New Orleans has been known for its rich and diverse spiritual traditions, including a long-standing fascination with the occult. The city's unique blend of African, Caribbean, and European influences has given rise to a vibrant occult community that has thrived for centuries. One of the most well-known aspects of the New Orleans occult scene is voodoo. This African diasporic religion has deep roots in the city and continues to be an important part of its cultural fabric. Voodoo rituals, ceremonies, and practices are regularly performed in New Orleans, attracting both locals and tourists alike. From visiting voodoo shops to participating in voodoo ceremonies, individuals can explore and learn about this mystical spiritual tradition.

The Religious Landscape of New Orleans: Exploring the WPA’s Directory of Churches and Religious Organizations (1941)

Religion has played a prominent role in New Orleans life and culture since its French and Spanish colonial beginnings. Today, the city is home to a wide array of religious denominations including Catholicism, Judaism, and various forms of Protestantism. Each of these groups has a rich and interesting history. These histories, in turn, are interwoven with each other across the spaces and places of the city. One way to understand this complex tapestry is to focus on a particular moment in time. Fortunately, this is possible. During the New Deal Era, the WPA created a directory of the city which contained the names and locations of nearly 800 religious institutions. The WPA archivists working on this project gathered information from a wide range of sources, including official denominational directories, official minutes of conferences and conventions, annuals, journals, pamphlets, city directories, telephone directories, lists of non-taxable property, conveyance records, mortgage records, charters, newspapers, land-use maps, and personal interviews. The information provided in this resource is detailed enough to enable the creation of a large dataset and this dataset is translatable to a fairly detailed Story Map that highlight the religious landscape of New Orleans in 1941. These maps, in turn, makes it possible to localize the various denominations present in the city during the Great Depression. Such localizations are valuable for understanding the parts of the city associated with certain groups. This information can help shed light on social, economic, and racial configurations in the city.

Map of WPA’s Directory of Churches and Religious Organizations, 1941

Research Question

How might the historical information contained in the WPA Directory of Churches and Religious Institutions in New Orleans provide insights about the scale of religious institutions in the city during the New Deal Era? How might this data be visualized and communicated in a meaningful way?

Literature Review

This project presents historical material drawn from primary sources in an interactive, digital format. In turn, exploring literature related to digital history—and how it relates to the digital humanities—provided a helpful lens in creating both the dataset and subsequent ArcGIS Story Map. Daniel J. Cohen and Roy Rosenzweig’s Digital History: A Guide to Gathering, Preserving, and Presenting the Past on the Web (2005), for instance, provided a framework for development and presentation of historical material on the web. While some of the material in the book was not applicable to this particular project, ideas around design, collection, and presentation proved helpful. Drawing on best practices in visualization, and on scholars such as Edward Tufte, Cohen and Rosenzweig highlight certain aesthetic qualities that those interested in digital history should consider. For instance, layout, color, font, design elements, and multimedia should be given a fair amount of thought before beginning to design on the Web. While working within the confines of the free version of ArcGIS, I was careful to be mindful of web safe colors, clear layout, and easy to understand organization of pictures that included captions and photo credits. Additionally, I tried to leverage the Internet to locate materials that could enrich and contextualize the maps created in ArcGIS. These included historic pictures taken by WPA photographers and hosted in the Louisiana Digital Library as well as historical recordings hosted by the Internet Archive’s Audio Collection.

Photos from the Louisiana Digital Library, Louisiana WPA Collection Period Specific Audio used for Story Map – Old Ship of Zion, The Jordanaires (1949)

How digital history relates to, and differs from, digital humanities (DH) is not particularly apparent in Cohen and Rosenzweig’s book on doing digital history. Steven Robertson chapter in the 2016 publication of Debates in the Humanities titled “The Differences between Digital Humanities and Digital History”, however, provides an insightful look into the disciplinary relationship between digital humanities and digital history. While DH is often thought of as a ‘tent’ with many disciplines underneath, Robertson posits that it may be more practical to think of DH as a house with many rooms. He conceptualizes these as, “different spaces for disciplines that are not silos but entry points and conduits to central spaces where those from different disciplines working with particular tools and media can gather” (2016). While Robertson notes the overlap between digital humanities and digital history, he also notes two areas of difference. The first area of difference Robertson identifies is focus. Practitioners of the digital humanities are mostly focused on activities that can be classified as “high” academic—presenting at conferences, holding workshops, and creating complex digital tools. Digital Historians, he argues, are more focused on “practical” outcomes and are directed toward creating tools geared for K-12 education as well as public history. According to Robertson, “[w]hat distinguished Digital History from DH is the extent to which historians use the web to distribute and present material to other scholars, place material online to reach and collaborate with the wider public, and to reach teachers and students in classroom settings” (2016). The second area of difference that Robertson identifies is the use of computational tools. Both practitioners of the digital humanities and also digital historians use many of the same tools—network analysis, text analysis, and image analysis. digital historians, however, “have turned to digital mapping to a greater extent than other disciplines in the digital humanities, adopting it as their favored computational tool” (2016). This emphasis on mapping is valuable to digital historians because it allows them to be granular and explore public histories at the neighborhood level.

The collection, cleaning, and analysis of of data as well as the creation of maps is only one portion of telling stories about the past, however. As Cameron Blevins points out in his chapter in Debates in the Digital Humanities (2016) titled “Digital History’s Perpetual Future Tense,” there is more to the practice of history than crunching numbers or building and employing tools. The role of history as a discipline, Blevins notes, is to offer arguments about the past. These arguments, in turn, spark conversation and further analysis. Digital history, however, has largely avoided making arguments about the data it analyses, categorizes, and visualizes. For Blevins, this is approach is understandable given that many digital history projects have occurred under the aegis of public history, which is concerned more with making history accessible and less with the intricacies of academic debate. Rather than appealing to a handful of specialist professors, digital history projects were designed to engage a wide audience who wanted to learn about the past but were not interested in methodological differences or in the historiography of a particular school of thought. Blevins states that the appeal to wider audiences is laudable and that practitioners of digital history need not abandon the mission of accessibility. He argues, though, for making room for argument in these projects. He states, “making arguments is a fundamentally valuable and necessary way to further our collective understanding of the past. History is an interpretive process and argumentation is a means of making that interpretive process explicit” (2016). The act of developing tools and techniques, the mission of making history more accessible, and the work of making and interpreting arguments about the past are not mutually exclusive but are mutually supportive. In my project, I erred most certainly on the side of making the information as accessible as possible. In its current form, the information does not make deep interpretive arguments about the data gleaned from the primary source material. I make note of the colonial past of the region, the hegemonic role of the church in managing and restricting people’s actions, and the ways in which racism shaped, and was shaped by, the religious landscape of the city, but do not engage in finely nuanced debates. In the future direction section, I offer ideas for analysis that would provide even deeper foundations for the kinds of historical argumentation that Blevins advocates.

Photos from the Louisiana Digital Library

Methodology

The research methods employed in this project included: historical research and information gathering from primary and secondary sources, data collection from primary sources, data cleaning and analysis, and data visualization. The project began with the primary source document written by the WPA, which provided the information on religious institutions collected by the WPA archivists. This data was compiled into a database, which was cleaned using OpenRefine. The information provided about the institutions included addresses, which made it possible to geolocate the listed sites. The institutions were subdivided by religious affiliation and these subsets were used to narrow the scope of the map analysis. The four groups selected for mapping were Catholic, Baptist, Spiritual, and Jewish. These groups were chosen because they represent the major denominations active (in terms of congregations) in New Orleans during the period under study. The geolocation data for all of these sites was mapped to an ArcGis basemap using neighborhood polygons from the NOLA Open Data Portal. The data points used for this large map were subdivided and color-coded so that each church could be differentiated by religious affiliation. Smaller maps for the four main groups were generated from this data. The map data was then supplemented with period-specific photos drawn primarily from the Louisiana Digital Library, many of which came from the Louisiana Works Progress Administration Collection. Further supplemental materials were added in the form of period-specific audio files sourced from the Internet Archive. Unfortunately, the sound quality of the Jewish cantor files was very poor and, as a result, a much later recording was chosen. Finally, brief descriptive texts were added to the audio-visual information to help orient the site visitor to the WPA in New Orleans as well as the history of the denominations. The information in these segments is drawn from scholarly books and articles, blogs, and podcasts. The website for the project was organized so that there is an brief introduction followed by a map containing the nearly 800 locations from the dataset. Next come sections specifically dedicated to the four main religious affiliations under study. Each of these sections contains text, audio file, photos, and a respective map.

Findings

The scale and format of the data provided in the primary source document was not conducive to easy analysis. The information was arranged in alphabetical lists containing addresses and the names of religious leaders. This information was further subdivided by denomination and then by race. While somewhat useful, there were no indications regarding how these data points related to each other. Only after compiling, cleaning, and visualizing the data were patterns visible. In particular, the process of mapping the geolocated sites showed clear geographical evidence of the relative influence of each of the affiliations under study. Not surprisingly, Catholic institutions were spread across the entirety of the city. This appears to reflect the long-standing presence of Catholicism in New Orleans beginning with the first French settlers in the eighteenth century. The other denominations, however, more more tightly bounded and reflected patterns of settlement among different populations. The maps show that Jewish institutions were largely localized in a band running down St. Charles Ave., with outposts in Gentilly and Mid-City. Baptist churches are strongly clustered in the Mid-City, Gert Town, and Hollygrove neighborhoods and stretch out in an arc from Bayou St. John to the Lower Ninth Ward. The sites associated with Spiritual Churches are predominantly located in the Leonidas and Central City neighborhoods to the west and the French Quarter, Lower Ninth Ward, and St. Claude Area to the east. In the cases of the Baptists and the Spirituals, the neighborhoods in which these churches are located strongly correlate to regions with high African American populations.

Future Directions

This project is a good beginning and can be taken in multiple directions. The data, for example, can be analyzed statistically and spatially to see what further patterns emerge. These patterns can then be contextualized by, and help to illuminate, research in fields such as religious studies, urban studies, urban development, geography, race and gender studies, and regional studies (e.g. the History of New Orleans). These contextual studies would benefit from adding data on the religious leaders associated with each institution (priests, pastors, etc.) and comparing the neighborhood in which they lived with the neighborhood in which their church was located. Further, the geographic data locating the various denominations can be put into a larger social milieu by overlaying it with red-line maps. This type of comparative analysis would help shed light on the relative poverty levels within denominations. Finally, the data could be shared and expanded by making it available for contributions through sites such as History Pin.

The Mystery of Marie Laveau: Louisiana’s Voodoo Queen

Just a few blocks from the banks of the mighty Mississippi River and on the outskirts of the historic French Quarter, there lies one of the oldest and most well-known landmarks in New Orleans.

St. Louis Cemetery No. 1 opened in 1789 and, through guided tours, presents an opportunity for sightseers to marvel at the graveyard’s captivating architecture. Because much of New Orleans is below sea level and often faces the threat of flooding, a city ordinance mandated that the cemetery adopt an aboveground style for its memorials shortly after it opened. The cemetery’s design concepts were heavily influenced by Spanish architecture, as the aboveground, crypt-like tombs are extremely common in Spain.

Just how haunted is St. Louis Cemetery No. 1?

What some may not know about the cemetery, though, is that it is home to a tomb that whispers lay claim to contain much more than a simple epitaph.

This brick and mortar memorial I’m referring to is the final resting place of none other than Marie Laveau, Louisiana’s Voodoo Queen.

If you look closely, you can see markings and scratches on the outside of the structure that appear to be the letter “X” in groups of three. It’s said that the visitors who left these markings hoped to have their wishes granted by Laveau, as each “X” represents a wish. Yes, the mysterious powers Laveau allegedly possessed are even thought to continue in afterlife.

Every tomb tells a story, but tales of old say that Marie Laveau’s gravesite doesn’t just tell a story of the past; this story is still being written.

The Life of Marie Laveau

Many of Laveau’s life events such as when she was born have remained unclear, but most records have deduced that she was born in September of 1801. She was the daughter of Charles Laveau and Marguerite D’Arcantel and grew up in New Orleans, Louisiana, where she would live her entire life.

In 1819 and inside St. Louis Cathedral , young Marie Laveau married a man from Sainte-Domingue (present-day Haiti) named Jacques Paris. Shortly after their marriage, though, Paris curiously disappeared and was later reported deceased. There is still no documentation or clear reasoning, however, as to how or why he initially went missing.

Laveau eventually found love again in Christophe Glapion, with whom she had several kids. When Laveau’s grandmother, Catherine Henry, passed away in 1831, the couple purchased her New Orleans cottage on St. Ann Street. Coincidentally, this was the same home in which Laveau was born.

Many of Glapion and Laveau’s kids fell victim to yellow fever, which plagued New Orleans in the 1830s. From then on, Marie Laveau dedicated her life to caretaking and healing the sick, paving the way for the uncommon abilities she’d later develop.

A Voodoo Queen is Born

As time went on, Laveau’s reputation elevated. She became a leader of religious rituals and ceremonies, continued to nurse the sick back to health, and frequently fed the hungry. Local politicians and lawmakers would even go to her seeking consultation for business decisions.

It wasn’t just the profound respect so many had for her, or even her wealth of knowledge about medicine and healing remedies; there was much more to it than that. In addition to being a devout Catholic, Laveau took on another religious practice that many say was the source of her otherworldly talents.

This religious practice is what we know of today as “Voodoo.” Voodoo is an ancient spiritual belief system that originated in Africa in the 1700s before arriving to New Orleans. It began to merge with the beliefs of many of the city’s Catholic practitioners and eventually became synonymous with several Catholic ideals. Those who practiced both Voodoo and Catholicism simultaneously were referred to as “hybrids.”

The hybrid that perhaps was not solely responsible for bridging the gap between the two practices, but the undisputed most famous, is the subject of our mystery. Laveau’s extraordinary ascension in her craft to a level most could not comprehend led to her most fitting title—Louisiana’s Voodoo Queen.

The Mystery Lives On

The queen of New Orleans Voodoo wore her crown proudly as her reign persisted into the mid-1800s and several decades to follow. Her work never saw any serious roadblocks even though some viewed her profession of choice as deceptive and even blasphemous. She would regularly host visitor after visitor during all hours of the day and night, suggesting that whatever questions people had, she had the answers to.

This chapter in Marie Laveau’s story came to an end in 1881 when she peacefully passed away in her St. Ann cottage, but the mark she made on the Crescent City hasn’t easily been forgotten. She is now woven in the history of New Orleans pop-culture and has been the subject of numerous books, movies, television shows, and songs. Many conclusions point to Laveau as being the reason Voodoo became so mainstream in New Orleans in the first place.

So, this begs the question. Why and how is her story still being written? The reason her passing was merely an ending to a chapter and not an ending to her story as a whole re-introduces a large part of this mystery.

One of the many elements within the New Orleans Voodoo belief system is that the end of one’s physical presence is just the beginning of their spiritual one. With this information, is it unreasonable to believe that there’s even just a chance that the one they called “The Voodoo Queen” still lives on today? Ghost tour guides would back up that sentiment and say that on dark, desolate French Quarter nights, her spirit has been spotted roaming her tomb in St. Louis Cemetery.

It’s even said that each “X” on her tomb that has a circle around it represents a wish that has come to fruition. Did the visitors return to the tomb to let others know their wishes came true? Or did the queen herself make the marks in celebration or personal accomplishment?

While there’s no question her legacy has cultivated New Orleans even more than 100 years after her death, clouds loom over the nature of her abilities and whether she continues to utilize her powers to this day.

What stories have you heard about Marie Laveau? Let us know in the comments below!

The Mexican Witch's guide to the occult in New Orleans

Due to its many ghost stories and magical folklore, New Orleans is one of the most sought-after occult destinations in the world. To make the most of your trip here, plan on staying for at least four or five days to enjoy everything New Orleans has to offer.

The Mexican Witch celebrating the Black and Brown Get Down with the Mardis Gras Indians © Valeria Ruelas / The Mexican Witch

Of course, some of the magick of New Orleans is appropriated and exaggerated in popular culture, so for this guide I am only featuring medium-verified places. Read on to find all the places you can spot ghosts, get real potions and learn from actual witches and Black voodoo practitioners. I've also thrown in my favorite spots for dining and entertainment.

But remember, in New Orleans most entertainment is free or has a very low cover charge. Make sure to bring plenty of cash to tip musicians, performers and the spiritual readers.

From visiting voodoo shops to participating in voodoo ceremonies, individuals can explore and learn about this mystical spiritual tradition. In addition to voodoo, New Orleans has a longstanding history of witchcraft and witchcraft-related practices. Witchcraft in New Orleans is often associated with the concept of "gris-gris," a form of magic that involves the use of talismans or charms to bring about desired outcomes.

Before doing anything else

Your starting point is Uxi Duxiin Mid City to purchase herbal potions and elixirs to enhance your spiritual trip. Look for the ones made from Kratom and Kava, known to produce euphoria, relaxation and of course enhance your visions and connection to the spiritual world.

The tomb of Maria Laveau in the St. Louis Cemetery #1 is a popular place to leave offerings and ask for a witch – but it isn't the only place around town to commune with famous spirits © Tacojim / Getty Images

Practitioners of witchcraft in the city often work with herbs, potions, and rituals to harness their power. Alongside voodoo and witchcraft, New Orleans also houses a thriving community of Tarot card readers and psychics. Many shops and boutiques in the city offer services such as psychic readings, tarot card readings, and palm readings, catering to those seeking spiritual guidance or simply out of curiosity. These practitioners claim to have the ability to communicate with the spiritual realm and offer insights into one's past, present, and future. The New Orleans occult scene not only encompasses traditional occult practices but also extends to other spiritual and esoteric traditions. For instance, the Hermetic Order of the Golden Dawn, a magical and mystical society that traces its origins to the late 19th century, has a presence in the city. Members of this order engage in rituals and practices that draw upon ancient Egyptian, Kabbalistic, and alchemical traditions. Overall, New Orleans offers a haven for those interested in exploring the occult and esoteric practices. The city's rich history, diverse cultural influences, and open-minded atmosphere make it an ideal destination for individuals seeking to delve into the mystical and supernatural realm. Whether it be voodoo, witchcraft, divination, or other spiritual traditions, New Orleans continues to captivate and inspire those who are drawn to the occult..

Reviews for "The Occult Underbelly of New Orleans"

1. John - 2 stars

I was really disappointed with "New Orleans Occult". While I was expecting a thrilling and spooky story, what I got was a poorly written and disorganized mess. The plot was confusing and lacked any kind of depth or intrigue. The characters were one-dimensional and completely unrelatable. Overall, it felt like the author didn't put any effort into crafting a meaningful story, and I was left feeling unsatisfied and unsuited.

2. Sarah - 2 stars

"New Orleans Occult" had a promising premise, but unfortunately, it failed to deliver. The writing style was flat and lacked any sort of creativity. I found myself struggling to care about the characters or their predicaments. The pacing was all over the place, with random jumps in time and poorly developed plotlines. This book had the potential to be a riveting occult mystery, but it fell flat on its face. I would not recommend it to anyone looking for a captivating and well-written story.

3. Emily - 1 star

I regret wasting my time reading "New Orleans Occult". The writing was awful, and the grammar mistakes were plentiful. The story seemed disjointed and lacked any sort of cohesion. The characters were poorly developed, and their actions were often unbelievable and inconsistent. Overall, this book felt like a rough draft that was rushed to publication without any editing or revision. Save yourself the trouble and stay away from this poorly written mess.

The Haunting Tales of New Orleans' Occult Legends