Abstract
This article explores the history and contemporary significance of African American religious internationalism in New Orleans through the popular religious traditions, identities, and performance forms celebrated in the second lines of the city's jazz street parades. The second line is the group of dancers who follow the first procession church and club members, brass bands and Black Indians. The second line theme allows me to investigate how African diasporic religious and musical identities from Haiti and West and Central Africa are re-imagined and circulated globally in New Orleans jazz and popular religious performances.
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