Picture Book: Akasha Rabut

December 07, 2016 | in Magazine

"I met Candi through a project that I've been working on about the Carmel Curves. The Curves are the first all female African-American motorcycle gang based out of New Orleans. The first time that I went over to Candi's house she asked me if I wanted to take a photo of her doing a trick. We went outside and she got on her bike. I wasn't exactly sure what she was going to do. All of a sudden she started grinding her wheel into the ground while simultaneously gyrating her bike. It was so loud that people were looking through their windows and coming out of their houses to watch. The street was enveloped in pink smoke as Candi burned a perfect circle into the gravel with her tire. To this day I still love this trick."

"I had the Honor of shooting the Mardi Gras Indians during Super Sunday last April. The Mardi Gras Indians have been around for over a century. They're predominantly African—American and were formed in response to Mardi Gras. Historically African-Americans felt they weren't allowed to participate due to slavery and racism. Black Neighborhoods developed their own parade and culture naming themselves after Native American tribes. Native Americans helped guide and support slaves after making a break for freedom. Tribes work on suits all year long and come out during Saint Joseph's day to celebrate and floss their hand beaded and sewn ensembles. I spent the good part of the morning of Super Sunday hanging out with a tribe called Wild Magnolias. This is a photo of Spy Boy Clarence and Chief Scoot Karnell. Their suits tell the story about their chief who recently passed away. "

"My friend lives in this bus. He's got hardwood floors and a claw foot tub in there."

"This is a photo from a body of work about urban horse riders. I've been photographing a group of urban horse riders called the 504 boyz. A couple of years ago they invited me to camp at a trail ride. I accepted the invitation. Not knowing what to expect I rolled up to the trail ride and there was literally a 5 mile line of trucks pulling horse trailers waiting to get in. There were an estimated 20,000 people on horses at this event. I was definitely the only weirdo at the event without a horse."

"I shot this photo right down the street from my house. New Orleans has a lot of sweet rides and well-dressed ladies."

"A few years ago I was walking around my neighborhood during Super Sunday. I love walking around early in the morning before the actual festivities take place because I can hear all the tribes singing and playing drums. It's also lovely because I get to happen upon special moments like this. I walked by a house where everyone was suited except for this woman. I remember being really excited about seeing a head of curlers amongst all the plumes of feathers."

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“Thanks for asking. I sort of just quit shooting photographs three weeks ago,” Akasha Rabut replied when I asked about featuring her work in these pages. Her answer was bewildering, because as long as I've known Akasha, she has always been shooting someone, something, somewhere. Why suddenly quit her long-term passion? Akasha explained that it was time for a reboot. I’m hoping this is a temporary detour. There are few photographers able to capture cultural lineage and experience with such natural grace.

Crossing the country a few years back, I made a first-time visit to New Orleans where much of my perspective and understanding of the city came directly from Akasha’s photos. I have since been mystified by NOLA's complex dichotomy, a place with immeasurable potential and promise, accompanied by perpetual problems. Moving to post-Katrina New Orleans after a pre-tech takeover in San Francisco six years ago, Akasha has integrated herself, camera in hand, into varying communities and subcultures across the 17 wards. Documenting the Caramel Curves, the first all-female motorcycle club in NOLA, has become her most well-known body of work to date. Other subjects range from 504 Boyz, an urban horseback riding organization, to high school marching bands, majorettes and dance teams, and the traditional, elaborately crafted, wildly colorful suits of the Mardi Gras Indians. And then there is everything in between: a myriad of images that encapsulate the expansive identities and landscapes that make up this eternally enigmatic, alluring town. —Austin McManus

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Originally published in the January 2017 issue of Juxtapoz Magazine, on newsstands worldwide and in our web store.

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