Congo Square


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Congo Square
Congo Square
Congo Square is located in East New Orleans
Congo Square
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Congo Square is located in Louisiana
Congo Square
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Congo Square is located in the United States
Congo Square
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LocationJct. of Rampart and St. Peter Sts., New Orleans, Louisiana
Coordinates29°57′39″N 90°4′6″W / 29.96083°N 90.06833°W / 29.96083; -90.06833Coordinates: 29°57′39″N 90°4′6″W / 29.96083°N 90.06833°W / 29.96083; -90.06833
Area2.7 acres (1.1 ha)
NRHP reference No.92001763[1]
Added to NRHPJanuary 28, 1993

Congo Square (French: Place Congo) is an open space, now within Louis Armstrong Park, which is located in the Tremé neighborhood of New Orleans, Louisiana, just across Rampart Street north of the French Quarter. The Tremé neighborhood is famous for its history of African American music.

In Louisiana's French and Spanish colonial era of the 18th century, enslaved Africans were commonly allowed Sundays off from their work. Although Code Noir was implemented in 1724, giving enslaved Africans the day off on Sundays, there were no laws in place giving them the right to congregate. Despite constant threat to these congregations, they often gathered in remote and public places such as along levees, in public squares, in backyards, and anywhere they could find. On Bayou St. John at a clearing called "la place congo" the various ethnic or cultural groups of Colonial Louisiana traded and socialized.[2] It was not until 1817 that the mayor of New Orleans issued a city ordinance that restricted any kind of gathering of enslaved Africans to the one location of Congo Square. They were allowed to gather in the "Place des Nègres", "Place Publique", later "Circus Square" or informally "Place Congo" [3] at the "back of town" (across Rampart Street from the French Quarter), where the enslaved would set up a market, sing, dance, and play music. This singing, dancing and playing started as a byproduct of the original market during the French reign. At the time the enslaved could purchase their freedom and could freely buy and sell goods in the square in order to raise money to escape slavery.[4]

The tradition continued after the city became part of the United States with the Louisiana Purchase. As African music had been suppressed in the Protestant colonies and states, the weekly gatherings at Congo Square became a famous site for visitors from elsewhere in the U.S. In addition, because of the immigration of refugees (some bringing enslaved Africans) from the Haitian Revolution, New Orleans received thousands of additional Africans and Creoles in the early years of the 19th century. They reinforced African traditions in the city, in music as in other areas. Many visitors were amazed at the African-style dancing and music. Observers heard the beat of the bamboulas and wail of the banzas, and saw the multitude of African dances that had survived through the years. There were a variety of dances that could be seen in Congo Square including the Bamboula, Calinda, Congo, Carabine and Juba. The rhythms played at Congo square can still be heard today in New Orleans jazz funerals, second lines and Mardi Gras Indians parades.

Townsfolk would gather around the square on Sunday afternoons to watch the dancing. In 1819, the architect Benjamin Latrobe, a visitor to the city, wrote about the celebrations in his journal. Although he found them "savage",[3] he was amazed at the sight of 500-600 unsupervised slaves who assembled for dancing. He described them as ornamented with a number of tails of the smaller wild beasts, with fringes, ribbons, little bells, and shells and balls, jingling and flirting about the performers' legs and arms. The women, one onlooker reported, wore, each according to her means, the newest fashions in silk, gauze, muslin, and percale dresses. The males covered themselves in oriental and Indian dress and covered themselves only with a sash of the same sort wrapped around the body. Except for that, they went naked.

One witness noted that clusters of onlookers, musicians, and dancers represented tribal groupings, with each nation taking their place in different parts of the square. The musicians used a range of instruments from available cultures: drums, gourds, banjo-like instruments, and quillpipes made from reeds strung together like pan flutes, as well as marimbas and European instruments such as the violin, tambourines, and triangles. Gradually, the music in the square gained more European influence as enslaved English-speaking Africans danced to songs like “Old Virginia Never Tire.” This mix of African and European styles helped create African American culture.

White Creole composer Louis Moreau Gottschalk incorporated rhythms and tunes he heard in Congo Square into some of his compositions, like his famous Bamboula, Op. 2.

As harsher United States practices of slavery replaced the more lenient French colonial style, the gatherings of enslaved Africans declined. Although no recorded date of the last of these dances in the square exists, the practice seems to have stopped more than a decade before the end of slavery with the American Civil War.

Dance in Congo Square in the late 18th century, artist's conception by E. W. Kemble from a century later

In the late 19th century, the square again became a famous musical venue, this time for a series of brass band concerts by orchestras of the area's "Creole of color" community. In 1893, the square was officially named “Beauregard Square” in honor of P.G.T. Beauregard, a Confederate General who was born in St. Bernard Parish and led troops at the Battle of Fort Sumter. This was part of an attempt by city leaders to suppress the mass gatherings at the square. While this name appeared on some maps, most locals continued to call it "Congo Square". Local New Orleans author and historian Freddi Williams Evans was the main advocator for the name change. As a result of her encouragement, City Councilwoman Kristin Gisleson Palmer created an ordinance to rename the area Congo Square in 2011. In the ordinance, Palmer claimed that “By restoring the name, Congo Square will continue to be remembered for the birthplace of the culture and music of New Orleans” and that “Jazz is the only truly indigenous American art form, and arguably its genesis was Congo Square, a true gift to the entire country and world.” In 2011, the New Orleans City Council officially voted to restore the traditional name Congo Square.[5][6][7]

In the 1920s New Orleans Municipal Auditorium was built in an area just in back of the Square, displacing and disrupting some of the Tremé community.

In the 1960s a controversial urban renewal project leveled a substantial portion of the Tremé neighborhood around the Square. After a decade of debate over the land, the City turned it into Louis Armstrong Park, which incorporates old Congo Square.

Starting in 1970, the City organized the New Orleans Jazz & Heritage Festival and held events annually at Congo Square. As attendance grew, the city moved the festival to the much larger New Orleans Fairgrounds. In the late 20th century and early 21st century, Congo Square has continued to be an important venue for music festivals and a community gathering place for brass band parades, protest marches, and drum circles.

  1. ^ "National Register Information System". National Register of Historic Places. National Park Service. July 9, 2010.
  2. ^ Usner, Daniel Henry, Jr. (1981). Frontier exchange in the lower Mississippi valley: race relations and economic life in Colonial Louisiana, 1699-1793. (Thesis. PhD, Duke University). p. 251
  3. ^ a b Peter Kolchin, American Slavery, Penguin History, paperback edition, 47
  4. ^ Johnson, Jerah. Congo Square in New Orleans. Pelican Publishing Company, Inc., 2011.
  5. ^ Culture Watch: A return to Congo Square on
  6. ^ ""Statement from Councilmember Kristin Gisleson Palmer." NOLA City Council. April 27, 2011. Accessed April 28, 2015".
  7. ^ DeBerry, Jarvis (June 25, 2019). "Going back to Congo Square: Jarvis DeBerry". (published April 26, 2011). Retrieved July 27, 2020.

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