Expressions of African musical and religious traditions in the city's Carnival culture

In his new book, Richard Brent Turner explores the history and contemporary significance of the popular religious traditions, identities, and performance forms celebrated in the second lines of the jazz street parades of black New Orleans. The second line is the group of dancers who follow the first procession of church and club members, brass bands, and grand marshals. Here musical and religious traditions interplay. Turner's book examines the relationship of jazz to indigenous religion and spirituality. It explores how the African diasporist religious identities and musical traditions from Haiti and West and Central Africa are reinterpreted in New Orleans jazz and popular religious performances. And it describes how the participants in the second line create their own social space, while becoming proficient in the arts of political disguise, resistance, and performance. Jazz Religion, the Second Line, and Black New Orleans fills an important gap in the scholarship on urban folk religion, and music and religion in New Orleans.