Mixed Race Studies

Race, Identity and Citizenship: A Reader

Wiley-Blackwell
June 1999
454 pages
Hardcover ISBN: 978-0-631-21021-4
Paperback ISBN: 978-0-631-21022-1

Edited by

Rodolfo D. Torres, Professor of Planning, Policy & Design and Political Science
University of California, Irvine

Louis F. Mirón
University of California, Irvine

Jonathan Xavier Inda, Associate Professor of Latina/Latino Studies and Criticism and Interpretive Theory
University of Illinois, Urbana-Champaign

In recent years, race and ethnicity have been the focus of theoretical, political, and policy debates. This comprehensive and timely reader covers the range of topics that have been at the center of these debates including critical race theory, multiracial feminism, mixed race, whiteness, citizenship and globalization. Contributors include Angela Davis, Stuart Hall, Richard Delgado, Robert Miles, Michael Eric Dyson, Saskia Sassen, Étienne Balibar, Patricia Hill Collins, Renato Rosaldo, Stanley Aronowitz, and Collette Guillaumin.

Table of Contents

• List of Contributors
• Acknowledgments/Copyright Information
• Introduction
• Part I: Mapping The Languages of Racism
  • 1. Does “Race” Matter? Transatlantic Perspectives on Racism after “Race Relations” Robert Miles and Rodolfo D. Torres
  • 2. “I Know it’s Not Nice, But. . . ” The Changing Face of “Race” Colette Guillaumin
  • 3. The Contours of Racialization: Structures, Representations and Resistance in the United States Stephen Small
  • 4. Marxism, Racism, and Ethnicity John Solomos and Les Back
  • 5. Postmodernism and the Politics of Racialized Identities Louis F. Mirón
• Part II: Critical Multiracial Feminism
  • 6. Theorizing Difference from Multiracial Feminism Maxine Baca Zinn and Bonnie Thornton Dill
  • 7. Ethnicity, Gender Relations and Multiculturalism Nira Yuval-Davis
  • 8. What’s in a Name? Womanism, Black Feminism, and Beyond Patricia Hill Collins
• Part III: Fashioning Mixed Race
  • 9. The Colorblind Multiracial Dilemma: Racial Categories Reconsidered john a. powell
  • 10. Multiracial Asians: Models of Ethnic Identity Maria P. P. Root
  • 11. Cipherspace: Latino Identity Past and Present J. Jorge Klor de Alva
• Part IV: The Color(s) of Whiteness
  • 12. Establishing the Fact of Whiteness John Hartigan, Jr.
  • 13. Constructions of Whiteness in European and American Anti-Racism Alastair Bonnett
  • 14 The Labor of Whiteness, the Whiteness of Labor, and the Perils of Whitewishing Michael Eric Dyson
  • 15. The Trickster’s Play: Whiteness in the Subordination and Liberation Process Aida Hurtado
• Part V: Cultural Citizenship, Multiculturalism, And The State
  • 16. Citizenship Richard Delgado
  • 17. Cultural Citizenship, Inequality, and Multiculturalism Renato Rosaldo
  • 18. Cultural Citizenship as Subject Making: Immigrants Negotiate Racial and Cultural Boundaries in the United States Aihwa Ong
• Part VI: Locating Class
  • 19. The Site of Class Edna Bonacich
  • 20. Between Nationality and Class Stanley Aronowitz
  • 21. Class Racism Étienne Balibar
• Part VII: Globalized Futures And Racialized Identities
  • 22. Multiculturalism and Flexibility: Some New Directions in Global Capitalism Richard P. Appelbaum
  • 23. Analytic Borderlands: Race, Gender and Representation in the New City Saskia Sassen
  • 24. Globalization, the Racial Divide, and a New Citizenship Michael C. Dawson
• Part VIII: Critical Engagements
  • 25. Interview with Stuart Hall: Culture and Power Peter Osborne and Lynne Segal
  • 26. Angela Y. Davis: Reflections on Race, Class, and Gender in the USA Lisa Lowe
• Index

Mexico, From Mestizo to Multicultural

Vanderbilt University Press
2007-06-29
254 pages
7in x 10in
60 Illustrations
Paperback ISBN: 9780826515391
Hardback ISBN: 9780826515384

Carrie C. Chorba, Associate Professor of Spanish
Claremont McKenna College, Claremont, California

In Mexico, the confluence of the 1992 Quincentennial commemoration of Columbus’s voyages and the neo-liberal sexenio, or presidency, of Carlos Salinas de Gortari spurred artistic creations that capture the decade like no other source does. In the 1990s, Mexican artists produced an inordinate number of works that revise and rewrite the events of the sixteenth-century conquest and colonization. These works and their relationship to, indeed their mirroring of, the intellectual and cultural atmosphere in Mexico during the Salinas presidency are of paramount importance if we are to understand the subtle but deep shifts within Mexico’s national identity that took place at the end of the last century.

Throughout the twentieth century, the post-revolutionary Mexican State had used mestizaje as a symbol of national unity and social integration. By the end of the millennium, however, Mexico had gone from a PRI-dominated, economically protectionist nation to a more democratic, economically globalizing one. More importantly, the homogenizing, mestizophile national identity that pervaded Mexico throughout the past century had given way to official admission of Mexico’s ethnic and linguistic diversity–or ‘pluriculture’ according to President Salinas’s 1992 constitutional revision.

This book is the first interdisciplinary study of literary, cinematic, and graphic images of Mexican national identity in the 1980s and ’90s. Discussing, in depth, writings, films, and cartoons from a vast array of contemporary sources, Carrie C. Chorba creates a social history of this important shift.

Liminality in the works: The novels of Charles Chesnutt

University of Massachusetts, Amherst
September 1996
154 pages
Publication Number: AAT 9709591
ISBN: 9780591169812

Susan Jane Doyle

Submitted to the Graduate School of the University of Massachusetts, Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY

Charles Chesnutt is perhaps best known for his short stories; he also, over the course of his relatively short publishing career, produced three novels, which have been less well represented in the critical community. This neglect is due to some oversimplified readings in the past. My readings offer a revised view of Chesnutt’s work, which I have opened up by using the critical lens of liminality, and by drawing on Chesnutt’s own natural deconstructionist tendencies to do deconstructive readings of the novels.

I draw on Victor Turner’s definition of liminality, which comes from Turner’s rites of passage studies. I show that Chesnutt’s characters frequently attain liminal status in his work—they take on the “betwixt and between” characteristics that Turner defines as essential to the liminal state. But far from attaining the final assimilation that comes at the end of liminality, Chesnutt’s characters end up as marginals—Turner’s term for permanent outcasts. Thus, Chesnutt, in his typically ironic way, has described the status of black Americans at the turn of the 19th century in America.

Chesnutt’s novels are, when looked at as a continuum, a brooding meditation on the despair of black existence following Reconstruction. In the first novel. The House Behind the Cedars, Chesnutt shows the liminal quality of passing, an option which he chose not to exercise. In the second (and most successful) book, The Marrow of Tradition, he shows the liminal nature of the racial space occupied by a professional black man, who tries to be all things to all people, and who ends up utterly unable to express himself And in the third, and final, novel, The Colonel’s Dream, Chesnutt shows the failure of a white man who tried to go back to his hometown in the South and change the course of its future by combining what he perceives to be the best of the past with the best of the present. But in the frozen landscape of the post-Reconstructionist South, all dreams have become nightmares. Thus, because of his prophetic voice, Chesnutt deserves more appreciative readings in the present.

TABLE OF CONTENTS

• ACKNOWLEDGMENTS
• ABSTRACT
• 1. INTRODUCTION
• 2. CLOTHING THE EMPEROR: THE ABSENCE OF TEXT IN “BAXTER’S PROCRUSTES“
• 3. FINDING THE COST OF FREEDOM: THE LIMTNAL QUALITY OF PASSING IN THE HOUSE BEHIND THE CEDARS
• 4. LOST IN THE MIDDLE OF THINGS: THE RACIAL SPACES IN THE MARROW OF TRADITION
• 5. PAST THE RUBICON: THE MERE ABSTRACTIONS OF THE COLONEL’S DREAM
• 6. CONCLUSION
• BIBLIOGRAPHY

Purchase the dissertation here.

“Japanese in the Samba”: Japanese Brazilian Musical Citizenship, Racial Consciousness, and Transnational Migration

University of Pittsburgh
2008
213 pages

Shanna Lorenz, Assistant Professor of Music
Occidental College, Los Angeles, California

Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy

his doctoral dissertation is an ethnographic study of musical culture among Japanese Brazilians in São Paulo, Brazil. Specifically, the study explores how the musical culture of this community has changed in recent years as a result of the dekasegui movement, the migration of hundreds of thousands of Japanese Brazilians who have traveled to Japan since 1990 in search of work. In order to explore these questions, I conducted fieldwork between May and November of 2003 on three musical groups, Zhen Brasil, Ton Ton Mi, and Wadaiko Sho, each of which have found different ways to invoke, contest, and reinvent their Brazilian and Japanese musical heritages. By exploring these groups’ musical practices, texts, dance, costumes, and discourses of self-definition, this study offers insight into shifts in the ethnic self-definition and racial consciousness of the Japanese Brazilian community that have taken place as the result of face-to-face contact between Japanese Brazilians and Japanese under the conditions of contiguous globalization. This study contributes to our current understandings of the impact of circular forms of migration on the musical culture and ethnic identity of diasporic communities in the contemporary world.

Read the entire dissertation here.

Interracial Family Memoirs: Reconstructing Genealogies across the Color Line

Yale University
230 Prospect Street
Room 101
New Haven, Connecticut 06511
2013-09-16, 12:00-13:15 EDT (Local Time)

Cedric Essi, Ph.D. Candidate in American Studies
University of Erlangen-Nürnberg

During the last two decades numerous autobiographical works have emerged which explore family histories in black and white, such as Barack Obama’s “Dreams from My Father,” June Cross’s “Secret Daughter” or Edward Ball’s “Slaves in the Family.” Essi subsumes these works under the umbrella term ‘interracial family memoir’ and draws up a typology of ‘genealogies’ in order to categorize and interrogate the ways in which these texts thematize kinship across the color line. This talk will provide a critical overview of the genre and discusses how the US-specific ideology of the one-drop rule affects interracial family experiences, to what extent transnational affiliations conflict with racial self-identification, on what terms white motherhood is rendered visible and how the interracial family is often imagined as an allegory of the American nation. This talk is part of the GLC Brown Bag Lunch Series. Bring your lunch; drinks & dessert will be provided.

For more information, click here.

Finding the Silver Lining: Hair, (Mixed) Race, and Identity Politics in Toni and Slade Morrison’s Little Cloud and Lady Wind

The Lion and the Unicorn
Volume 37, Number 2, April 2013
pages 173-187
DOI: 10.1353/uni.2013.0016

Sika A. Dagbovie-Mullins, Associate Professor of English
Florida Atlantic University

rainclouds
we are
nature
nature
nature
natural!!!
black people, we rainclouds
closer to the sun and full of life.

—Marvin Wyche Jr., “We Rainclouds” (1974)

As a little girl I dreamed freely, often on the top step of the back porch—morning, noon, sunset, deep twilight. I loved clouds, I loved red streaks in the sky. I loved the gold worlds I saw in the sky. Gods and little girls, angels and heroes and future lovers labored there, in misty glory or sharp grandeur.

—Gwendolyn Brooks, Report from Part One (1972)

In Happy to Be Nappy (1999), bell hooks describes black girls’ unprocessed hair as “soft like cotton, flower petal billowy soft, full of frizz and fuzz.” In addition to being described as puffy, spongy, kinky, crinkly, wooly or cotton-like, “natural” unprocessed hair is often associated with clouds. “Flower petal billowy soft” immediately evokes the image of lightness but also brings to mind billow clouds, layers of water vapor that create fluffy wave-like patterns in the sky. The trope of black-hair-as-clouds is especially noticeable in descriptions of black hair in twentieth-century African American literature. In Jessie Redmon Fauset’s “Double Trouble” (1923), Angelique shakes her “short, black, rather wiry hair til it misted like a cloud” (32); Fran Ross’s mixed race protagonist in Oreo (1974) is told: “Kinky hair—like that beautiful fuzzy cloud you have—is not really kinky” (49); in Paule Marshall’s Praisesong for the Widow (1983), Avey Johnson’s daughter’s hair “had stood massed like a raincloud about to make good its threat” (13); in Dorothy West’s The Wedding (1995), Clark Cole thinks of his mistress: “There is no beauty like that of a brown skinned woman when she is beautiful: the velvet skin, the dark hair like a cloud” (97); and in John Edgar Wideman’s Hiding Place (1998), Tommy’s hair is described as, “[c]ombed so high it’s a cloud over his head, a bushy cloud making him taller than his brothers” (77). Toni and Slade Morrison’s children’s book Little Cloud and Lady Wind (2010), illustrated by Sean Qualls, focuses on a young female cloud whose image appears as a black or biracial girl; she sports a giant blue Afro (cloud), striking feature and a continuation of the hair/cloud analogy. In fact, some of Morrison’s novels also equate African American hair with clouds. In Tar Baby after Jadine complains about the effect of the island’s foggy weather on her hair, “[s]he pressed her hair down with both palms, but as soon as she removed them her hair sprang back into a rain cloud” (Morrison, Tar Baby 64) and in Love, the narrator, L, describes the transition black hair goes through when wet as she recounts the actions of a woman on the beach: “Her hair, flat when she went in [the water] rose up slowly and took on the shape of the clouds dragging the moon” (Morrison, Love 106). Little Cloud’s hair and her lavender tan skin act as racial signifiers in this children’s book about independence, belonging, and community.

In the beginning of the story, Little Cloud separates from the other clouds, “not wanting to blend into a group and lose her freedom, [but] not wanting to frighten the earth” (Toni and Slade Morrison). A visit from Lady Wind shows Little Cloud that her cloud duties of providing mist and dew are important, teaching her to respect both her individuality and restoring her place in the sky community. The story is reminiscent of Eric Carle’s Little Cloud (1996), which also features a “Little Cloud” that chooses independence: “The clouds pushed upward and away. Little Cloud pushed downward and touched the tops of horses and trees” (Carle). Toni and Slade Morrison’s book seems to signify on this Little Cloud predecessor who does not take a human form (and thus remains a white cloud). On one level, Little Cloud and Lady Wind encourages children to express their individuality while honoring “the whole is far mightier than any single part” (Little Cloud, inside flap). On another level, the story is a subtle treatise on mixed…

Lecturer points to racism in Harry Potter

The Daily Campus
The Independent News Source for the University of Connecticut
2013-02-22

Christopher Kelly, Campus Correspondent

Nature of science fiction discusses race in unseen ways

Eric Hamako from the University of Massachusetts-Amherst came to speak to UConn students and faculty Wednesday about the increasing popularity of racist movies. Racism in this case is referring to stereotypes or what “Psychology Today” calls “empirical generalizations.” These generalizations stem from what may be or may have been true for a number of people, but do not extend to every member of a group.

Following this understanding of stereotypes, Dictionary.com defines racism as, “a belief or doctrine that inherent differences among the various human races determine cultural or individual achievement, usually involving the idea that one’s own race is superior and has the right to rule others.”

Hamako, who has a master’s degree in mass communication from Stanford and is half-Japanese and half-Jewish, lectures on the position of multiracial Americans in society. His lecture, “Harry Potter and the Mistaken Myth of the Mixed-Race Messiah,” addresses the polar opposite of the overt racism that was so prevalent in pre-Civil Rights Movement America: mass media subtle projections of stereotypes.

“Sci-fi, fantasy movies talk in code so that you can talk about mixed-ethnics without realizing you’re talking about it” he said…

Read the entire article here.

Race and Narrative in Italian Women’s Writing Since Unification

Fairleigh Dickinson University Press
July 2013
127 pages
ISBN: 9781611475999

Melissa Coburn, Assistant Professor of Italian and Italian Program Director
Virginia Polytechnic Institute and State University

Race and Narrative in Italian Women’s Writing Since Unification explores racist ideas and critiques of racism in four long narratives by female authors Grazia Deledda, Matilde Serao, Natalia Ginzburg, and Gabriella Ghermandi, who wrote in Italy after national unification. Starting from the premise that race is a political and sociohistorical construction, Melissa Coburn makes the argument that race is also a narrative construction. This is true in that many narratives have contributed to the historical construction of the idea of race; it is also true in that the concept of race metaphorically reflects certain formal qualities of narration. Coburn demonstrates that at least four sets of qualities are common among narratives and also central to the development of race discourse: intertextuality; the processes of characterization, plot, and tropes; the tension between the projections of individual, group, and universal identities; and the processes of identification and otherness. These four sets of qualities become the organizing principles of the four sequential chapters, paralleling a sequential focus on the four different narrative authors. The juxtaposition of these close, contextualized readings demonstrates salient continuities and discontinuities within race discourse over the period examined, revealing subtleties in the historical record overlooked by previous studies.

Thomas Cole: Reading the Paintings from The Last of the Mohicans

James Fenimore Cooper Society Website
Oneonta College, State University of New York
July 2013

Roberta Gray Katz
DePaul University

Presented at the 18th Cooper Seminar, James Fenimore Cooper: His Country and His Art at the State University of New York College at Oneonta, July, 2011

Originally published in James Fenimore Cooper: His Country and His Art, Papers from the 2011 Cooper Conference and Seminar (No. 18), The State University of New York College at Oneonta. Oneonta, New York. Steven Harthorn and Hugh MacDougall, editors. (pp. 56-63)

In 1826-27, artist Thomas Cole produced four exhibition paintings based on the recent publication of James Fenimore Cooper’s historical novel, The Last of the Mohicans; A Narrative of 1757 (1826). As landscape compositions, the images from The Last of the Mohicans occupy a significant place in the painter’s oeuvre and in nineteenth-century European and American art. Representing some of the earliest landscapes derived from American rather than biblical, classical, or European literature, the Mohican pictures revitalized the genre of “landscape composition,” a part of the artistic hierarchy. Unlike a “landscape view,” a “landscape composition” conveyed imaginative ideas and human feelings like history painting or poetry. Yet, despite the reception of the paintings from The Last of the Mohicans as “landscape compositions,” most of the art criticism has favored the landscape over the literary, or focused on an individual painting instead of the group. Cole did not plan the Mohican pictures as a narrative series, but he depicted the dramatic climax rather than random events. Arranged narratively, the paintings include: 1. Scene from “The Last of the Mohicans,” Cora Kneeling at the Feet of Tamenund, 1827, (Wadsworth Atheneum Museum of Art, Hartford, Connecticut). 2. Landscape Scene from “The Last of the Mohicans,” 1827, (Cora Kneeling at the Feet of Tamenund. Fenimore Art Museum, Cooperstown, New York). 3. Landscape Scene from “The Last of the Mohicans,” The Death of Cora, 1827, (University of Pennsylvania Art Collection, Philadelphia, Pennsylvania). 4. Landscape with Figures: A Scene from “The Last of the Mohicans,” 1826, (Death of Magua. Terra Foundation for American Art, Chicago, Illinois).

This paper proposes that Cole enlarged the genre of landscape composition by introducing American literary subjects and settings that offer a view of the colonial past as windows to the national present (1820s). Through the lens of Cooper’s popular text, set during the French and Indian Wars, the artist re-imagined a group of frontier encounters, transforming the anxiety of the European Romantics into the turbulence of an American story, both real and fictive. As the painter portrayed the interactions of Anglo-Americans, Native Americans, and an African-American mulatto in the northeast wilderness, he suggested a distinctive land and diverse people engaged in social conflict. In doing so, Cole established his artistic identity as a literary painter in landscape compositions that critiqued the American culture they celebrated. Rather than reading these pictures as topographic views, this paper regards the literary and the landscape as a bold visual narrative that recovered colonial history or legend as a fragile part of imagining a nation…

…A Violent Captivity: Landscape Scene from “The Last of the Mohicans,” The Death of Cora, 1827

Cole probably placed Landscape Scene from “The Last of the Mohicans,” The Death of Cora and Landscape with Figures: A Scene from “The Last of the Mohicans, the death of Magua, in the area of Lake George, the site of Cooper’s novel. The artist traveled to the region in 1826, visiting Glen Falls, Fort Edward, and Fort William Henry, all of which became popular tourist sites after the commercial success of The Last of the Mohicans. For the Death of Cora, the artist portrayed several episodes on various picture planes to produce a visually moving captivity narrative of gender and sexual violence. In the story, Tamenund released Cora to Magua, who retained his captive under tribal law. As a female character, Cora moves from hope and strength at the Indian Council to near helplessness, dependence, and despair. In the lower center of the canvas, Magua is ready to scalp the young heroine. With outstretched arm and knife in hand, he hesitates, but lurking below, another Huron brave will wield the fatal blow. On her knees, Cora prays to God while high on a precipice, the noble Uncas jumps to save her, but he is too far away and too indistinct so we read his failed effort. Cole heightened the captivity by confining the heroine to a dark and narrow space. Squeezed from behind by boulders, rocks, and broken tree limbs, Cora faces a massive rock wall at the cliff’s edge on a dark and stormy day. When the picture was on view at the National Academy of Design (1827), the Exhibition Catalogue included Magua’s famous lines, offering Cora the option of life with him or death. The passage reinforced Cora’s Christian faith and fateful choice:

“Woman,” he said, “choose! the wigwam or the knife of Le Subtil!” Cora regarded him not; but dropping on her knees, with a rich glow suffusing itself over her features, she raised her eyes and stretched her arms toward heaven, saying in a meek and yet confiding voice—”I am thine! Do with me as thou seest best!”— But Cora neither heard nor heeded his demand. The form of the Huron trembled in every fiber, and he raised his arm on high, but dropped it again, with a wild and bewildered air, like one who doubted. Once more he struggled with himself and lifted the keen weapon again-but a piercing cry was heard above them, and Uncas appeared, leaping franticly [sic] from a fearful height, upon the ledge. Last of the Mohicans, Vol. II, p. 266.

The Death of Cora recalls history paintings of sex, violence, and captivity, such as Titian’s Rape of Europa (1559-1562), or Nicolas Poussin’s The Abduction of the Sabine Women (1634-35), or Jacques Louis David’s The Intervention of the Sabine Women (1799), or the Death of Jane McCrea (1804) by American artist John Vanderlyn, or later Cole’s attempted rape scene in the Destruction from the Course of Empire series (1836). Captivity narratives served various purposes. At the end of the revolutionary eighteenth century, captivity images of cages and prisons served to dramatize liberty by showing constraint. American captivity narratives functioned as a form of interaction crossing gender and cultural boundaries, and they varied in the alternatives men and women sought. In the Narrative of the Life of Mrs. Mary Jemison (1824), purportedly a real life story, the colonial captive Mary Jemison chose to remain with the Seneca Indians rather than return to her own society. On the other hand, the fictive Cora, who finds Magua’s offer untenable, relinquished herself up to God and death. Nineteenth-century Americans could appropriate a captivity narrative to promote their own ambitious program of Manifest Destiny. Pictures of American Indians scalping white women warranted, in the mind of some people, policies of Indian removal. Frontier violence could be real or imagined, in the colonial or national period, but “savage” brutality threatened the safety of women, civilization, and national progress.

The Death of Cora complicated a clear reading of American identity by suggesting Cora’s significant but unstable role as an African-American mulatto. Bound by gender and class, Cora and Alice share the same father Lieutenant Colonel Munro. But, Cora was born to a West Indies mother “only remotely descended from black slaves.” While she belonged to an Anglo-American culture, Cora also identified with her black heritage, and she told Tamenund: the curse of my ancestors has fallen heavily on their child (II. XII. 214). Cole placed Cora in the near foreground, where we see her pale complexion, long black hair, slim figure, and white dress, like the dress of her half-sister Alice. At least one Cooper critic thought the author might have changed the tragic ending to an assimilated (tri-racial) match between Cora and Uncas, “as this sort of arrangement is coming into fashion, in real life, as in fiction.” In The Invisible Line, law professor Daniel Sharfstein argues that “people of African ancestry have crossed the color line and faded into the world around them,” throughout American history. At the same time, mixed families “did not escape the nation’s collective belief in a line separating black from white.” Sharfstein opens up the possibilities of considering the fluid yet tight racial boundaries, and the unstable nature of a fixed and unchanging identity…

Read the entire article here.

Jahaji Bhai: The emergence of a Dougla poetics in Trinidad and Tobago

Identities: Global Studies in Culture and Power
Volume 5, Issue 4, 1999
Special Issue: Fight the Power: Changing forms of Consciousness and Protest
pages 569-601
DOI: 10.1080/1070289X.1999.9962630

Rhoda Reddock, Professor of Gender and Development Studies
University of the West Indies, St. Augustine, Trinidad and Tobago

This paper explores the issues of ethnicity and identity in the post‐colonial Caribbean with special reference to Trinidad and Tobago. As with other multi‐ethnic post‐colonial societies, the collapse of post‐World‐War II promises of unified national projects based on the nation‐state or class politics has seen the re‐emergence of racial/ethnic based trajectories. In the context of the contestations of ethnicity, class, and gender in Trinidad and Tobago, the voice of the “Dougla,” or those projecting “dougla identities” of mixed African and Indian ancestry, has been largely missing. Unlike in the North, conceptions of “mixed” identity have existed in the region for many decades. A concept of multiracial identity, however, is relatively new and underdeveloped. This paper explores tentative attempts through the popular culture to express such multiracial identities, especially through the medium of Calypso and Soca and the contestations that greet such an emergence. The dynamics of the changing social, political, and cultural context are also taken into consideration. It does so through the contrasting 1996 “hits” of two singer/songwriters in the Calypso/Soca genre, Brother Marvin and Chris Garcia.

Calypso fictions and narratives, fantasies and commentaries, venture into vitally important areas of social intercourse which, because of unspoken protocols of civil discourse, remain sensitive areas of darkness. Within the freedom of performance, a space hallowed by tradition,…

Read or purchase the article here.