Mixed Race Studies

Celtic Tiger, Hidden Dragon: exploring identity among second generation Chinese in Ireland

The Irish Migration, Race and Social Transformation Review
Volume 2, Issue 1 (Summer 2007)
pages 48-69

Nicola Yau, Independent Researcher

Through qualitative interviews, participant observation and an asynchronous group discussion on an Internet forum for second generation Chinese, this article explores identity among the second generation in ‘Celtic Tiger’ Ireland. The Chinese, while being one of the largest minority ethnic groups, are almost invisible in other ways. This article examines how the second generation self-identify by analysing the theory of double consciousness, the significance of experiencing identity in contrast to a search for ‘authentic identities’ and the limitations of an Irish-only identity which questions what it really means to be Irish. The diasporic nature of identity is also explored through a ‘homing desire’ in terms of ties to China and Hong Kong, as is representation due to the changing nature of racialisation in Ireland following the recent arrival of ‘new’ Mainland Chinese immigrants and the addition of an ‘ethnic’ question to the 2006 Census form.

Introduction

Identity in the age of modernity is always in process, leading Stuart Hall (1996a) to pose the question: who needs ‘identity’? Whether we are migrants ourselves or products of migration, identity at home and away is vital in locating ourselves in the world. In the age of migration, identity gains greater saliency. In this article, I explore identity among second generation Chinese in ‘Celtic Tiger’ Ireland. Identity formation has always played a significant part in my own life because my father is ethnic Chinese and I had often wondered who the other members of the second generation were and if they had similar experiences to my own. In my mind there was a ‘felt necessity’ (Stanley 1996: 48, original emphasis) to carry out this research because, while being one of the largest visible minority ethnic groups in Ireland, the Chinese are very much invisible in other ways. I believe it is also important to research self-identification among the second generation which will assist in understanding the wide variety of experiences making up the current ethnic diversity of the country.

I begin by looking at identity as a process, how the second generation self identify and how they feel they are perceived by mainstream Irish society. The diasporic nature of identity is explored through the idea of a ‘homing desire’ (Brah 1996), by examining ties to China and Hong Kong, and finally I use theories of home and belonging to look at how the second generation views Ireland and what it represents for them and their identities…

…When I asked my participants how they would describe their identity, answers varied depending on their own processes of identification. However, the sense of identification being a process, of becoming, of journeying was clear, for example, when Lucy said her identity was fragmented, fractured and belligerent. She explained this by saying:

Because you’re really on your own your parents aren’t really helping you out with that. I don’t think anyone can really help you out with that, you know what I mean…you kind of have to just, yeah, figure it out in your own head. It takes a few years…but then once you figure it out and are happy with what you figured out then it’s fine but up until that point it does give an awful amount of trouble.

It is clear that her identity was individual, that it was her journey and her sense of becoming. Identity to her was the process, not merely the label she chose to go by. It was only when I asked her how she would describe her national identity that she discussed labels, none of which she chose herself:

I think if you’re kind of half and half and in between I don’t know but maybe some people find it very easy in a country where there is a lot of other people like that, then it can be very easy to identify as being like say British or American, but in Ireland I don’t think you’re ever given the facility to do that. There just isn’t the, you know, there isn’t the acceptance here to do that; not that you need people’s acceptance but like that does have an influence on you, you know people’s reactions to you, so it doesn’t really mean that much, it’s a passport and it’s an accent and that’s about it. I think you can be yourself wherever you are, so you know you don’t have to be constantly identifying yourself as Irish to be like a person.

Lucy did not feel a particular affinity to being categorized as Irish. Her sense of becoming enveloped the process of identification as being a person of mixed-race origins. She highlighted the in-between nature of her identity and while her group of friends, all of whom are white Irish, would class her as Irish, she did not. Irish is an identity that is largely symbolic to her, which she reduces to an accent and a passport. Although she may be ethnically Irish and Chinese, she is racialised as Chinese which corresponds to Song’s (2003) statement that very often people are forcefully included in groups and attributed ethnic identities which are not the same as their own sense of identity…

…For those of mixed race origins there were additional elements in their identity processes. This was evident in how my participants reacted to me. When the issue of my visible Chineseness was raised, Ida drew attention to my dual heritage while Catherine, who is also of dual heritage, thought that I looked ‘obviously’ Chinese. This mirrors the idea that monoracial groups often question membership of mixed race people because they are not ‘fully’ of any one heritage (Song 2003). Therefore, self-perception and perception by others plays a significant role in identity formation. In the next section, I examine how the second generation feel they are perceived by mainstream Irish society…

…For some of my participants of mixed race origins the ethnicity question caused confusion. When discussing this with Jessica I asked her if she considered ticking the Other option, since it included those of a mixed race background. She came to the conclusion that:

I was going to tick it but then I thought well you know I do kind of identify as Chinese, so, and Asia is ok for me and it was a difficult one to fill in to be honest. It was the last question I filled in, in the whole census form because it doesn’t allow, I’m not a complicated background, race background and I had a dilemma of which of two to fill in.

Jessica’s decision to choose the Asian Irish option ahead of the Other category highlights her desire to stress both her identities, which the latter did not allow her to do. This reflects the opinions of Darryl Slater who is of dual heritage. He stresses his two ethnic identities, even though mainstream British society sees him only as Black. The mixed race lived experience adds a further dimension to the process of identification. As Song (2003) concludes, it is Slater’s experience of his parents and his family relationships, if nothing else, that is distinct from that of monoracial people.

This reflects Anderson’s (1991: 166) contention that ‘the fiction of the census is that everyone is in it, and that everyone has one—and only one—extremely clear place. No fractions’. On the contrary, there is uncertainty and there are fractions. This sentiment was further conveyed by Lucy:

I think that people who are, you know, mixed race and Chinese and Irish or brought up Irish like, you kind of fall down between the cracks really because you can’t, because you’re asked to identify yourself with one particular group but it’s kind of hard to do it because culturally you might be but racially you’re not really, still you’re not seen as the same, so eh, which is a bit ridiculous really because it doesn’t really matter…that’s Ireland though because in America you wouldn’t have that because it’s all just everyone, whatever, loads of different people you know you can all end up being American although you can have your separate identity but in Ireland it seems you have to be Irish and that’s it and if you don’t fit white Irish then you’re not really Irish…

Read the entire article here.

Sigmund Feist and the End of the Idea of the Jews as a Mixed Race

Shpilman Institute for Photography
Blog
2011-12-04

Amos Morris Reich, Senior Lecturer of Jewish History
University of Haifa

Sigmnud Feist (1865-1943) is mostly remembered because of the orphanage for Jewish children that he directed in Berlin, as well as for his work in German linguistics. A collection of recently published letters written to him by 77 of his pupils during their service in the German military during the Great War has brought him back to public attention. But in 1925 he published a widely circulating book entitled Stammeskunde der Juden: Die jüdischen Stämme der Erde in alter und neuer Zeit. Historisch-anthropologisch Skizzen (A History of the Jewish Stock: ancient and modern Jewish tribes of the world. Historical-anthropological Sketches).

While “race” and “type” are central to Feist’s 1925 book on the Jews, in no place does he define them. Indeed, biological and, most notably, Mendelian principles are absent from his discussion. The chapters move from discussion of the Jews as a race in ancient times and the Jews in the Diaspora to a discussion of geographically ordered Jewries, including chapters on the Jews of Palestine, Near East, China, India, Ethiopia, North Africa, Spain, and Ashkenazy Jews, before turning to pseudo- and cryptic- Jews, and ending with a discussion of modern Jews as a race. The book’s structure, therefore, corroborates the argument concerning the heterogeneity of the Jews as geographically spread and as anthropologically diverse and the photographic appendix indicates similarity between Jews and their environments and Jewish anthropological variation…

….After providing historical evidence for mixture between non-Jews and Jews throughout history, his basic thesis throughout the book, Feist asked whether this process had already in ancient times aligned Jews with the peoples among whom they lived. This question, Feist wrote, is not easy to answer because of the scarcity of visual material (Bildmaterial). Feist’s assumption, therefore, was that the question was a visual one.

If we follow Feist’s argumentation here, we see the degree of internalization of widespread assumptions concerning the realistic status of photography with regard to race. Franz Boas, to whom he turns explicitly in his conclusion, ruled out on methodological grounds the ability to know what previous types looked like. Feist here argues differently. Because of the state of empirical evidence, according to Feist, the question pertains to the appearance of Jews in the medieval period. Instead of viewing medieval depictions as proof of the degree of Jewish mixture, Feist asserts that, as opposed to ancient Hittite, Assyrian, and Egyptian monuments, medieval Christian and Muslim chronicles and illustrated Bibles do not provide “truthful depictions of Jewish types” (naturgetreue jüdische Typen). He here mentions several medieval sources, in which, he claims, depicted Jews cannot be identified through their physiognomic features but only through social markers attached to them. While this, precisely, could corroborate his argument concerning Jewish mixture, Feist in fact chooses to rule out the realism of these images. While he does not say so explicitly, it is likely that the reason for this is that the depictions do not resemble the photographs of the old monuments of and the modern photographs of Jews. Based on the assumption that medieval images did not depict Jews realistically, Feist declares that only with early modern painting, specifically with Rembrandt, Rubens, and van Dijk, did representations of Jews regain an ancient realism; only here did the realistic character of Jewish faces and Jewish forms (jüdische Gestalten) reappear in art. The Jewish type, then, is constant – change was only the attribute of artistic representation…

Read the entire article here.

Recasting Race after World War II: Germans and African Americans in American-Occupied Germany

University Press of Colorado
2007
320
9 b&w photos
Cloth ISBN: 978-0-87081-869-1

Timothy L. Schroer, Associate Professor of History
University of West Georgia

Historian Timothy L. Schroer’s Recasting Race after World War II explores the renegotiation of race by Germans and African American GIs in post-World War II Germany. Schroer dissects the ways in which notions of blackness and whiteness became especially problematic in interactions between Germans and American soldiers serving as part of the victorious occupying army at the end of the war.

The segregation of U.S. Army forces fed a growing debate in America about whether a Jim Crow army could truly be a democratizing force in postwar Germany. Schroer follows the evolution of that debate and examines the ways in which postwar conditions necessitated reexamination of race relations. He reveals how anxiety about interracial relationships between African American men and German women united white American soldiers and the German populace. He also traces the importation and influence of African American jazz music in Germany, illuminating the subtle ways in which occupied Germany represented a crucible in which to recast the meaning of race in a post-Holocaust world.

Recasting Race after World War II will appeal to historians and scholars of American, African American, and German studies.

The Black Musketeer: Reevaluating Alexandre Dumas within the Francophone World

Cambridge Scholars Press
August 2011
260 pages
8.1 x 6 x 1.1 inches
ISBN 13: 978-1-4438-2997-7
ISBN: 1-4438-2997-8

Edited by:

Eric Martone, Assistant Professor of History and Social Studies Education
Mercy College, Dobbs Ferry, New York

Alexandre Dumas, author of The Three Musketeers, The Count of Monte Cristo, and The Man in the Iron Mask, is the most famous French writer of the nineteenth century. In 2002, his remains were transferred to the Panthéon, a mausoleum reserved for the greatest French citizens, amidst much national hype during his bicentennial. Contemporary France, struggling with the legacies of colonialism and growing diversity, has transformed Dumas, grandson of a slave from St. Domingue (now Haiti), into a symbol of the colonies and the larger francophone world in an attempt to integrate its immigrants and migrants from its former Caribbean, African, and Asian colonies to improve race relations and to promote French globality. Such a reconception of Dumas has made him a major figure in debates on French identity and colonial history.

Ten tears after Dumas’s interment in the Panthéon, the time is ripe to re-evaluate Dumas within this context of being a representative of la Francophonie. The French re-evaluation of Dumas, therefore, invites a reassessment of his life, works, legacy, and previous scholarship. This interdisciplinary collection is the first major work to take up this task. It is unique for being the first scholarly work to bring Dumas into the center of debates about French identity and France’s relations with its former colonies. For the purposes of this collection, to analyze Dumas in a “francophone” context means to explore Dumas as a symbol of a “French” culture shaped by, and inclusive of, its (former) colonies and current overseas departments. The seven entries in this collection, which focus on providing new ways of interpreting The Three Musketeers, The Man in the Iron Mask, The Count of Monte Cristo, and Georges, are categorized into two broad groups. The first group focuses on Dumas’s relationship with the francophone colonial world during his lifetime, which was characterized by the slave trade, and provides a postcolonial re-examination of his work, which was impacted profoundly by his status as an individual of black colonial descent in metropolitan France. The second part of this collection, which is centered broadly around Dumas’s francophone legacy, examines the way he has been remembered in the larger French-speaking (postcolonial) world, which includes metropolitan France, in the past century to explore questions about French identity in an emerging global age.

Table of Contents

• Acknowledgements
• Introduction: Alexandre Dumas as a Francophone Writer—Eric Martone
• Part One: Life and Works
  • The Paternal Mystery of Alexandre Dumas—Simone Dubrovic
  • “White Negroes, Nothing More”: The Ambiguous Role of the “Mulatto” in Alexandre Dumas’s Georges—Molly Krueger Enz
  • Monte Cristo Brings the Empire Home: Alexandre Dumas and the Promise of Postcolonial Philology—Indra N. Mukhopadhyay
  • Georges, or the “Mixed-Blood” Settles Scores—Claudie Bernard
• Part Two: Legacy
  • From the Literary Myth to the Lieu de Mémoire: Alexandre Dumas–and French National Identity(ies)—Roxane Petit-Rasselle
  • “Dent pour dent”: Injustice, Revenge, and Storytelling in The Count of Monte Cristo and Balzac and the Little Chinese Seamstress—Barbara T. Cooper
  • “A French Precursor of Obama”: The Commemoration of General Alexandre Dumas and French Reconciliation with the Past—Eric Martone
• Contributors

Showing Her Colors: An Afro-German Writes the Blues in Black and White

Callaloo
Volume 26, Number 2, Spring 2003
pages 306-319
DOI: 10.1353/cal.2003.0045

Karein Kirsten Goertz, Lecturer of Germanic Language and Literature
University of Michigan

This essay undertakes a detailed analysis of May Ayim’s Blues in Schwarz Weiss and examines her development of what she terms Ayim’s “hybrid language”—an expressive poetic style in which African and German elements are not mutually exclusive but rather two interwoven strands that Ayim brings together to articulate the texture of her identity as a Black German. Goertz contends that Ayim’s use of complex forms of irony and displacement constitutes a sophisticated practice of “defamiliarization” that represents an important new signifying practice in German literary expression.

I am who I am, doing what I came to do, acting upon you like a drug or a chisel to remind you of your me-ness as I discover you in myself.
—Audre Lorde

That bird is wise, look. Its beak, back turned, picks for the present what is best from ancient eyes, then steps forward, on ahead to meet the future, undeterred.
—Kayper-Mensah

Through her poetry, essays and political activism. May Ayim sought to dissolve the socially and politically constructed borders that continued to exist after the fall of the Berlin Wall in 1989. To her, the post-unification “new German solidarity” with its nationalistic rhetoric of Heimat (homeland), Volk (the people) and Vaterland (fatherland) signaled a redrawing of the line between those who were considered part of the German collective and those who were not; the previous ideological and geopolitical faultline between Fast and West was being replaced by a division along ethnic lines. Afro-Germans and other ethnic minorities living in Germany recognized that “the new ‘We’ in ‘this our country’ did and does not make room for everyone.” Rather than feeling summoned by this newly constructed collective identity, they understood it to be a place of confinement or delimitation and exclusion: “ein eingrenzender und ausgrenzender Ort” (Ayim, “Das Jahr” 214). Ayim’s spatial description of the pronoun signals that the repercussions of its limited parameters are real and practical, as well as psychological. Unable to identify with the new definition of the first-person possessive pronoun, she invariably finds herself cast into its second-person negative.

The title poem of Ayim’s first poetry volume, Blues in Schwarz Weiß (Blues in Black and White), published in 1995, traces the process of marginalization along color lines, with German unification as one of its more recent manifestations. To explain the age-old dynamic between black and white, she references the African-American tradition of the blues: during the celebration of German unity, some rejoiced in white, while others mourned on its fringes in black—together they danced to the rhythm of the blues. The blues were born out of the experience of oppression, but, as Angela Davis points out, blues also offers the key to transcending the racial and gender imbalance…

Read or purchase the article here.

First Annual Convention Report: Black German Cultural Society NJ

Black German Cultural Society of New Jersey
German Historical Institute
Washington, D.C.
2011-08-19 through 2011-08-21
14 pages

By Priscilla Layne and S. Marina Jones

The First Annual Black German Cultural Society, NJ Convention was an important opportunity for scholars, students, and individuals personally affected by Afrogerman history and culture, from both sides of the Atlantic, to come together. Participants included numerous members of the Afrogerman community many of whom are themselves scholars, authors, filmmakers, and activists…

Read the entire report here.

Half-Blood Blues

Picador (an imprint of Macmillan)
2011-09-03
304 pages
8.5 X 5.5 X 0.9 in
Cloth ISBN:9780887627415
Paperback ISBN: ISBN: 9781250012708

Esi Edugyan

• Winner of the 2011 Scotiabank Giller Prize

Paris, 1940.  A brilliant jazz musician, Hiero, is arrested by the Nazis and never heard from again.  He is twenty years old.  He is a German citizen.  And he is black.

Fifty years later, his friend and fellow musician, Sid, must relive that unforgettable time, revealing the friendships, love affairs and treacheries that sealed Hiero’s fate.  From the smoky bars of pre-war Berlin to the salons of  Paris—where the legendary Louis Armstrong makes an appearance—Sid, with his distinctive and rhythmic German-American slang, leads the reader through a fascinating world alive with passion, music and the spirit of resistance.

Half-Blood Blues, the second novel by an exceptionally talented young writer, is an entrancing, electric story about jazz, race, love and loyalty, and the sacrifices we ask of ourselves, and demand of others, in the name of art.

African Diasporas: Afro-German Literature in the Context of the African American Experience

Lit Verlag
2006
144 pages
ISBN: 3-8258-9612-9

Aija Poikane-Daumke

This book investigates the development of Afro-German literature in the context of the African American experience and shows the decisive role of literature for the emergence of the Afro-German Movement. Various Afro-German literary and cultural initiatives, which began in the 1980s, arose as a response to the experience of being marginalized—to the point of invisibility—within a dominant Eurocentric culture that could not bring the notions of “Black” and “German” together in a meaningful way. The book is a significant contribution to the understanding of German literature as multi-ethnic and of the the transatlantic networks operating in the African Diasporas.

Redrawing the Color Line: Gender and the Social Construction of Race in Pre-Revolutionary Haiti

Journal of Caribbean History
Volume 30, Numbers 1 & 2 (1996)
pages 28-50

John D. Garrigus, Associate Professor of History
University of Texas, Austin

This article examines the social and political construction of race in French colonial Saint-Domingue. After 1763 white elites redefined the category “free coloured” using negative images of femininity rooted in French political discourse. This engendering of racial stereotypes solidified a racial hierarchy that whites found alarmingly fluid. Planters’ councils and the governors they opposed evoked images of sexually powerful women and effeminized men to explain colonial despotism and disorder. In the late 1780s, however, free men of colour deliberately asserted their civic virtue and virility, challenging these stereotypes and eventually destroying the colonial racial hierarchy.

By 1789 French Saint Domingue was home to the largest, wealthiest, and most self-confident free population of African descent in the Americas. Comprising close to half the colony’s free population, these gens de couleur won civil equality with whites from the French Legislative Assembly in April 1792 and their political demands helped produce the Haitian Revolution. Why did such an extraordinary population emerge in this colony?

This article contends that the size, wealth, and self-confidence of this group were partly the result of new social and legal definitions of race formulated in Saint-Domingue after 1763. As this frontier society became the centerpiece of the French empire after the Seven Years’ War, prejudice established a deep and apparently permanent gulf between “whites” and “people of colour.” This new legal and social discrimination was deeply influenced by politicized French gender stereotypes, which whites used to reinforce a new, biological conception of racial difference. Old colonial families were relabeled gens de couleur. After 1769 whites considered free people of mixed African/European descent to be not merely “between” whites and blacks, but morally and physically inferior to both races. This exaggeration of the difference between white and brown colonists reinforced the ambiguous category “free people of colour” and served as an effective target during the French Revolution for wealthy “mulattos” and “quadroons” eager to claim full citizenship.

At the heart of the new racism were conflicts over Saint-Domingue’s political and cultural identity. After the Seven Years’ War new immigration from Europe and the increasingly “civilized” tone of elite colonial society raised the question of how “French” Saint-Domingue could become. Could a slave plantation colony produce a civic-minded public of the sort said to be emerging in France at this time? Many colonial planters, magistrates, and merchants wanted to believe it could. These elites appropriated metropolitan political discourse to explain why free Dominguan society differed from France. After the Seven Years’ War they began to describe free men and women of colour as passionate, narcissistic, and parasitic, terms used in France to vilify powerful women at court. This redirected and highly politicised misogyny helped solidify the ambiguous category gens de couleur, placing these families and individuals firmly outside respectable colonial society. The new image of people of mixed ancestry answered troubling questions about white behaviour in Saint-Domingue and seemed to guarantee that an orderly, rational colonial public could emerge. Grafting a stereotyped effeminacy onto emerging biological notions of race legitimised the disenfranchising of free people of colour, some of whom were indistinguishable from “whites” in wealth, education, distance from slavery, even physical appearance. In Saint-Domingue’s rough-and-tumble seventeenth-century buccaneer society, race was not the obsession it would later become. Early censuses did not distinguish between “whites” and “mulattoes,” but between free and enslaved residents. Before the massive importation of slaves for sugar work, children of mixed African/European descent were apparently considered free from birth. Even in 1685, the metropolitan authors of France’s slave law, the Code Noir, were more concerned about sin than race and racial mixture. The Code ordered colonial officials to confiscate mixed-race children and slave concubines from their owners, but stated that if a master married his slave mistress, she would be automatically free, as would the children of their union. Under the original terms of the Code Noir, ex-slaves enjoyed all the rights of French subjects…

For example, as he charted the somatic varieties produced by different combinations of African and European “blood,” Moreau also described distinct moral qualities. Blacks were strong and passionate while whites were graceful and intelligent. Therefore, mulattoes, who were one-half black, were stronger than quarterons, who were only one-quarter African. According to Moreau, African appetites for physical pleasure were especially pronounced when combined with white qualities. Mulattoes lived for sexual gratification, and the offspring of a mulatto and a black had a “temperament impossible to contain.”

Convinced that black women had strong psychological and physical inclinations to be mothers, Moreau believed that mulatto and quadroon women had difficulty giving birth, due to their physical and moral deficiencies. Men of mixed descent were similarly flawed. Mulattos were often intelligent and attractive, but they were lazy, beardless, foppish, and sensual, according to Moreau. Nor did free coloured military service challenge this image:

It seems that then [in the ranks a mulatto] loses his laziness, but all the world knows that a soldier’s life, in the leisure it provides, has attractions for indolent men … A mulatto soldier will appear exactly to the calls of day, perhaps even to those of the evening, but it is in vain that one tries to restrict his liberty at night; [the night|] belongs to pleasure and he will not indenture it, no matter what commitments he has made elsewhere…

Read the entire article here.

Hybrid Zones: Representations of Race in Late Nineteenth-Century French Visual Culture

University of Kansas
April 2011
358 pages
Publication Number: AAT 3456911
ISBN: 9781124667348

Rozanne McGrew Stringer

In this study, I examine images of the black female and black male body and the female Spanish Gypsy by four artists—Edgar Degas, Édouard Manet, Frédéric Bazille, and Henri de Toulouse-Lautrec—that articulate the instability of racial categories and stereotypes assigned to racialized populations by French artists, natural scientists, anthropologists, and writers between 1862 and 1900. Notably, whiteness—made visible and raced—is also implicated in some of the images I analyze. I look closely at the visual stereotype of the seductive, dark-skinned female Spanish Gypsy and the primitive and debased black male, as well as at representations of the abject black female body. I also consider the construction of “whiteness” as an unfixed and complex notion of French identity, particularly as it applies to the bourgeois white female body.

I analyze images in which representations of racial identity seem unproblematic, but I show that these images articulate a host of uncertainties. I contextualize each image through analyses of nineteenth-century French representations of the black person and Spanish Gypsy by modernist and academic artists, nineteenth-century racialist science, French fiction and periodicals, and entertainment spectacles such as the circus and human zoos. My methodology draws primarily on formalism, social history, and postcolonial and feminist theory.

In my examination of representations of racial difference in late nineteenth-century French visual culture, I investigate images of racialized bodies specifically through the lens of hybridity, a term employed by nineteenth-century biologists and natural scientists to define the intermixing of races and cultures. The fascination with and fear of hybrid races increasingly dominated the discourses on racial hierarchies and classifications. I explore nineteenth-century notions of racial hybridity through the emerging science of anthropology, but I also expand my study to interrogate hybridity as the cross-fertilization of cultures and identity. I consider how these images expand and problematize the meaning of hybridity and its antithetical concept of racial purity. I also demonstrate the paradoxical correspondence and oscillation between the racial stereotype and the culturally dominant power responsible for the stereotype’s creation and perpetuation. My study seeks to illuminate what I see as the hybridity and heterogeneity of racial identity, for the person of color as well as for the “white” European, discretely and subtly disclosed in these images.

Table of Contents

• Abstract
• Acknowledgments
• Introduction
• Chapter One: Mme Camus’s Shadow: Degas and Racial Consciousness
• Chapter Two: Manet’s Gypsy with a Cigarette: Unfixing the Racial Stereotype
• Chapter Three: Beholding Beauty: The Black Female Body in Frédéric Bazille’s Late Oeuvre
• Chapter Four: Masculinity and the Object of Desire in Toulouse-Lautrec’s Chocolat dansant dans un bar
• Conclusion
• Bibliography
• Illustrations

Introduction

The juxtaposition of a black woman and white woman in Frédéric Bazille’s canvas, La Toilette [Figure 1], 1870, at first glance seems to uphold normative nineteenth-century conceptions about the separation and hierarchization of the races. The semi-nude kneeling black woman, attired only in a headscarf and multi-colored striped skirt, attends to the seated light skinned female nude who is placed at the center of the composition. Standing to the left of the seated nude is a second female servant with dark eyes and hair, and a sallow complexion. Surprisingly, it is the interchange between the kneeling and seated women that especially commands the viewer’s attention. While one might expect to see the white woman depicted as the principal focus of the pairing, her body is rendered as a limp and generalized form. Yet, the body of the black woman is depicted with specificity and not reduced to a racialized type. Indeed, the skin coloration of the seated female nude in Bazille’s image could be characterized as “blank” whiteness while Bazille imparts an unexpected radiance to the black woman’s skin. Bazille composed the flesh tones of the seated nude woman from a palette of analogous icy whites which contrasts markedly with the array of luminous hues—warm browns, copper, orange, pink, and plum—with which he painted the black woman’s skin. In formal terms, Bazille painted the image of a black woman that was at odds with established social and pictorial traditions by suggesting an aestheticized and a particularized black female body.

Bazille’s image of the black female body in La Toilette is situated at an intersection between mid- to late nineteenth-century French scientific models that established the strategies of defining racial and hierarchical difference and the visual representation of race. Certainly, artists employed multiple strategies for visualizing racial difference during the second half of the nineteenth century, but many producers of visual culture subscribed to the ideology that essential differences separated the human races. In this dissertation, I will show how signs of racial difference in images by Frédéric Bazille, Edgar Degas, Édouard Manet, and Henri Toulouse-Lautrec evoke ambivalence toward racial identity. I explore how fluid notions of race in late nineteenth-century France are unexpectedly disclosed in these works.

In my examination of representations of constructions of race in late nineteenth-century French visual culture, I have chosen to investigate images of racialized bodies specifically through the lens of hybridity, a term employed by nineteenth-century biologists, natural scientists, and most notably by contemporary cultural historian and postcolonial theorist Homi K. Bhabha to define the intermixing of races and cultures. The fascination with and fear of hybrid races increasingly dominated the nineteenth-century discourse about racial hierarchies and classifications. The images I have selected expand and problematize the notion of hybridity and its antithetical concept of racial purity. “Hybridity … makes difference into sameness, and sameness into difference, but in a way that makes the same no longer the same, the different no longer simply different,” writes Robert J. C. Young in Colonial Desire: Hybridity in Theory, Culture and Race. Young distinguishes biological hybridity—inter-racial mixing that produces heterogeneous offspring—from cultural hybridity, which he argues is transformative and irrevocably alters the physical, spatial, and metaphorical separation of two discrete entities. I will explore the concept of hybrid zones as sites where boundaries between absolute difference and sameness are effaced, and contact and interaction result in shifts of identity that dismantle the sense of racial or cultural exclusivity and authenticity.

In this study, I employ both the literal and metaphorical notions of hybridity. Since the requisite for biological hybridity is the intermixing of distinct “races,” my dissertation focuses on racialized populations with which the French had significant contact in the nineteenth century: Negroes and Gypsies. I also interrogate what constituted “whiteness” for the French in the second half of the nineteenth century and how visual culture inscribed, indeed participated in creating, unstable and fluid designations of racial difference for populations of color as well for the “white” Spanish Gypsy by Degas, Manet, Bazille, and Toulouse-Lautrec that expose the unreliability of racist ideologies and articulate the instability of racial categories and stereotypes assigned to racialized populations by many French artists, natural scientists, anthropologists, and writers between 1860 and 1900. I investigate nineteenth-century notions about racial hybridity through the lens of biology and ethnology, but I also expand my study to interrogate hybridity as the cross-fertilization of cultures and identity.

I examine how French representations of the African Caribbean, North and West African black, and Spanish Gypsies visually expressed the anxieties about and fascination with the growing numbers of non-white populations living in France. Colonial expansion in the West Indies and Africa resulted in unions between French colonists and colonized women and the offspring of these interracial relationships elicited concerns about the degradation of the white race and civilization. Within their nation’s borders, the French viewed immigrant populations of blacks from their colonies and itinerant Spanish Gypsies – deemed ethnically distinct from Europeans – with suspicion, derision, and desire. The Negro and Gypsy were simultaneously marked as overtly sexual, primitive, and intellectually inferior. Although the French established a racial hierarchy that affirmed Europeans superior to non-white races, colonialism and immigration inevitably contributed to the dissolution of precise racial boundaries. My dissertation considers the areas where the dominant culture and its perceived inferior intersect and how artists represented those “in-between”6 states of racial and cultural identity…

Read the entire dissertation here.