Firewater - the Music of Mardi Gras Indians
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Lesson 4 Firewater - the Music of the Mardi Gras Indians

Essential Question

How has music brought Mardi Gras Indians into mainstream culture?

Objectives

Students will be able to:

  • Understand the forms and influence of Mardi Gras Indian music.

Materials Needed

  • Computer or Tablet
  • Media links (see below)
  • Berklee PULSE Account
  • Whiteboard

Media

Lesson 4: Firewater - the Music of the Mardi Gras Indians

  1. Watch the video of 2022 Uptown Super Sunday (5:44). After watching the video, ask students:
    • What instruments did you hear in the video?
    • What did you notice about the songs they performed?
    • Were the songs repetitious? Did they involve singing?
    • What happened when Mardi Gras Indians from two different tribes interacted with one another?
  2. Explain to students that in addition to their elaborate suits, the Mardi Gras Indian tradition also includes music. Many Mardi Gras Indian songs utilize call and response exchanges between the Big Chief and the rest of the tribe. These songs can last for a couple of minutes or much longer.
    • The songs are structured with repeated rhythms, like the Bamboula or Street Beat and repeated melodic lines.
    • The Big Chief often puts their own stamp or flair on songs within the Mardi Gras Indian repertoire.
  3. Explain to students that Mardi Gras Indians get together to rehearse their songs and dance. These practice sessions are similar to festivities that have been held on Sunday afternoons in Congo Square.
  4. Watch the video of Big Chief Jake Millon and White Eagles rehearsing "My Big Chief’s Got a Golden Crown" (8:23) during their practice in 1982. Note: This video can be presented in shorter segments to adjust to allotted class time.
  5. Ask students:
    • What did they observe about this practice? Are the instruments the same or different than those observed in some of the other Mardi Gras Indian videos they watched? What instruments or found objects do they play on?
    • How would they describe what’s happening in the music? Is there a leader in this music?
    • Why do you think the music you’ve heard is so uptempo? Note: The music is meant to help keep people moving, especially recognizing their suits are so heavy.
  6. Explain to students that Mardi Gras Indian music began to evolve from what they heard in the Super Sunday video and White Eagle rehearsal due to the music being recorded for the very first time.
  7. Watch the video of Quint Davis, producer of the New Orleans Jazz and Heritage Festival, describing recording the first Mardi Gras Indian recording of Big Chief Bo Dollis, Sr. (4:11).

     

  8. Listen to Big Chief Bo Dollis, Sr. as he describes recording the song "Handa Wanda" (4:53).
    • Explain to students that by recording Mardi Gras Indian music, it not only allowed more individuals to access the music, but it also allowed for the merging of a new sound - Mardi Gras Indian funk.
  9. Listen to "Handa Wanda" by the Wild Magnolias.
    • What elements of the song retain the traditional qualities of Mardi Gras Indian music?
    • What’s the instrumentation on this song? How does it help emphasize the call and response patterns known in Mardi Gras Indian music?

      Note: The song features Big Chief Bo Dollis, Sr., Big Chief Monk Boudreaux, along with members of the Wild Magnolias, as well as Wille Tee, saxophonist Earl Turbinton, conga player Alfred “Uganda” Roberts, drummer Joseph “Zigaboo” Modeliste, bassist George French, and Snooks Eaglin.

  10. Explain to students that several Mardi Gras Indian tribes performed at the first annual New Orleans Jazz and Heritage Festival in 1970. This was the first time that Mardi Gras Indians performed at a major music festival and along with the first Mardi Gras Indian recording marked an increase in visibility and interest in the Mardi Gras Indians.
  11. Hand out the Worksheet - Mardi Gras Indian Songs. Students will fill in the worksheet for steps 13 to 19 below.
  12. Explain to students that they’ll be listening to the same song, Tu Way Pocky Way; however, the interpretations between Big Chiefs changes.
  13. Listen to "To-Way-Bac-A-Way" (1958). Note: this recording is a field recording, with the song clip ending at 1:06. The recording contains the phrase “don’t give a damn.” After listening to the song, ask students:
    • What instrument(s) do you hear on the recording? Which one is playing the rhythmic foundation of the song?
    • What sort of song form is used?
    • Do the song lyrics seem to be pre-written or improvised?
  14. Explain to students that Mardi Gras Indians may use drums, tambourines, bottles tapped with sticks, cowbells, and anything else that can be played in a percussive manner. When learning songs, everything is learned by ear rather than via sheet music or formal methods of learning.
  15. Listen to Two Way Pak E Way by The Wild Magnolias (1974) (7:49). After listening to the song, ask students:
    • What instrument(s) do you hear on the recording? Which one is playing the rhythmic foundation of the song?
    • What sort of song form is used? How does this form differ from the previous version?
    • Do the song lyrics seem to be pre-written or improvised? What references do you hear in the lyrics?
    • What sort of musical influences do you hear in this recording?
  16. "Tu Way Pocky Way" by Big Chief Juan Pardo and the Golden Comanches (2015) (3:32). After listening to the song, ask students:
    • What instrument(s) do you hear on the recording? Which one is playing the rhythmic foundation of the song?
    • What sort of song form is used? How does this form differ from the previous version?
    • Do the song lyrics seem to be pre-written or improvised? What references do you hear in the lyrics?
    • What sort of musical influences do you hear in this recording?
  17. "Tu Way Pocky Way" by Flagboy Giz (2021) (2:22). After listening to the song, ask students:
    • What instrument(s) do you hear on the recording? Which one is playing the rhythmic foundation of the song?
    • What sort of song form is used? How does this form differ from the previous version?
    • Do the song lyrics seem to be pre-written or improvised? What references do you hear in the lyrics?
    • What sort of musical influences do you hear in this recording?
  18. After listening to and analyzing the different versions of Tu Way Pocky Way. Ask students:
    • What do you think Tu Way Pocky Way Means? Note: it means “get out of the way”.
    • Do you think that the more modern recordings have been able to retain feeling as more traditional interpretations?
    • Different genres were reflected in each version you heard of this song; which one did you like the most? Why?
  19. Continue the listening explorations using the song "Firewater."
    • Students will first listen to "Firewater" from Take Me to the River New Orleans.
       

      • What instrument(s) do you hear on the recording? Which one is playing the rhythmic foundation of the song?
      • What sort of song form is used?
      • Do the song lyrics seem to be pre-written or improvised? What references do you hear in the lyrics?
      • What sort of musical influences do you hear in this recording?
      • Does this recording have a more traditional or modern feel?
    • Then students will listen to "Firewater" by Big Chief Bo Dollis, Jr. and the Wild Magnolias (4:28).
       

      • What instrument(s) do you hear on the recording? Which one is playing the rhythmic foundation of the song?
      • What sort of song form is used?
      • Do the song lyrics seem to be pre-written or improvised? What references do you hear in the lyrics?
      • What sort of musical influences do you hear in this recording?
      • Does this recording have a more traditional or modern feel?
    • Then students will listen to "Firewater" by Cha Wa (4:49).
      • What instrument(s) do you hear on the recording? Which one is playing the rhythmic foundation of the song?
      • What sort of song form is used?
      • Do the song lyrics seem to be pre-written or improvised? What references do you hear in the lyrics?
      • What sort of musical influences do you hear in this recording?
      • Does this recording have a more traditional or modern feel?

Assessment/Extensions

Assessment

  • Students are able to identify call and response patterns in Mardi Gras Indian music.
  • Students are able to identify the instrumentation in Mardi Gras Indian music.
  • Students can describe how Mardi Gras Indian music changed after it started to be recorded and shared outside of the Mardi Gras Indian community.

Extensions

Key Terms

  • Bamboula Rhythm (Also known as the Second Line Rhythm or Street Beat) - A rhythm that derives from the structural core of sub-Saharan African music traditions. It is at the foundation of New Orleans African American musical styles including jazz, brass band music, and the music of Mardi Gras Indians. This rhythm is also prevalent in musical traditions found in many parts of the African Diaspora.
  • Call and Response - The succession of two musical phrases where the second phrase is a direct response to the first phrase.
  • Mardi Gras Indian - Mardi Gras Indians are African American men, women, and children in New Orleans who are part of tribes (also referred to as gangs) that mask in elaborately hand-beaded and feathered suits inspired by Indigenous and West African ceremonial dress.