Mixed Race Studies

Traveling Texts and the Work of Afro-Japanese Cultural Production: Two Haiku and a Microphone

Lexington Books (an imprint of Rowman & Littlefield)
June 2015
302 pages
6 1/2 x 9 1/4
Hardback ISBN: 978-1-4985-0547-5
eBook ISBN: 978-1-4985-0548-2

Edited by:

William H. Bridges IV, Assistant Professor of Japanese Studies
University of California, Irvine

Nina Cornyetz, Associate Professor
Gallatin School of Individualized Study
New York University

Traveling Texts and the Work of Afro-Japanese Cultural Production analyzes the complex conversations taking place in texts of all sorts traveling between Africans, African Diasporas, and Japanese across disciplinary, geographic, racial, ethnic, linguistic, and cultural borders. Be it focused on the make-up of the blackface ganguro or the haiku of Richard Wright, Rastafari communities in Japan or the black enka singer Jero, the volume turns its attention away from questions of representation to ones concerning the generative aspects of transcultural production. The contributors are interested primarily in texts in motion—the contradictory motion within texts, the traveling of texts, and the action that such kinetic energy inspires in readers, viewers, listeners, and travelers. As our texts travel and travail, the originary nodal points that anchor them to set significations loosen and are transformed; the essays trace how, in the process of traveling, the bodies and subjectivities of those working to reimagine the text(s) in new sites moderate, accommodate, and transfigure both the texts and themselves.

African Heritage and Memories of Slavery in Brazil and the South Atlantic World

Cambria Press
428 pages
2015-02-06
6 x 9 in or 229 x 152 mm Case Laminate
ISBN: 9781604978926

Edited by:

Ana Lucia Araujo, Professor of History
Howard University, Washington, D.C.

This book explores the history of African tangible and intangible heritages and its links with the public memory of slavery in Brazil and Angola. The two countries are deeply connected, given how most enslaved Africans, forcibly brought to Brazil during the era of the Atlantic slave trade, were from West Central Africa. Brazil imported the largest number of enslaved Africans during the Atlantic slave trade and was the last country in the western hemisphere to abolish slavery in 1888. Today, other than Nigeria, the largest population of African descent is in Brazil. Yet it was only in the last twenty years that Brazil’s African heritage and its slave past have gained greater visibility. Prior to this, Brazil’s African heritage and its slave past were completely neglected.

Even after the abolition of slavery in Brazil, African culture continued to be marginalized. Carnival, religious festivals, as well as Candomblé ceremonies, and capoeira (an Afro-Brazilian martial art) created important spaces of black assertion and insurgency. These cultural traditions were contested by white elites and public authorities, but starting in the 1930s, capoeira became a national symbol and Candomblé temples were gradually officially added to Brazil’s list of heritage sites.

In spite of these developments, the Atlantic slave past has remained absent from the public landscape of Brazilian and Angolan former slave ports, suggesting how difficult it is for these countries to address the painful legacies of slavery. African art and material culture also continued to be excluded from museums and other official institutions. In the rare instances that African artifacts were shown, they would be confined to only certain places dedicated to popular culture and associated with the religious sphere.

Even though public attention on slavery was growing internationally through national and international initiatives (e.g., The Slave Route Project by UNESCO), Brazil and Angola developed very few initiatives for the memorialization of slavery and the Atlantic slave trade. This has started to change slowly in the last decade as Brazil has begun engaging in more initiatives to memorialize slavery and underscore the importance of its African heritage.

Brazil’s slave past and African heritage are emerging gradually in urban and rural areas through different kinds of initiatives led not only by activists but also by scholars in association with black communities. Although in their early stages, most of these projects are permanent programs supported by official agencies. This new configuration suggests that––unlike the case in Angola––in Brazil, slavery and the Atlantic the slave trade are becoming recognized as foundational chapters of the country’s history.

This is the first book in English to focus on African heritage and public memory of slavery in Brazil and Angola. This interdisciplinary study examines visual images, dance, music, oral accounts, museum exhibitions, artifacts, monuments, festivals, and others forms of commemoration to illuminate the social and cultural dynamics that over the last twenty years have propelled––or prevented––the visibility of African heritage (and its Atlantic slave trade legacy) in the South Atlantic region.

The book makes a very important contribution to the understanding of the place of African heritage and slavery in the official history and public memory of Brazil and Angola, topics that remain understudied. The study’s focus on the South Atlantic world, a zone which is sparsely covered in the scholarly corpus on Atlantic history, will further research on other post-slave societies.

African Heritage and Memories of Slavery in Brazil and the South Atlantic World is an important book for African studies and Latin American studies. It is especially valuable for African Diaspora studies, African history, Atlantic history, history of Brazil, history of slavery, and Caribbean history.

Table of Contents

• List of Figures
• Introduction: Wounded Pasts: Memory of Slavery and African Heritage in Brazil (Ana Lucia Araujo)
• Chapter 1: Collectionism and Colonialism: The Africana Collection at Brazil’s National Museum (Rio de Janeiro) (Mariza de Carvalho Soares)
• Chapter 2: Race and Visual Representation: Louis Agassiz and Hermann Burmeister (Maria Helena Machado)
• Chapter 3: Counter-Witnessing the Visual Culture of Brazilian Slavery (Matthew Francis Rarey)
• Chapter 4: Angola in Brazil: The Formation of Angoleiro identity in Bahia (Matthias Röhrig Assunção)
• Chapter 5: Memories of Captivity and Freedom in São José da Serra Jongo Festivals: Cultural Heritage and Black Identity (1888–2011) (Martha Abreu and Hebe Mattos)
• Chapter 6: From Public Amnesia to Public Memory: Re-Discovering Slavery Heritage in Rio de Janeiro (André Cicalo)
• Chapter 7: Uncomfortable Pasts: Talking About Slavery in Angola (Marcia C. Schenck and Mariana P. Candido)
• Chapter 8: “Bahia is a Closer Africa”: Brazilian Slavery and Heritage in African American Roots Tourism (Patricia de Santana Pinho)
• Chapter 9: Preserving African Art, History, and Memory: The AfroBrazil Museum (Kimberly Cleveland)
• Chapter 10: The Legacy of Slavery in Contemporary Brazil (Myrian Sepúlveda dos Santos)
• Bibliography
• Index
• About the Contributors

The “Coming White Minority”: Brazilianization or South-Africanization of U.S.?

Racism Review: scholarship and activism towards racial justice
2015-08-31

Joe Feagin, Ella C. McFadden and Distinguished Professor of Sociology
Texas A&M University

To understand the so-called “browning of America” and “coming white minority,” we should accent the larger societal context, the big-picture context including systemic racism. “Browning of America” issues have become important in the West mainly because whites are very worried about this demographic trend. Black-British scholar, Yasmin Alibhai-Brown, has noted that whites are fearful

because for such a long time the world has been their own. . . . There is an underlying assumption that says white is right. . . . There is a white panic every time one part of their world seems to be passing over to anyone else. . . . There was this extraordinary assumption that white people could go and destroy peoples and it would have no consequence.

Let us consider a few reasonable, albeit speculative, extrapolations of current social science data to social changes from now to the 2050s:

(1) Dramatic demographic changes are coming: According to US Census projections this country will become much less white, with the greatest relative growth in the Latino, Asian, and multiracial populations. By 2050 it will be about 439 million people, with a majority of people of color (53 percent), the largest group being Latino (30 percent). Long before, a majority of students and younger workers will be of color. Over coming decades immigrant workers of color and their descendants will keep more cities from economic decline. Census data for 2050 indicate the oldest population cohort will be disproportionately white and younger cohorts will be disproportionately people of color–thereby overlaying a racial divide with a generational divide, probably generating racial-generational conflicts (See William Frey, The Diversity Explosion)…

…A Panoramic View: Brazilianization or South-Africanization?

In recent years numerous scholars and media analysts have suggested the idea of significantly greater racial intermediation coming as the U.S. becomes much less white. Taking a panoramic view, they suggest a future that involves a “Brazilianization” or “Latinization’ of the United States.

Brazil’s racialization process has distinguished large mixed-race, mostly lighter-skinned groups and placed them in a middling status between Brazilians of mostly African ancestry and those of heavily European ancestry. Middle groups are relatively more affluent, politically powerful, and acceptable to dominant white Brazilians, who still mostly rule powerfully at the top of the economy and politics. About half the population, darker-skinned Afro-Brazilians and indigenous Brazilians, remains very powerless economically and politically. Possibly, in the U.S. case by 2050, a developed tripartite Brazilian pattern—with increasing and large but white-positioned intermediate racial groups, such as lighter-skinned middle class groups among Asian Americans and Latinos, moving up with greater economic and socio-political power and providing a racial buffer between powerful “whites” and powerless “blacks” and other darker-skinned people of color. Even then, it seems likely that many in U.S. middle groups will find their white-framed immigration, citizenship positions, or other inferiorized status still negatively affecting additional mobility opportunities…

Read the entire article here.

Four-country newspaper framing of Barack Obama’s multiracial identity in the 2008 US presidential election

Ecquid Novi: African Journalism Studies
Volume 35, Issue 3, 2014
pages 23-38
DOI: 10.1080/02560054.2014.955867

Kioko Ireri, Assistant Professor of Journalism & Mass Communication
United States International University-Africa, Nairobi, Kenya

Though Barack Obama was the first African American presidential nominee for a major party in the history of the US presidential election, his multiracial identity put him under intense scrutiny during the 2008 election – more than any other previous black aspirants for the White House. Using quantitative content analysis of election stories in the newspapers of four countries (New York Times – US; Times – Britain; China Daily – China and Daily Nation – Kenya), this comparative study examines the prevalence of four racial frames associated with Obama’s multilayered racial identity: ‘African American’, ‘black’, ‘Kenyan roots’ and ‘white roots’. In addition, the study investigates the four newspapers’ valence coverage of the four racial frames in relation to Obama’s candidacy. The findings indicate that ‘Kenyan roots’ was the racial frame which occurred most frequently, followed by the ‘black’ frame. Overall, Obama received more positive coverage than negative across the racial frames depicted in the four newspapers.

Read or purchase the article here.

An Intellectual History of Black Women

Katharine Cornell Theater
54 Spring Street
Vineyard Haven, Massachusetts 02568
Sunday, 2015-08-02, 19:00-20:30 EDT (Local Time)

Moderator:

Evelyn Brooks Higginbotham, Victor S. Thomas Professor of History and of African and African American Studies
Harvard University

Discussants:

Farah J. Griffin, William B. Ransford Professor of English and Comparative Literature and African-American Studies
Columbia University

Mia Bay, Professor of History and Director of Center for Race and Ethnicity
Rutgers University, The State University of New Jersey

Martha S. Jones, Arthur F Thurnau Professor, Associate Professor of History
University of Michigan School of Law

Barbara D. Savage, Geraldine R. Segal Professor of American Social Thought and Professor Africana Studies
University of Pennsylvania

The Vineyard Haven Public Library presents a panel discussion celebrating intellectuals previously neglected because of race and gender. Moderated by Evelyn Higginbotham, the Victor S. Thomas Professor of History and of African American Studies at Harvard. Featuring all 4 editors of the new book Toward and Intellectual History of Black Women.  Join us for what should be a lively and stimulating discussion.

For more information, click here.

Layers of Meaning in Mr. Obama’s Kenya Trip

The New York Times
2015-07-23

The Editorial Board

Nairobi, Kenya (Credit: Ben Curtis/Associated Press)

There often comes a time in the lives of Americans when they feel drawn to explore their roots, a quest that might take them on a pilgrimage to the “old country,” whether County Limerick, or Guangzhou, or a West African country from which their ancestors were abducted as slaves.

Roots are an integral part of one’s identity, especially in a time of mass migrations. So it is no surprise that Barack Obama’s first visit to Kenya as president should be enormously poignant, complex and absorbing. This is no typical presidential visit — and this is no typical descendant of immigrants.

The mix of narratives behind Mr. Obama’s trip is extraordinary. It is the ultimate American dream: the step-grandson of an illiterate African rising to the most powerful office on earth. There is Mr. Obama’s own story so movingly told in his first book, “Dreams From My Father,” about a youth raised by a white mother in Hawaii trying to build an identity out of his complex background, and the central role played in this search by the Kenyan father he meets only once…

Read the entire article here.

The Devil that Danced on the Water: A Daughter’s Quest

HarperCollins
2002
416 pages
Hardcover ISBN: 0002570653
Paperback ISBN: 0006531261

Aminatta Forna

An evening in 1974 when she was ten years old, Aminatta Forna opened the door to two men, members of the state secret police, come to take her father. A year later he was killed. The Devil that Danced on the Water is Aminatta’s search for the truth of her father’s fate, moving and terrifying in turns, always compelling, it traces events leading to the moment of his arrest. And what happened after he was taken away.

Aminatta Forna’s luminous memoir is a vivid and passionate account of an African childhood, of an idyll which becomes the stuff of nightmares. As a child she witnessed the upheavals of post-colonial Africa, danger, flight, the bitterness of exile in Britain and the terrible consequences of her dissident father’s stand against tyranny.

Mohamed Forna was a man of unimpeachable integrity and great charisma, who quoted Alexander Pope: ‘Honour and shame from no condition arise: Act well your part for there the honour lies.’ As Sierra Leone faced its future as a fledgling democracy, he was a new star in the political firmament, a man who had been one of the first black students to come to Britain after the war. Already a political firebrand and a stylish dresser, he stole the heart of Aminatta’s mother to the dismay of her Scottish Presbyterian parents and returned home, one of those Wole Soyinka has called the ‘Renaissance generation.’ But as Aminatta Forna shows with compelling clarity, the old Africa was torn apart by the new ways of Western democracy, which gave birth only to dictatorships and corruption of hitherto undreamed of magnitude. It was not long before Mohamed Forna languished in jail as a prisoner of conscience and worse was to follow.

Aminatta’s search for the truth that shaped both her childhood and the nation’s destiny begins among the country’s elite and took her to the heart of rebel territory. Determined to break the silence surrounding her father’s fate, she ultimately uncovered a conspiracy that penetrated the highest reaches of government and forced the nations politicians to confront their guilt.

The Devil that Danced on the Water is a book of pain and anger and sorrow, written with tremendous dignity and beautiful precision: a remarkable story of a father, a family, a country and a continent.

Mixed Race Stereotypes in South African and American Literature by Diana Adesola Mafe (review)

Research in African Literatures
Volume 46, Number 2, Summer 2015
pages 166-168

Tru Leverette, Associate Professor of English
University of North Florida, Jacksonville, Florida

Mafe, Diana Adesola, Mixed Race Stereotypes in South African and American Literature: Coloring Outside the (Black and White) Lines (New York, London: Palgrave Macmillan, 2013)

In her recently published study, Diana Adesola Mafe explores the literary trope of the tragic mulatto through a comparative analysis of American and South African novels. Her work is both useful and timely, filling a gap in the literary study of colouredness and the transnational study of mixed race literature. Through this transnational lens, Mafe argues that the advent of the “age of Obama” and the renewed celebration of race mixture in the United States coincide with South Africa’s post-apartheid efforts to imagine itself as a Rainbow Nation. This celebration in both nations, however, overlooks important historical realities that are often explored through the literary figure of the tragic mulatto. Acknowledging that mulattos have often been “called upon to embody historic national moments” (1), Mafe asserts “a reading of South African fictions alongside American counterparts reveals the ongoing relevance of the tragic mulatto, which functions not only as a dated cliché and cautionary tale but also as a radical embodiment of possibility and a vehicle for social critique” (2). Indeed, Mafe illustrates through her analysis that the tragic mulatto has long functioned as a trope through which American and South African writers have critiqued race, identity, national belonging, and state-sanctioned racism.

Mafe begins her study with the introduction “Tainted Blood: The ‘Tragic Mulatto’ Tradition,” wherein she introduces the celebration of mixture within the contemporary sociopolitical contexts of the United States and South Africa. She also begins to address the tragic mulatto as a historical type. Acknowledging that, in the United States, the tragic mulatto trope developed as an abolitionist tool, Mafe briefly explores its origins in antebellum and postbellum literature. Additionally, she presents a justification for her comparative study, arguing “the tragic mulatto is a provocative keystone for analyzing these American and South African texts, which might otherwise have little else in common. When read alongside each other, these fictions expose mutual histories of stigmatization and marginalization for the mulatto figure” (14).

In chapter one, “God’s Stepchildren: The ‘Tragedy of Being a Halfbreed’ in South African Literature,” Mafe offers a history of miscegenation in South Africa and the United States, allowing her to trace the origins of the coloured and mulatto populations, respectively, in each nation. Having delineated this history, Mafe then turns her attention to the use of colouredness in South African fiction, which, she asserts, was not offered in-depth characterization until the twentieth century: “This development is inextricable from the emergence of colouredness as a ‘new’ social identity, mounting national interest in race categorization, and a literary shift from exploring Anglo-Boer relations to exploring black-white relations” (34). Through analyses of Sarah Gertrude Millin’s eugenicist novel God’s Step-Children and Peter Abrahams’s The Path of Thunder, Mafe establishes the literary origins and original uses of the tragic mulatto trope in South African literature. Throughout, she draws parallels with and highlights divergences from the use of the trope in American literature, in particular Nella Larsen’s Quicksand and Passing and James Weldon Johnson’s Autobiography of an Ex-Colored Man.

In her next chapter, “‘An Unlovely Woman’: Bessie Head’s Mulatta (Re) Vision,” Mafe turns her analysis to the life and work of South African writer Bessie Head, specifically her novel A Question of Power, arguing “this text is a startling conceptualization of the mulatta that parallels but also challenges the efforts of earlier American writers” (59). Mafe explores the stereotype of the beautiful tragic mulatta and Head’s inversion of it through the presentation of an ugly protagonist, simultaneously exploring the novel’s ironic use of madness and its presentation of female sexuality. Since depictions of the tragic mulatta typically position her between the demands of white female respectability and the stereotype of black female passion, Head’s protagonist “destabilizes the exotic and erotic iconography of the mulatta, which is remarkably consistent in the American tradition” (63).

Turning from the tragic mulatta, in chapter three Mafe analyzes presentations of the mulatto man’s sexuality, again torn between “‘white’ propriety and ‘black’ passion” (86) and his filial relationship to his white father. In “‘A Little Yellow Bastard Boy’: Arthur Nortje’s Mulatto Manhood,” Mafe reads the father-son dynamic in…

Lopsided Afro

Mixed Humans ~ Reflections on occupying a space of inbetweenness. Persistently grappling with identity.
2015-05-04

Brian Kamanzi
Cape Town, South Africa

Self Determination.

I never realised how practical those words would become for my life until I started to explore the world beyond the safety of my University. Work spaces where the politics of what is considered respectable are carried out with almost total compliance without anyone mentioning a word, without anyone signing a single suggestion to law.

It was and is suffocating.

I must admit though, this moment revived memories of my childhood.
Being a child of the “colonies” our British style schools and accompanying rules really struggled to accommodate students who just didn’t quite fit the profile.

My hair was just a disaster unless kept short.
In fact, my Dad’s distate for men with anything like long hair rang in stark synchornisation with a reality and imagination that reinforced in my mind that the very hair that came out of my head was essentially…..

Read the entire article here.

Trevor Noah’s World

The Atlantic
2015-04-05

Douglas Foster, Associate Professor of Journalism
Medill School of Journalism
Northwestern University, Evanston, Illinois

What makes The Daily Show’s new host unique—according to South African comics

CAPE TOWN, South Africa—When word circulated on Monday that standup comic Trevor Noah had been chosen to succeed Jon Stewart as host of The Daily Show, South Africans hailed Noah in hyper-caffeinated terms as the country’s “next great export” after Nelson Mandela, Desmond Tutu, and Charlize Theron. On that day, I happened to be in Johannesburg shepherding students through the newsroom of The Star, where the lineup of stories at the morning editorial conference included a series of firefights between gangsters and police on public highways, allegations of corruption at every level of government, and the teetering condition of the state-run utility company, which regularly plunges the country into rolling blackouts. It was no wonder that news of a major U.S. television show hiring a 31-year-old mixed-race South African phenom as anchor had proven so welcome.

By now, the basics about Trevor Noah are well-known. He’s the young, super-cool comedian with the cherubic face and itchy Twitter finger who, beginning in 2012, achieved global recognition by way of Jay Leno, David Letterman, and Jon Stewart. In a series of solo performances around the world over the last three years, he has blown up in ways that cultural figures from South Africa haven’t since the 1960s and 1970s, when musicians like Hugh Masekela and Miriam Makeba packed music halls during the height of racial oppression back home…

…What makes Noah’s comedy unique? “He’s slick as fuck!” Evans replied. “But also super charming,” added the young comic sitting next to him. He was a slight, Afrikaans-speaking man named Schalk Bezuidenhout, who sometimes opens for Noah when he’s performing in town. Only 22 years old—the same age as Noah when he jump-started his career as a comedian—Bezuidenhout had just come off stage after a set about the hazards of dating a flight attendant (“a non-smoking fuck”) and the unintended consequences of imposing a non-racial ideal on young people from South Africa’s 11 different language groups (“There’s nothing more messed up than a bunch of Afrikaans kids singing an African song”).

Both men said Noah distinguished himself from other comics by resisting labels and “genre-based comedy.” Bezuidenhout noted that Noah always identified himself as a mixed-race South African raised in straitened circumstances in Soweto without “using it as a crutch.” Contemporaries who have shared the stage with him say he’s unusually attuned to the audience, shifting direction based on the feel in the room, and Bezuidenhout has seen Noah drop chunks of material based on the city he’s performing in. This was a quality that a number of immigrants in South Africa had already mentioned to me. Omega Chembhere, a waiter, told me that when he had arrived from Zimbabwe 10 years earlier, much of South African pop culture had seemed inaccessible. “Trevor’s different, so good at it,” he said. “His strength is that everything springs from his experience in life, but you understand his reality because he makes an effort to explain.”…

Read the entire article here.