Renia Ehrenfeucht and Ana Croegaert
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780262036573
- eISBN:
- 9780262341554
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262036573.003.0006
- Subject:
- Architecture, Architectural History
During 2010s, in response to new food truck operators, the city of New Orleans loosened regulations for food truck vending. At the same time the city turned its regulatory eye towards other forms of ...
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During 2010s, in response to new food truck operators, the city of New Orleans loosened regulations for food truck vending. At the same time the city turned its regulatory eye towards other forms of street vending and introduced a new second line vending ordinance. Using the New Orleans case, we argue that relaxing rather than revising regulations—and subsequently planning for ways to make street vending compatible with other activities—would be more effective and just. The authors participated in and observed 32 second line parades (parades organized and sponsored by African-American historic benevolent societies) during one season to understand how second line vending played out and the potential impacts of the new ordinance. This analysis demonstrates that compliance with the second line ordinance would have restricted vending without resolving identified concerns. New Orleans is an instructive case because the intent was to allow rather than eliminate vending. We argue that increasing compatibility between vending and other street activities makes food and goods available in the spaces were urban residents can most easily access them, and thereby establishes a more effective and just public space.Less
During 2010s, in response to new food truck operators, the city of New Orleans loosened regulations for food truck vending. At the same time the city turned its regulatory eye towards other forms of street vending and introduced a new second line vending ordinance. Using the New Orleans case, we argue that relaxing rather than revising regulations—and subsequently planning for ways to make street vending compatible with other activities—would be more effective and just. The authors participated in and observed 32 second line parades (parades organized and sponsored by African-American historic benevolent societies) during one season to understand how second line vending played out and the potential impacts of the new ordinance. This analysis demonstrates that compliance with the second line ordinance would have restricted vending without resolving identified concerns. New Orleans is an instructive case because the intent was to allow rather than eliminate vending. We argue that increasing compatibility between vending and other street activities makes food and goods available in the spaces were urban residents can most easily access them, and thereby establishes a more effective and just public space.
Joel Dinerstein
- Published in print:
- 2018
- Published Online:
- September 2019
- ISBN:
- 9781496817020
- eISBN:
- 9781496817068
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496817020.003.0011
- Subject:
- History, Cultural History
There has been a weekly Sunday African-American second-line parade for 150 years in New Orleans--a diffused democratic street ritual of performativity enacted through dance, music, and stylin'. The ...
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There has been a weekly Sunday African-American second-line parade for 150 years in New Orleans--a diffused democratic street ritual of performativity enacted through dance, music, and stylin'. The main action focuses on the sponsoring Social Aid and Pleasure Club, who parade between the ropes with their hired brass-band, on-stage and for public consumption. Yet the so-called second-liners rolling and dancing outside the ropes provide the peak moments of aesthetic excellence in their claiming of interstitial spaces: on the sidewalks between the street and house-lines; on church-steps, atop truck beds or along rooftops; on porches, stoops, and billboards. Drawing on a living tradition of New Orleans African-American expressive culture, individuals display creative style as both personal pleasure and social invigoration. The physical gestures and non-verbal messages of this vernacular dance are here analysed through a series of images by second-line photographer Pableaux Johnson.Less
There has been a weekly Sunday African-American second-line parade for 150 years in New Orleans--a diffused democratic street ritual of performativity enacted through dance, music, and stylin'. The main action focuses on the sponsoring Social Aid and Pleasure Club, who parade between the ropes with their hired brass-band, on-stage and for public consumption. Yet the so-called second-liners rolling and dancing outside the ropes provide the peak moments of aesthetic excellence in their claiming of interstitial spaces: on the sidewalks between the street and house-lines; on church-steps, atop truck beds or along rooftops; on porches, stoops, and billboards. Drawing on a living tradition of New Orleans African-American expressive culture, individuals display creative style as both personal pleasure and social invigoration. The physical gestures and non-verbal messages of this vernacular dance are here analysed through a series of images by second-line photographer Pableaux Johnson.
