The Tribes Tootie Montana on Indian Hierarchy: "You've got first chief, which is Big Chief; First Queen; you've got Second Chief and Second Queen; Third Chief and Third Queen. First, Second, and Third chiefs are supposed to have a queen with them. That's just tradition.I found them doing that. Your fourth chief is not called fourth chief, he's the Trail Chief. From there on it's just Indians, no title. You also have your Spy Boy, your Flag Boy and your Wild Man. Your Spy Boy is way out front, three blocks in front the chief. The Flag Boy is one block in front so he can see the Spy Boy up ahead and he can wave his flag to let the chief know what is going on. Today, they don't do like they used to. Today you're not going to see any Spy Boy with binoculars around his neck and a small crown so he can run. Today a Spy Boy looks like a chief and somebody carrying a big old stick. It's been years since I seen a proper flag. Today everybody has a chief stick. The Wild Man wearing the horns in there to keep the crowd open and to keep it clear. He's between the Flag Boy and the Chief." (Wikipedia) And/or "Mardi Gras Indians are secretive because only certain people participated in masking -- people with questionable character. In the old day, the Indians were violent; Indians would meet on Mardi Gras, it was a day to settle scores." - Larry Bannock, President,
	Excerpts from A Commentary: African Cultural Retentions in Louisiana By Charles E. Siler Louisiana's undiluted retentions stem from an unbroken line to African culture during the state's colonial period. In a recent article entitled "Myths about Creole Culture in Louisiana," published in Louisiana Cultural Vistas magazine (Summer 2001),  GwendolynHall makes a statement that is indirectly supportive of this concept. Almost all slaves introduced into colonial Louisiana came directly from Africa (1719). Most Atlantic slave trade voyages during the French period stopped off in various Caribbean islands for refreshment and supplies, but then they brought what was left of their 'cargo' to Louisiana. During the Spanish period, substantial numbers of ships arrived in Louisiana coming from the Caribbean bringing slaves, but Louisiana slaveholders and slave traders met ships coming directly from Africa as they docked in various Caribbean islands, purchased new Africans, and transhipped them to Louisiana. This infers that African cultural traits, which have persisted throughout the history of enslavement in Louisiana were not filtered through another environment. Processionals are an integral part of African culture and, in New Orleans, the second line is the archetypal expression of celebration. The second line is usually associated, outside of the area, with the jazz funeral tradition, which is only one place where it occurs. There are a variety of first lines - marching clubs, Mardi Gras Indian gangs, funerals, brass bands, and a variety of other, some newly created, celebrations. The name, Second Line, describes the followers of the first line. These are the drummers, dancers and others who follow the primary activity and give it support. The second line and its reflection of Louisiana's Senegambian connection links us to a processional dance called the Saba. The line's movement is full of improvisation, a characteristic that links it to the processional formats of the Rara and Junkanoo traditions of the Caribbean and the Samba societies of Brazil. Each processional is reflective of regional developments born of environment and availability of decorative materials. Louisiana's Mardi Gras Indians reflect the influence of the Plains Indians of North America in the generalised style of headpieces, also called crowns that are created. It is in the style of beadwork and suit construction where the African influence appears. The African continuum is illustrated by examples such as the work of Chiefs Bo Dollis (Wild Magnolias), Monk Boudreaux (Golden Eagles) and Larry Bannock (Golden Star Hunters) whose "Uptown style" suits reflect, in their beading technique, Nigerian influences. On the other hand, Chief Allison "Tootie" Montana (Yellow Pocahontas), credited with the development of the "Downtown style" suit, reflects a Bakongo (or Kongo) influence. (Kongo is also the source of the blacksmith and Shango ironworker cults. African ironworkers are responsible for much of the ornamental "lacework" that adorns Vieux Carre balconies.) Chief Montana, known for his sculptured suits, is a retired ironworker. Modern incarnations within the Indian masking tradition are reflected in the design work of Victor Harris (Spirit of the Fi Yi Yi). Harris' masking style relates to the Bambara/Mandinka cultural links via their use of animistic design, raffia, and feathers, while still incorporating the sculptured patch structure related to the downtown Indians. Chief Clarence Dalcour of the Creole Osceola and his designer, Alvert Brown, created a style reminiscent of the Haitian Rara flags using sequins and beads in combination to create elaborate two-dimensional designs. The sequin and bead combination is also seen in the Brazilian Samba societies where these items are used in the creation of new costumes for their annual Carnival celebrations. The Mardi Gras Indians also retained the Bamboula, which describes a drumbeat and dance. For nearly one hundred and twenty years the Bamboula, associated with Louisiana Congo Square legacy, was kept intact within that tradition. . This entire earticle was originally published in the 2001 Louisiana Folklife Festival booklet. Charles "Chuck" Siler was the  program coordinator at the Louisiana State Museum.             -