This thesis is about the self-identity of antebellum New Orleans's free people of color. The emphasis of this work is that French culture, mixed Gallic and African ancestry, and freedom from slavery served as the three keys to the identity of this class of people. Taken together, these three factors separated the free people of color from the other major groups residing in New Orleans - Anglo-Americans, white Creoles and black slaves. The introduction provides an overview of the topic and states the need for this study. Chapter 1 provides a look at New Orleans from the perspective of the free people of color. Chapter 2 investigates the slaveownership of these people. Chapter 3 examines the published literature of the free people of color. The conclusion summarizes the significance found in the preceding three chapters and puts their findings into a broader interpretive framework.

Visitors to Antebellum New Orleans rarely failed to comment on the highly visible population of free persons of color, particularly the women. Light, but not white, the women who collectively became known as Quadroons enjoyed a degree of affluence and liberty largely unknown outside of Southeastern Louisiana. The Quadroons of New Orleans, however, suffered from neglect and misrepresentation in nineteenth and twentieth-century accounts. Historians of slavery and southern black women, for example, have written at length on the sexual experiences of black women and white men. Most of the research, however, centers on the institutionalized rape, victimization, and exploitation of black women at the hands of white males. Even late into the twentieth century, scholars largely failed to distinguish the experiences of free women of color from those of enslaved women with little nuance in regard to economic, educational, and cultural differences. All women of color -- whether free or enslaved -- continued to be viewed through the lens of slavery. Studies that examine free women of color were rare and those focusing exclusively on them alone were virtually nonexistent. As a result, the actual experiences of free women of color in the Gulf States passed unnoticed for generations. In the event that the Quadroons of New Orleans were mentioned at all, it was normally within the context of the mythologized balls or in scandalous tales where they played the role of mistress to white men, subsequently resulting in a one dimensional character that lived expressly for the enjoyment of white males. Due to the relative silence of their own voices, approaching the topic of New Orleans’ Quadroons at length is difficult at best. But by placing these women within a wider pan-Atlantic framework and using extant legal records, the various African, Caribbean, French, and Spanish cultural threads emerge that contributed to the colorful cultural tapestry of Antebellum New Orleans. These influences enabled such practices as placage and by extension, the development of an intellectual, wealthy, vibrant Creole community of color headed by women.

For nearly 200 years, there has been a neighborhood in New Orleans, Louisiana named Milneburg, which has been constantly reimagined by its inhabitants and others. From its inception as a port of entry in 1832 until the 2011, it has been called a world-class resort, the poor-man's Riviera, a seedy red-light district, a cradle of jazz, a village, a swath of suburbia and a neighborhood. It has been destroyed eight times due to storms, fires, and civic or governmental neglect. Each time its residents have rebuilt it. In its last iteration as a post-Katrina neighborhood, the residents reestablished the Milneburg Neighborhood Association in order to define its boundaries, gain control of its redevelopment and restrict who lived there as well as what activities were permitted. This is a case study of the trajectory of Milneburg and the cultural adaptations of its residents to keep it distinct, vital and respectable.

A comprehensive study of all nineteenth-century New Orleans composers is far beyond the scope of this paper. There are simply too many. An attempt has been made, however, to include as many possible in the text. Others, about whom there is insufficient information to include in a narrative, have been relegated to the appendix, where they are treated in the style of a biographical dictionary. The two most important and influential composers of the century, Gregorion Curto and Theodore von La Hache, are covered individually in chapters two and three, respectively. Their music represents all three of the important aspects of composition of the era: opera, salon, and sacred music. Louis Moreau Gottschalk, probably the most famous composer and performer of the period, has been omitted from this study (other than incidental references) because he has already received considerable attention from numerous other researchers. Likewise, another composer of note, Ernest Guiraud, has been omitted because, even though a native of New Orleans, he left America at an early age and never returned. He should more appropriately be considered in annals of French music. Research in this field, a vital part of the American musical heritage, is by no means complete. Any one of the composers discussed here should be studied further with th purpose of advancing knowledge of New Orleans music and with the hope of uncovering a morsel of truly fine music.

In the last twenty years, recent scholarship has opened up fresh inquiry into several aspects of New Orleans society during the late nineteenth century. Much work has been done to reassess the political and cultural involvement, as well as perspective of, the black Creoles of the city; the successful reordering of society under the direction of the Anglo-Protestant elite; and the evolution of New Orleans's social conditions and cultural institutions during the period initiating Jim Crow segregation. Further exploration, however, is necessary to make connections between each of these avenues of study. This thesis relies on a variety of secondary sources, primary legal documents, and contemporary newspaper articles and publications, to provide connections between the above topics, giving each greater context and allowing for the exploration of several themes. These include the direction of black Creole public ambition after the end of that community's last civil rights crusade, the effects of Democratic Party strategy and the Lost Cause of the Confederacy movement on younger generations of white residents, and the effects of changing social expectations and increasing segregation on the city's diverse ethnic immigrant community. In doing so, this thesis will contribute to enhancing the current understanding of New Orleans's complex and changing social order, as well as provide future researchers with a broad based work which will effectively introduce the exploration of a variety of key topics and serve as a bridge to connect them with specific lines of inquiry while highlighting the above themes in order to make new connections between various facets of the city's troubled racial history.