the Million Dollar Baby Dolls redefined the New Orleans carnival tradition. Tracing their origins from Storyville brothels and dance halls to their re-emergence in post-Katrina New Orleans, author Kim Vaz uncovers the fascinating history of the raddy-walking, shake-dancing, cigar-smoking, money-flinging ladies that strutted their way into a predominantly male establishment.
The Baby Dolls formed around 1912 as an organization for African American women who used their profits from working in New Orleanss red-light district to compete with other black women in their profession on Mardi Gras. Part of this competition involved the tradition of masking in which carnival groups create a collective identity through costuming. Their baby doll costumesshort satin dresses, stockings with garters, and bonnetsset against their bold and provocative public behavior not only exploited stereotypes but also empowered and made visible an otherwise marginalized demographic of women.
In addition to their subversive presence at Mardi Gras, the Baby Dolls helped shape the sound of jazz in the city. The Baby Dolls often worked in and patronized dance halls and honky-tonks, where they introduced new dance steps and challenged house musicians to keep up the beat. The entrepreneurial Baby Dolls also sponsored dances with live jazz bands, effectively underwriting the advancement of an art form now inseparable from New Orleanss identity.
Over time, the Baby Dolls members diverged as different neighborhoods adopted the tradition. Groups such as the Golden Slipper Club, the Gold Diggers, the Rosebud Social and Pleasure Club, and the Satin Sinners stirred the creative imagination of middle-class Black women and men across New Orleans, from the downtown Trem area to the uptown community of Mahalia Jackson.
Vaz follows the Baby Doll phenomenon through one hundred years of photos, articles, and interviews to conclude with the birth of contemporary groups such as the modern day Antoinette K-Does Ernie K-Doe Baby Dolls, the New Orleans Society of Dances Baby Doll Ladies, and the Trem Million Dollar Baby Dolls. Her book celebrates these organizations crucial contribution to Louisianas cultural history.

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THE
BABY DOLLS
THE
BABY DOLLS
BREAKINGtheRACEandGENDER BARRIERSof theNEW ORLEANS MARDI GRAS TRADITION
KIM MARIE VAZ
Published by Louisiana State University Press Copyright 2013 by Louisiana State - photo 1
Published by Louisiana State University Press
Copyright 2013 by Louisiana State University Press
All rights reserved
Manufactured in the United States of America
LSU Press Paperback Original
First printing
DESIGNER: Mandy McDonald Scallan
TYPEFACE: Calluna
PRINTER: McNaughton & Gunn, Inc.
BINDER: Dekker Bookbinding
Library of Congress Cataloging-in-Publication Data
Vaz, Kim Marie.
The Baby Dolls : breaking the race and gender barriers of the New Orleans Mardi Gras tradition / Kim Marie Vaz.
p. cm.
Includes bibliographical references and index.
ISBN 978-0-8071-5070-2 (pbk. : alk. paper) ISBN 978-0-8071-5071-9 (pdf) ISBN 978-0-8071-5072-6 (epub) ISBN 978-0-8071-5073-3 (mobi)
1. CarnivalLouisianaNew OrleansHistory. 2. African American womenLouisianaNew Orleans History. 3. African American womenLouisianaNew OrleansSocial conditions. 4. New Orleans (La.)Social life and customs. 5. New Orleans (La.)Race relations. I. Title.
GT4211.N4V39 2013
394.250976335dc23
2012023994
The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library. Picture 2
In memory of my great-grandmother, Virginia Bender Glover
Who is this Baby Doll, and why is she
referred to as such? This is her story.
Robert McKinney, February 9, 1940
CONTENTS
ILLUSTRATIONS
PRELUDE
On Being an Example of Hope
M ARDI GRAS maskers of the Baby Doll tradition began as a small group of determined, independent-minded Black Cre ole women of New Orleans who came together and rebelled against the many constraints they faced regarding social segregation and gender discrimination. With an immeasurable love of freedom, on every Mardi Gras Day, groups of Black women and some men became the Baby Dolls and would parade, sing, and dance while represent ing their independent free spirit.
This Baby Doll tradition of women maskers was conceived and created around 1912. There are multiple stories of origin that are presented in my video documentary work, in this book by Kim Vaz, and in our collective work educating tourists, schoolchildren, locals, and scholars. We aim to tell the story of the key role the early Baby Dolls played in shaping New Orleanss cultural traditions. The origins of Black Storyville are better known, but the unknown story is told by the family of the late Alma Karro Trepagnier-Batiste. Ms. Karro was a Mardi Gras reveler and matriarch of one of New Orleanss most popular musical families: the Batiste family (original Sixth Ward), with its Dirty Dozen Kazoo Band. In the old New Orleans Mardi Gras traditions of the Black Creole societies, the Baby Dolls were celebrated right along with the Mardi Gras Indians, the Skeletons, and the parade krewe of Zulu. We have found that, from the beginning, the Baby Dolls were also referred to as the women of the jazz. As jazz entrepreneurs, these women were a fixture in the downtown streets of old New Orleans not only on Mardi Gras but every day.
Today, wherever the Baby Dolls appear, whether on Mardi Gras, on Super Sunday, or at the Satchmo second-line parade salute, locals tell us about their grandmothers who were Baby Dolls. Little children get excited and tug at the sleeve of the elder and ask, Who is that Baby Doll? And they always ask, Can I dance with them? The familiar reply is, Those are Baby Dolls, but those are women.
Resurrecting this cultural practice has been good for the local community and the women who continue the tradition. It lifts up our hearts as we inspire others by dancing the route of the Zulu parade or participating in the second lines, in venues where we educate children, the community, and tourists about the tradition. We are following in the footsteps of the original Baby Dolls. Our giving back to the community by teaching our song and dance traditions follows the lead of the earlier generation, such as Alma Batiste, Miriam Batiste Reed, Uncle Lionel Batiste, Merline Kimble, and Resa Cinnamon Black Wilson-Bazile, a self-proclaimed renegade Baby Doll. We pay our respects to the late Antoinette K-Doe and her Ernie K-Doe Baby Dolls and the throngs of neighborhood Baby Dolls who masked in by-gone erassuch as the Big Queen of the Wild Tchoupitoulas, Mercedes Stevenson, who masked as a Baby Doll with two of her friends in the 1970s.
Through our professional dance organization, the New Orleans Society of Dances Baby Doll Ladies have resurrected this unique tradition of live art and celebration of life, incorporating a teaching mission. In connecting with our elders, we bring to them and others happiness and affirmation. This tradition was shown to us by Ms. Batiste-Reed and Uncle Lionel Batiste, daughter and son of the late Alma Karro Trepagnier-Batiste, and by Geannie Thomas and Eva Perry of the K-Doe Baby Dolls. In this book, you will meet other Baby Dolls who have paraded in the streets through thick and thin: Resa Cinnamon Black Wilson-Bazile, Merline Kimble, and Lois Nelson.
When Uncle Lionel Batiste made bonnets for me by hand, and his sister, Ms. Miriam, shared the history and customs of the Baby Dolls with our group, we became the new generation of Baby Dolls. We are carrying the torch of our ancestral traditions. The costuming, dancing, parading, and pageantry are crafts and art forms handed down through the generations a responsibility that these Baby Doll Ladies dont take lightly. Much like our forebears, contemporary Baby Doll groups personify womanhood through dance. The diversity in the creative and vernacular expressions of the current Baby Doll tradition by the citys various groups is dedicated to representing the uninhibited spirit of New Orleans with the same determination, perseverance, and attitude of excellence in all endeavors that was true for our predecessors. The reader will witness the Baby Doll tradition from the perspective of the old as well as the new. All generations of Baby Dolls demonstrate the smart and sassy attitude of excellence that is synonymous with New Orleanss women of the jazz, then and now.
Millisia White
Founder and Director, New Orleans Society of Dance, Inc.
FOREWORD
Black Storyville
As we got off the car, I looked straight down Liberty Street. Crowds of people were moving up and down as far as my eyes could see.
Louis Armstrong on his arrival in Black Storyville as a young boy
B LACK STORYVILLE was the poor persons version of the famed Storyville red-light district a short distance away, perhaps with out the fine champagne. It was within walking distance to the French Quarter, the Central Business District, and Central City. The ordinance establishing Black Storyville identified specific streets on which otherwise illegal activities such as gambling and prostitution could take place. These were Tulane, Gravier, Perdido, North Poydras, South Poy dras, and Lafayette paralleling Canal Street, and streets going from the river toward the lake, roughly Saratoga, South Franklin, South Liberty, Howard, and Freret stretched forth in parallel.
While characterized largely as a site of moral degeneracy, the area housed a number of institutions that offered educational, social, and re ligious sustenance for its residents. Louis Armstrong, the neighborhoods most famous son, lived directly across the street from Fisk School for Boys at 507 South Franklin. Later in his life, Armstrong wrote appreciatively of the school, where he learned to read, write, and absorb musical styles and rhythms as the school staged operettas, developed choirs, and supported Creole musicians as teachers. He recalled childhood pastimes that included playing street games such as coon-can and craps, and having brick wars with his friends. He grew up around characters nicknamed Cocaine Buddy, Little Head Lucas, Egg Head Papa, Sister Pop, One-eyed Bud, Black Benny, Nicodemus, Dirty Dog, and Steel-Armed Johnny.
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