In February 2021, the usual bustle of New Orleans’ Canal Street stopped when onlookers noticed that the stone pedestal, which had once held a bronze statue dedicated to Confederate President Jefferson Davis, now showcased a plastic-encased Mardi Gras Indian ensemble. This striking garment was a massive, intricately beaded, feathered dark green creation belonging to Demond Melancon, the Big Chief of the Young Seminole Hunters Tribe of the 9th Ward.
Commuters may have thought the suit’s unusual display was due to the pandemic’s impact on the Mardi Gras season. However, according to Big Chief Melancon, this “act of rebellion” was tied to the rich legacy of the Mardi Gras Indians and their history within the vibrant tapestry of New Orleans.
Often seen as the captivating totems of the festival season, the Indians, also known as the Black Masking Indians, have origins founded in traditions that symbolize a unique connection between African and Indigenous heritage in the Crescent City.
In the 1600s, when French colonizers began to invade areas around the Mississippi River, they encountered several Indigenous tribes, including the Chitimachas, Seminoles, Choctaws and Chickasaws. As colonization progressed, both Indigenous and the newly trafficked Africans found themselves united in their struggles against displacement and enslavement. Throughout these tumultuous years, the two groups allied to resist oppression.
Enslaved Africans fleeing inhumane conditions sought refuge in the swamps, heavily wooded areas and outskirts of the city. Over time, these new encampments became known as “maroon” settlements. They continued to build fellowship and community with the Indigenous tribes that had also been displaced. The area’s inhabitants evolved to reflect a mixed ancestry of African, Indian Ocean Islander and Indigenous heritage. Their solidarity laid the foundation for the cultural exchange that would later shape the traditions and customs of the Indians.
“We’re paying tribute to the First Nation people,” Melancon told Forbes during a recent phone interview. He added that many participants in “masking,” like himself, can trace their family roots back to the tribes that once inhabited the region.
The first documented appearances of the Indians dates back to 1746, when free men of color began wearing masks, feathered headdresses and colors inspired by the Indigenous tribes with whom they had lived. Marginalized groups would often gather in the maroon settlements and designated areas of the city, such as Congo Square, to celebrate Mardi Gras and other events from which they had been excluded.
Today, the Indians are no longer confined to the city’s hidden or “for Colored-only” areas. They are now recognized as official participants of the carnival season.
Currently, there are 40 active tribes that participate in parades and events during Mardi Gras, Super Sundays and St. Joseph’s Day. Each tribe has a hierarchy that includes positions such as Big Chief, Big Queen, Spy Boy and Flag Boy.
“It’s an honor. It’s something that you have to uphold to teach the next generation. You have to honor your calling,” says Melancon, reflecting on the significance of being crowned the Big Chief in 2012. In addition to educating his tribe members, or “krewe,” about the traditions and heritage of their Indigenous and African ancestors, Melancon also oversees the creation of the suits that his “maskers” will wear for the upcoming festivities. These elaborate suits are more than just costumes; they are intricate works of art that serve as inspiration and spiritual expression.
Each piece created by Melancon can take up to an entire year to complete and incorporates elements from the ceremonial dress of both cultures. The beadwork and design features of each suit are intentionally placed to convey a unique visual story that reflects a common historical thread.
In 2008, after Hurricane Katrina’s devastation, Melancon returned to masking. While living in a FEMA trailer with his wife, he crafted the “Buffalo Hunt” suit, which depicts Indigenous tribes hunting buffalo on horseback with a bow and arrow. That year, he was named “Spy Boy of the Nation,” a title that recognized his discipline, dedication and ferocity.
Honoring his new role as Big Chief, Melancon wore the “Red Cloud & Sitting Bull” suit in 2013, inspired by the renowned Lakota tribe leaders—Chief Red Cloud and Chief Sitting Bull—who were both known for their tireless fight against American forces.
His latest suit, “Jah Defender,” created in 2020, is inspired by Ethiopian royalty Haile Selassie and Empress Menan. The main apron features a Nyabinghi warrior on horseback positioned above the Ethiopian icon of Saint George.
Melancon’s suits have brought the creativity of the Indians to a global audience with exhibitions in various prestigious museums, such as the Museum of African Diasporan Art in Brooklyn, New York; the Victoria and Albert Museum in London; the Art Gallery of New South Wales in Sydney, Australia and Charleston, South Carolina’s International African American Museum.
Melancon describes, “We channel spirits in our suits.” Later, he acknowledges that, like his Indigenous ancestors, his role as Big Chief is to “teach” and “challenge” his tribe members.
While the elaborate costumes, hierarchy and performative face-offs pay homage to the Indigenous people, the songs and dance style are deeply rooted in their African heritage.
“The dance comes from Africa. The Bamboula beat and dance comes from Africa. The call-and-response [music] comes from Africa,” he explains. Melancon emphasizes that the drum is the backbone of the tribe’s music, often leading alongside the Big Chief. He noted that the sensation of “communicating with one another directly through the drum” reflects African influence.
On average, over one million tourists enter the city in the final days before Mardi Gras, more than three times the city’s 2024 population of 357,767.
The increase in people has an undeniable financial impact. In 2023, Tulane University Economics Professor of Practice Toni Weiss presented a study analyzing the economics of the 2023 Mardi Gras Season and reported nearly $900 million in total fiscal benefit for the city, accounting for over 3% of the total Gross Domestic Production of Orleans Parish that year.
These astronomical numbers have made Mardi Gras and everything associated with it a gold mine for corporate commercialization. However, Melancon uses his influence to ensure that the city, its inhabitants, and their culture are authentically represented globally.
As a New Orleans Tourism and Cultural Fund board member, he stood firm in his stance that the Indians should be “fully incorporated” into anything the NFL planned for Super Bowl LIX.
The league followed his advice by having members of various krewes perform during the pre-show of the big game and having fellow Black Masker Tahj “Queen Tahj” Williams create the official Super Bowl LIX logo incorporating the beadwork synonymous with the Indian’s costumes.
Several of the city’s museums, such as the Backstreet Cultural Museum, House of Dance and Feathers and New Orleans African American Museum, are committed to preserving and presenting the history of the Mardi Gras Indians to tourists and natives alike.
The Mardi Gras Indians continue to evolve with the times, yet they remain a lasting reflection of the foundation of deep cultural exchange in New Orleans. Initially, their traditions honored their Indigenous allies, but they have since transformed to include a broader celebration of the African diaspora and spirituality.
Their unwavering representation of resilience and solidarity is a powerful reminder of the city’s complex history. With their striking suits and soulful chants, the Mardi Gras Indians echo the stories of those who came before them, ensuring that the connections forged through struggle and celebration are never forgotten.