Mardi Gras Carnival balls are traditional New Orleans events when krewe organizations present their seasonal mock monarchs. Traditionally, these ballroom spectacles included tableaux vivants performances, the grand march and promenade of the season’s royal court, special dances with masked krewemen, and general ballroom dancing. These events reinforced generational ties through the display of social power in a place where women were crystallized into perfect images of Southern beauty. Since the mid nineteenth century, old-line krewes (the oldest, most elite Carnival organizations) have cultivated patriarchal traditions in their ball presentations and have acted as historical vehicles of commentary on personal and social identity. The manner in which krewe members used their bodies to proclaim their royalty, to promenade, or to dance, all signified individual social roles and represented the evolving mores of their connected group. Likewise, masked courtiers and fashionable guests used their bodies in ballroom dancing to uphold or refute acceptable standards of male and female behavior. From 1870 to 1920, old-line krewes dominated the private terrain of New Orleans Mardi Gras. Through their steadfast commitment to performing white elitism, traditional krewes set the stage for the gender battles of the twentieth century, when female, black, and gay bodies, within newly formed krewes, used dance in their own carnival balls to define modern and diverse sexual, personal, and communal identities.
|School:||The Florida State University|
|School Location:||United States -- Florida|
|Source:||DAI-A 69/07, Dissertation Abstracts International|
|Subjects:||American history, Dance, Gender studies|
|Keywords:||Ballroom dancing, Carnival balls, Gender performance, Louisiana, Mardi Gras, New Orleans, Tableaux vivants|
Copyright in each Dissertation and Thesis is retained by the author. All Rights Reserved
The supplemental file or files you are about to download were provided to ProQuest by the author as part of a
dissertation or thesis. The supplemental files are provided "AS IS" without warranty. ProQuest is not responsible for the
content, format or impact on the supplemental file(s) on our system. in some cases, the file type may be unknown or
may be a .exe file. We recommend caution as you open such files.
Copyright of the original materials contained in the supplemental file is retained by the author and your access to the
supplemental files is subject to the ProQuest Terms and Conditions of use.
Depending on the size of the file(s) you are downloading, the system may take some time to download them. Please be