Mixed Race Studies

The invention of ‘Hispanics’ created a political force of 27 million strong

Timeline
2017-03-02

Heather Gilligan, Senior Editor

Cesar Chavez (left), leader of the National Farm Workers Association, stands with a group of striking workers in Delano, California, in 1975. (Ted Streshinsky/Getty Images)

Before 1970, they were considered white by the government

On a California morning in 1969, as dawn outlined the nearby mountain ridges in purple, a pickup truck bounced down a dirt road in the Coachella Valley, filled with activists urging farmhands still picking grapes to join a statewide strike for higher wages. “These workers are so afraid of their employers,” labor organizer Dolores Huerta explained to The New York Times.

Meanwhile, on the East Coast, against a backdrop of overcrowded tenements in Spanish Harlem, a radical group of 20-something Puerto Ricans protested unsanitary living conditions by blocking Third Avenue with a garbage fire. The trash they burned had sat on the curb for days, creating a veritable rat-topia, as garbage trucks rumbled along, cleaning up regularly in richer, whiter neighborhoods.

Puerto Ricans and Mexicans like these faced many of the same hardships—including the high rates of poverty that went hand in hand with their experience employment discrimination, dilapidated housing, and substandard schools that were ill-equipped to deal with Spanish-speaking students—but what they lacked was a cohesive political identity, an identifiable voting bloc…

Read the entire article here.

2017 PEN/Joyce Osterweil Award For Poetry

PEN America
2017-01-18

Winner

Natalie Scenters-Zapico, The Verging Cities (Center For Literary Publishing/Colorado State University)

The PEN/Joyce Osterweil Award for Poetry of $5,000 is given in odd-numbered years and recognizes the high literary character of the published work to date of a new and emerging American poet of any age and the promise of further literary achievement…

Read the entire article here.

Loving in the War Years: Lo Que Nunca Paso por Sus Labios (South End Press Classics Series) (English and Spanish Edition) 2nd, expanded Edition

South End Press
2000
234 pages
5.3 x 0.5 x 8.3 inches
Paperback ISBN: 978-0896086265

Cherríe L. Moraga, Artist-in-residence
Stanford University

Weaving together poetry and prose, Spanish and English, family history and political theory, Loving in the War Years has been a classic in the feminist and Chicano canon since its 1983 release. This new edition—including a new introduction and three new essays—remains a testament of Moraga’s coming-of-age as a Chicana and a lesbian at a time when the political merging of those two identities was severely censured.

Drawing on the Mexican legacy of Malinche, the symbolic mother of the first mestizo peoples, Moraga examines the collective sexual and cultural wounding suffered by women since the Conquest. Moraga examines her own mestiza parentage and the seemingly inescapable choice of assimilation into a passionless whiteness or uncritical acquiescence to the patriarchal Chicano culture she was raised to reproduce. By finding Chicana feminism and honoring her own sexuality and loyalty to other women of color, Moraga finds a way to claim both her family and her freedom.

Moraga’s new essays, written with a voice nearly a generation older, continue the project of “loving in the war years,” but Moraga’s posture is now closer to that of a zen warrior than a street-fighter. In these essays, loving is an extended prayer, where the poet-politica reflects on the relationship between our small individual deaths and the dyings of nations of people (pueblos). Loving is an angry response to the “cultural tyranny” of the mainstream art world and a celebration of the strategic use of “cultural memory” in the creation of an art of resistance.

Student reflects on mixed-race background

The Times-Delphic
Des Moines, Iowa
2017-02-22

Jessica Spangler, Opinions Editor

As someone who comes from a blend of different cultures, it can sometimes seem like there isn’t really anywhere I belong. There are no neat boxes that I fit into.

I love that I am able to have a unique perspective and have the opportunity to grow up knowing different cultures. I’m proud of who I am and where my family is from. I am Cuban, Mexican and white and I will always consider myself lucky that I am able to have the experiences I do.

But there is also a lot of frustration that comes along with being mixed race.

People have dismissed my Latina side completely (“Please, you’re just white.”) and people have called me racial slurs or have said racist jokes to me (“Want to mow my lawn?”)…

Read the entire article here.

Rosa Clemente: How I Came to Know and Appreciate My Blackness As An Afro-Latina

Atlanta Black Star
2017-02-23

Rosa Clemente

Rosa Alicia Clemente

In 1993, I was a student at the State University of New York-Albany when Dr. Marta Moreno Vega came to speak on our campus. Until that evening, I had never heard the term Afro-Latina. In fact, I had just learned what it meant when someone said “African descendant.” See, even though I had grown up in NYC and Westchester County, respectively, and completely embraced and understood that I was Puerto Rican, it was not until I went to college that I began to get to know who I truly was.

The year before, I had joined the Albany State University Black Alliance and, through my involvement with peers who were racially and politically conscious, I was exposed to the true history of mi gente (my people). This awakening of my racial consciousness would lead me to become an Africana Studies major and, to this day, I have been a scholar-activist in the field of Black studies. For me, it became clear that I was an African descendant, so I began to devour anything and everything I could, not only to learn the truth of who I was but also to confront the lies I had been told by my teachers, family and TV…

Read the entire article here.

The fourth Critical Mixed Race Studies Conference celebrates the 50th anniversary of Loving v. Virginia

Critical Mixed Race Studies Association
2016-12-08

Laura Kina
Telephone: 773-325-4048; E-Mail: cmrsmixedrace@gmail.com

LOS ANGELES, CA – The fourth Critical Mixed Race Studies Conference, “Explorations in Trans (gender, gressions, migrations, racial) Fifty Years After Loving v. Virginia,” will bring together academics, activists, and artists from across the US and abroad to explore the latest developments in critical mixed race studies. The Conference will be held at The University of Southern California from February 24-26, 2017 at the USC Ronald Tutor Campus Center, 3607 Trousdale Parkway, Los Angeles, CA 90089 and is hosted by the Shinso Ito Center for Japanese Religions and Culture.

The conference will include over 50 panels, roundtables, and caucus sessions organized by the Critical Mixed Race Studies Association as well as feature film screenings and live performances organized by the non-profit Mixed Roots Stories. The conference is pleased to run concurrently with the Hapa Japan Festival February 22- 26, 2017.

The year 2017 marks the 50th anniversary of the 1967 Supreme Court decision in Loving v. Virginia, which declared interracial marriage legal. With a focus on the root word “Trans” this conference explores interracial encounters such as transpacific Asian migration, transnational migration from Latin America, transracial adoption, transracial/ethnic identity, the intersections of trans (gendered) and mixed race identity, and mixed race transgressions of race, citizenship, and nation…

Read the entire press release here. View the program guide here.

Interview with Playwright Adrienne Dawes

#TeatroLatinegro
2016-12-23

Dawes Portrait by Beth Consetta Rubel Photo via Dawes

I heard of Adrienne Dawes when a show that talked about Mexican identity called Casta came on my radar.  I knew that I had to connect with her.  She is a boss writer and the head of a production company called Heckle Her.  She is the mastermind behind dope shows like Doper than Dope, Am I White and Denim Doves.  She has been featured in Essence magazine and other national outlets….

…Adrienne is the recipient of the Stanley and Evelyn Lipkin Prize for Playwriting.  Her play Am I White was a finalist for the 2012 O’Neill National Playwrights Conference and semifinalist for the 2012 Princess Grace Award. Am I White won the David Mark Cohen New Play Award (2015 Austin Critics Table Awards), an award for Outstanding Original Script (2015 B. Iden Payne Awards) and was honorably mentioned by The List (The Kilroys) of recommended new plays by female and trans authors.  Adrienne is a member of the Dramatists Guild and a company member of Salvage Vanguard Theater in Austin, TX. In January 2017, Adrienne will join the inaugural class of writers in the Tulsa Artist Fellowship, supported by the George Kaiser Family Foundation.”

What is your identity?

I identify as mixed-race, multiracial, and/or AfroLatina. I am an artist and feminist; my pronouns are she and her.

Tell us about CASTA.

“Casta” is the working title of a new performance piece I am writing and creating with support from Salvage Vanguard Theater in Austin. It’s my first time to collaborate with visual artist Beth Consetta Rubel and composer Graham Reynolds. It’s also my first “history” play set in a very specific time and place (presented mostly as a period piece). We are exploring mixed-race representation in casta paintings of 18th century Mexico. Casta paintings were a unique genre of portraiture that depicted different racial mixtures arranged in 16 panels according to a hierarchy of race and status…

Read the entire interview here.

I’m A Mixed-Race Woman But Everyone Thinks I’m White — Which Hurts My Pride But Gives Me Privilege

Bustle
2017-02-07

Danielle Campoamor

Source: Courtesy of Danielle Campoamor

“We can’t help you here,” was all the receptionist would tell me. I was 20 years old, living in Plainview, Texas, and trying to see a doctor — I was a week post-op from an invasive knee surgery, and my knee was red, swollen, painful, and starting to smell. I knew I needed to see a physician soon.

“Spell your last name for me again,” the receptionist asked. “C-A-M-P-O-A-M-O-R. Campoamor. You have my medical records,” I replied.

“I’m sorry, but we just can’t accommodate you,” was all the woman could manage to say.

“Look. I have insurance.”

“Oh,” she replied. “I’m sorry. I just assumed. Well, we can see you in an hour.”

“No, thanks.”

The woman — who couldn’t see me but identified my last name as Hispanic — assumed I didn’t have insurance. I knew it, she knew it, and in light of her racist assumption, I decided I would rather go to a hospital than sit in a comfortable doctor’s office. I waited, on crutches, for two hours at a local emergency room.

That story isn’t notable because I experienced discrimination. It’s notable because that was the first time I had ever experienced discrimination. In 20 years. While I am a Puerto Rican woman, I am very white-looking. Extremely white-looking, in fact. In high school my friends (most of whom were white) would call me the “tan white girl,” or the “Tropical Mexican.” It was in jest, to be sure, but the whitewashing of my ethnicity has been a constant throughout my life…

Read the entire article here.

“Double Bind / Double Consciousness” in the Poetry of Carmen Colón Pellot and Julia de Burgos

Cincinnati Romance Review
Volume 30 (Winter 2011)
pages 69-82

Sonja Stephenson Watson, Director of the Women’s & Gender Studies Program; Associate Professor of Spanish
University of Texas, Arlington

Carmen Colón Pellot and Julia de Burgos constructed a female literary poetics and created a space for the mulata as a writing subject instead of a written object in early twentieth-century Puerto Rican negrista literature. Because of their gender and the societal norms and limitations placed upon blacks, they each found it difficult to reconcile their heritage as mulatas in a white male Hispanic society. They each testify to the “double bind” of black female authors who strive to identify themselves as both women and as blacks. In her seminal article “Feminism and Afro-Hispanism: The Double Bind,” Rosemary Feal notes that the double bind of scholars when reading texts written by Afra-Latin American writers “is to uphold the dignity of all Afro-Latin American characters…while engaging in legitimate feminist practice” (30). Feal also notes that in order to study the intersection of race and gender in works by black Latin American female writers’s texts, we must adhere to the racial, historical, and social specificities in each country. She further explains that, “‘[a]lterity’ in feminist Afro-Hispanic scholarship has as its imperative the formulation of alternate interpretive practices, and it is through analyzing the link of race and gender that we can gain more complete access to that world of difference” (30). The double bind inherent in Afra-Hispanic literature is not only that of scholars but also of the authors themselves who comprise the focus of this study. The double bind of Colón Pellot and de Burgos compels us to return to W.E.B. Du Bois’s seminal essay on double-consciousness, The Souls of Black Folk (1903), where he presented the problem of duality that plagued blacks at the turn of the twentieth century:

It is a peculiar sensation, this double-consciousness, this sense of always looking at one’s self through the eyes of others, of measuring one’s soul by the tape of a world that looks on in amused contempt and pity. One ever feels his twoness, an American, a negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder. (5)

Although Du Bois’s theory of double-consciousness does not include gender, it incorporates the problematic of race that African Diaspora figures continue to face in the twenty-first century. The double bind/double- consciousness of Colón Pellot and de Burgos is multiple and deals with their multiracial heritage as women of color. The present study examines the intersection of race and gender in both of their writings building upon the theoretical framework of double bind/double-consciousness as espoused by Feal and Du Bois. This analysis also builds on the work of Consuelo López Springfield and Claudette Williams who analyze the themes of gender and race separately in their studies on the single authors…

Read the entire article here.

Interview with Scenters-Zapico

As Us
Issue 2 (December 2015)

Casandra Lopez, Co-Founder, Editor-in-Chief

“As a poet, I’m interested in what art can be created from the anxieties of being from such a place. What can we create from these experiences? I’m a poet, not a rhetorician—it’s not my place to tell you as a reader how best to interpret the world. I want to write about the things that keep me longing and the things that keep me up at night.”

[Casandra Lopez]1. Having read some of your work in workshop I was delighted to read your full manuscript. Can you describe what your manuscript is about. I am particularly interested in hearing about the “twin” element that is prevalent in many of your poems and how place functions in your work.

[Natalie Scenters-Zapico] On a literal level this manuscript is about where I am from, the sister cities of El Paso, Texas and Ciudad Juárez, México. It stems from a place of longing for where I am from, both what it is and what it used to be. They are poems about immigration, language, pollution, brutality against women and men, war, love, marriage, weddings, and the hybrid sense of these things that exists in these two cities. The metaphor of the cities being twins runs throughout the manuscript. El Paso and Cd. Juárez were one city, El Paso del Norte, that was then divided by the river into the U.S. and México leaving them forever in a state of longing for each other. In the manuscript, this longing manifests itself in a variety of ways and I became interested in how twins can feel a connection that is beyond that of regular siblings. I also liked that I could write about a relationship between a set of twins and only hint that they might be cities….

[CL]2. Can you talk a little about how you identify both as a poet and as an individual. How or in what ways to do think these identities influence your writing and topics you choose to explore in your work.

[NSZ] This is a very interesting question for me, mainly because I have such a hybrid identity and experience. My father is Anglo, from Wisconsin, and my mother is from Asturias, Spain. My mother came to the U.S. in her twenties after falling in love with my father. I grew up in a fully bi-lingual household, in a bi-lingual city, El Paso, Texas, and went to a high school at a time when over half of my graduating class was from Cd. Juárez and crossed the bridge every day for school. I also married a Mexican man, who was educated in México and the U.S. and is also bilingual. I grew up surrounded by hybridity and a variety of experience. I grew up where multiplicity was never seen as a positive or negative thing, only a fact of existence on the border. I think that all of these things affect how I identify as an individual and then what my concerns are as a poet…

Read the entire interview here.