"Fighting with Death"
Beaded patch by Floyd Track, Second Chief of the Wild Tchoupitoulas
Photograph by Kim Vaz-Deville
2016
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"Iron Horse"
Patch created by Floyd Track, Second Chief of the Wild Tchoupitoulas, 2012
Photograph by Kim Vaz-Deville
2018
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"Keeper of the Birds"
Patch created by Floyd Track, Second Chief of the Wild Tchoupitoulas, 2014
Native American tribes have guardians, protectors, and defenders of the natural and spiritual realms. Those who perform these important organizational, cultural, and religious roles are known as “keepers.” Track designed patches in tribute to the “Keeper of the Earth” and “Keeper of the Birds.” In the former design, a hand holds the earth as water flows into the soil. In the patch shown here, crows flock around the Keeper, a spirit of the sky who lacks a physical body.
Photograph by Kim Vaz-Deville
2018
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“Consulting with the Great One and Relaying the Message to the Tribe”
Beaded patch by Floyd Track, Second Chief of the Wild Tchoupitoulas
Photograph by Kim Vaz-Deville
2016
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“Spirit of the Graves”
Patch created by Floyd Track, Second Chief of the Wild Tchoupitoulas, 2017.
Floyd Track’s beaded patches, as these components are called in the uptown style of sewing, have concentrated on Native American vignettes as allegories for African American struggles.
Photograph by Kim Vaz-Deville
2018
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<em><em>Left to right: </em></em>Jerome “JJ” Carter, J’wan Boudreaux, Floyd Edwards, Nigel Pleasant of the Golden Eagles
Photograph by Erika Goldring
St. Joseph’s Night 2019
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<em>Mansa Musa, </em>Floyd Edwards, Spy Boy of the Golden Eagles
Suit with a breastplate and apron honoring the 14th-century ruler of the Islamic Mali Empire, <em>Mansa Musa</em>. He is in procession with the tribe’s Wild Man, Charlie Martin, on St. Joseph’s night. For African Americans, Islam has successfully addressed neglected issues and the intention in the suit is to convey this sentiment.
Photograph by Erika Goldring
St. Joseph's Night 2019
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<p><em>Ethiopia</em>, Demond Melancon, Big Chief of the Young Seminole Hunters</p>
Photograph by Gabriel Bienczycki
2018
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<p><em>Haile Selassie</em>, Demond Melancon, Spy Boy of the Seminole Hunters </p>
<p>The traditional story of the origin of Black masking Indians is that the practice emerged to pay homage to Native Americans who had sheltered runaway enslaved people. In creating his suits, Demond Melancon shifted attention to rebellions plotted by these fugitive communities, such as the exploits of Bras-Coupé, a legendary escapee who led raids to supply the runaway, or maroon, settlements. Melancon has also focused on masking mentors, such as Ferdinand Bigard, whose beaded artwork <em>Eye of God</em> is on display in this exhibition.</p>
Photograph by Christopher Porché West
2010
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<p><em>Healing Humanity</em>, Janet “Sula” Evans, Medicine Queen of the Spirit of Fi Yi Yi and the Mandingo Warriors </p>
<p>This suit, <em>Healing Humanity</em>, honors Asase Yaa and Babaluaye. Asase Yaa is mother earth in the West African Akan tradition and the Twi language. Invoked to heal the planet and humanity, she is typically depicted with a pregnant belly, which symbolizes hope and blessings for the future. Babaluaye is an orisha, or force of nature, that also heals, sweeping the earth clean from pestilence and disease.</p>
Photograph by Vincent Simmons
Mardi Gras 2020
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