Mixed Race Studies

Afro-Mexico: Dancing between Myth and Reality

University of Texas Press
December 2010
183 pages
62 b&w illus, 14 color photos
7 x 10 in.
Hardcover ISBN: 978-0-292-72324-5

Anita González, Associate Professor and Associate Chair of Theatre Arts
State University of New York, New Paltz

Photographs by George O. Jackson and José Manuel Pellicer
Foreword by Ben Vinson III

While Africans and their descendants have lived in Mexico for centuries, many Afro-Mexicans do not consider themselves to be either black or African. For almost a century, Mexico has promoted an ideal of its citizens as having a combination of indigenous and European ancestry. This obscures the presence of African, Asian, and other populations that have contributed to the growth of the nation. However, performance studies—of dance, music, and theatrical events—reveal the influence of African people and their cultural productions on Mexican society.

In this work, Anita González articulates African ethnicity and artistry within the broader panorama of Mexican culture by featuring dance events that are performed either by Afro-Mexicans or by other ethnic Mexican groups about Afro-Mexicans. She illustrates how dance reflects upon social histories and relationships and documents how residents of some sectors of Mexico construct their histories through performance. Festival dances and, sometimes, professional staged dances point to a continuing negotiation among Native American, Spanish, African, and other ethnic identities within the evolving nation of Mexico. These performances embody the mobile histories of ethnic encounters because each dance includes a spectrum of characters based upon local situations and historical memories.

Table of Contents

• Foreword by Ben Vinson III
• Preface
• Introduction
• Chapter 1: Framing African Performance in Mexico
• Chapter 2: Masked Dances: Devils and Beasts of the Costa Chica
• Chapter 3: Archetypes of Race: Performance Responses to Afro-Mexican Presence
• Chapter 4: Becoming National: Chilena, Artesa, and Jarocho as Folkloric Dances
• Conclusion
• Notes
• Bibliography
• Index

Introduction

Afro-Mexico: Dancing between Myth and Reality, as the title suggests, is a book about dancing. But more important, it is a book about how dance reflects on social histories and relationships. The photographs and text document how residents of some sectors of Mexico construct their histories through performance. The idea of Afro-Mexico is, in some ways, an enigma. While Africans and their descendants have lived in Mexico for centuries, many Afro-Mexicans do not consider themselves either black or African. Instead, members of this ethnic population blend into the national imagination of Mexico as a mixed-race country. For almost a century, Mexico has promoted an ideal of its citizens as a combination of indigenous and European ancestry. This construct obscures the presence of African, Asian, and other populations that have contributed to the growth of the nation. However, performance studies—dance, music, and theatrical events—reveal that African people and their cultural productions have consistently influenced Mexican society…

…Race in the Americas

The concept of race is continually being redefined. “Race” troubles academic theorists and affects popular social conceptions about origins and nationality. Political events like the rise of Barack Obama challenge existing myths about race and bring to questions the realities of racial mixtures in the Americas. In both local and global communities public understandings about blackness greatly influence who African Diaspora people think they are. Clearly, those who reside in Mexico are Mexican. However, self-perceptions influence both self-esteem and the sense of belonging. Recently, I was traveling by airplane to Costa Chica and picked up a copy of the magazine Intro*, which services the Oaxacan coast. Inside was a story about a surfer named Angel Salinas, an Afro-Mexican from Mancuernas, Pinotepa Nacional. Salinas is a surfing star who has won national and international tournaments. But he wears a wrestler’s mask to cover his face when he appears in public. The article states that the surfer wears the mask as “a result of some advice that his mother gave him when he didn’t appear in magazines because of his dark skin; he decided to do something that would make him different and that would show a Mexican cultural icon. Now he is known as ‘the masked surfer.'” Angel Salinas feels the need to cover his face in order to feel Mexican. Although Mexico is a country where, at first glance, the races have mixed to become a “cosmic race,” there are still urgent social discrepancies that manifest as internalized or blatant racism. This discrepancy between public policy and daily practices influences the kinds of lives that contemporary Afro-Mexicans lead…

4203W-01 – Racial Passing, Masquerade, and Transformation in African American Literature, Law, Film, and Culture

University of Connecticut
Fall 2010

Martha Cutter, Associate Professor of English

What is “race”? What is “whiteness”? What is “blackness”? What does it mean to be “mixed-race” or “multi-racial” in the US? This course will examine what racial passing—people who transform themselves from one race to another—can tell us about the meaning of race itself. Our methodology will be chronological as we test the idea that texts about passing and racial transformation both highlight, but also perhaps undermine, ideas about the meaning of race in a particular cultural and historical moment. Our focus will mainly be on twentieth and twenty-first century manifestations of racial passing and transformation, although we will also look at some earlier texts to get a sense of how ideas of race have changed over time. Our examination will also include scientific and legal texts which help us understand the meaning of blackness, whiteness, and race.

Texts: Charles Chesnutt, The House Behind the Cedars; William and Ellen Craft, Running a Thousand Miles for Freedom; Nella Larsen, Passing; George Schuyler, Black No More; Randall Kennedy, Sellout; Danzy Senna, Life on the Color Line; Spike Lee (Director), Bamboozled; Ariela Gross, What Blood Won’t Tell: A History of Race on Trial in America; Barbara Koenig, ed. Revising Race in a Genomic Age (Excerpts); other readings on racial science.

For more information, click here.

English 39695-001 ST: Racial Crossings

Kent State University
2006

Martha Cutter, Associate Professor of English

This course will examine literary and cultural treatments of individuals, authors, and characters who cross from one race to another, and sometimes also from one gender to another. This crossing may be metaphorical—for example, a white writer may attempt to write from the point of view of an African American character or a Native American character may try to “transcend” his or her race through various means. This crossing may also be actual—someone who is white may “pass” for black, or someone who is black may “pass” for white. We will look at novels, short stories, poems and films as cultural texts that depict racial crossing and passing. We will ask what these texts tell us about the way race is constructed and configured in society, culture, history, and the law. We will also attempt to understand how artists both assist and resist social and cultural constructions of the meaning of “race.” Does racial crossing fundamentally undermine or stabilize the meaning of “race”?

For more information, click here.

Media and Performance in Racial Passing: 2007 Heterodox Identities – LCST 2007 A

Eugene Lang College
The New School for Liberal Arts
Spring 2009

Orville Lee, Assistant Professor of Sociology

Racial passing is a ubiquitous and contentious feature of social and cultural life in the United States. Taking “passing” as an object of analysis, this course is organized around the question of whether social identity should be understood as a set of essential characteristics or as a type of “performance.” Readings and discussions center on the conceptualization of race; the dynamics and meaning of racial passing; the movement for the recognition of biracial identities; and the question of racial “authenticity” and the politics of the self. The case of racial passing is also compared to other cases of heterodox identity involving gender, sexuality, and social class.

Whiteness in the Novels of Charles W. Chesnutt

University Press of Mississippi
2004
248 pages
bibliography, index
Cloth ISBN: 1578066670 (9781578066674)
Paper ISBN: 9781604732481

Matthew Wilson, Professor of English and Humanities
Pennsylvania State University, Harrisburg

An examination of race and audience in an American innovator’s writings

Charles W. Chesnutt (1858-1932), critically acclaimed for his novels, short stories, and essays, was one of the most ambitious and influential African American writers of the late nineteenth and early twentieth centuries. Today recognized as a major innovator of American fiction, Chesnutt is an important contributor to de-romanticizing trends in post-Civil War Southern literature, and a singular voice among turn-of-the-century realists who wrote about race in American life.

Whiteness in the Novels of Charles W. Chesnutt is the first study to focus exclusively on Chesnutt’s novels. Examining the three published in Chesnutt’s lifetime—The House Behind the Cedars, The Marrow of Tradition, and The Colonel’s Dream—as well as his posthumously published novels, this study explores the dilemma of a black writer who wrote primarily for a white audience.

Throughout, Matthew Wilson analyzes the ways in which Chesnutt crafted narratives for his white readership and focuses on how he attempted to infiltrate and manipulate the feelings and convictions of that audience.

Wilson pays close attention to the genres in which Chesnutt was working and also to the social and historical context of the novels. In articulating the development of Chesnutt’s career, Wilson shows how Chesnutt’s views on race evolved. By the end of his career, he felt that racial differences were not genetically inherent, but social constructions based on our background and upbringing. Finally, the book closely examines Chesnutt’s unpublished manuscripts that did not deal with race. Even in these works, in which African Americans are only minor characters, Wilson finds Chesnutt engaged with the conundrum of race and reveals him as one of America’s most significant writers on the subject.

Between boxes

the Burr
Kent State University
Fall 2005
pages 50-55

Story by Jessica Rothschuh
Photo illustration by Clarissa Westmeyer
Photos by Lauren Arendt

For some multiracial students, college becomes a time to discover their heritages and shape their identities

HER DARK HAIR IS PULLED BACK IN BRAIDS, LEAVING HER FACE OPEN, TWO large, dark eyes peering out from long eyelashes. Her skin is a warm almond color. Her ethnicity is hard to put a finger on. She could pass as Hispanic or Native American.

Jalayna Nadal, freshman Latin American studies major from Edinboro, Pa., is both. Her father is black and Cherokee, and her mother is Puerto Rican and white.

Developing her multicultural identity has been a lifelong process for Nadal, and college is a time to further explore her multiple heritages, shaping her cultural identity as she learns more about herself and her roots.

For biracial and multiracial students like Nadal, college may prove both exciting and difficult. Mixed-race students in particular can experience an intense desire to discover their heritages and create their racial identities, but they also can feel pressure to define themselves. For the first time, students are searching for identities outside the environment in which they were raised, without the constant support of family…

…College is another step away from his culture, Isaacs says. “Because I’m not around my father as much, I don’t assert my Hawaiian identity as much.” Here, he hasn’t found a place he really fits in, and when he returns to Hawaii, it is hard to feel he still belongs there, either. “You’re just stuck in limbo,” Isaacs says. “You have to be kind of like a cultural chameleon in a sense.” Isaacs says he adapts his identity to those around him, and it is easy for him to blend in because he looks white.

For some biracial students, however, being a chameleon is hard. “The problem that they face saying, ‘I am biracial,’ is other people saying, ‘No, you’ve got to choose,’ ” says Angela Neal-Barnett, associate professor and research psychologist. “With biracial adolescents, you get two things happening: They choose to identify with one race or they choose to develop a biracial identity.”

For more than five years, Neal-Barnett has been studying the phenomenon of “white acting” in minority adolescents. Through her research, she has talked with biracial youth, most of whom are primarily black and white. “One’s skin color can run the gamut, and one’s hair color and texture can run the gamut. You have students who look white, but their racial identity is black or biracial,” she says. In fact, the biracial adolescents Neal-Barnett has spoken with almost always choose to identify as black or biracial. Very few identify as white…

Read the entire article here.

World Premiere of “Family Portrait in Black and White” at 2011 Sundance Film Festival

Family Portrait in Black and White
2011
Interfilm Productions, Inc.
Vancouver, British Columbia, Canada
Directed by: Julia Ivanova
Producted by Boris Ivanov

OLGA NENYA is a foster mother to SIXTEEN BLACK ORPHANS in Ukraine—where 99.9% of the population is white and where race DOES matter. Forced to constantly defend themselves from racist neighbors and skinheads, these children have to be on guard against the world that surrounds them.

No one is related by blood in this family, but everyone is connected by the color of their skin and by the woman who chose to be their foster mother. Olga is a loving mother but she is not Mother Teresa; she bears much more resemblance to a platoon leader. Some kids have learned to manipulate her, some obey, and only one constantly battles with her. Kiril, a 16-year-old boy nicknamed ‘Mr. President’ for his intelligence and effortless aristocracy, is the one who dares to openly argue with Olga—and pays dearly for it. The modern world is interconnected: not only did the British Charity buy the house for the family, but these kids from a tiny place in Ukraine have been spending summers with host families in France and Italy year after year. When European families offer to adopt the kids, Olga refuses despite being aware of what awaits a black Ukrainian beyond the protective shield of her family. For her, these children already have a family and, as she says, “The bird should only have one nest”. This film is a multi-dimensional portrait of one family, the country they live in, and the bigger world they are a part of.

For more information, click here.

2010-12-01
Park City, Utah

PARK CITY, UT – Sundance Institute announced today the lineup of films selected to screen in the U.S. and World Cinema Dramatic and Documentary Competitions for the 2011 Sundance Film Festival. In addition to the four Competition Categories, the Festival presents films in six out-of-competition sections to be announced on December 2. The 2011 Sundance Film Festival runs January 20-30 in Park City, Salt Lake City, Ogden and Sundance, Utah. The complete list of films is available at www.sundance.org/festival…

…World Cinema Documentary Competition

This year’s 12 films were selected from 796 international documentary submissions.

Family Portrait in Black and White / Canada (Director: Julia Ivanova) – In a small Ukrainian town, Olga Nenya, raises 16 black orphans amidst a population of Slavic blue-eyed blondes. Their stories expose the harsh realities of growing up as a bi-racial child in Eastern Europe. World Premiere

American Mixed-Race Literature: Cultural History, Precursors, Identities, and Forms of Expression

Purdue University
2004
116 pages
Publication Number: AAT 3166693
ISBN: 9780542022999

Gino Michael Pellegrini, Adjust Assistant Professor of English
Pierce College, Woodland Hills, California

This dissertation focuses on recent instances of mixed race literature in American culture such as Danzy Senna’s novel Caucasia, Rebecca Walker’s Black, White, and Jewish: Autobiography of a Shifting Self, and Kip Fulbeck’s Paper Bullets: A Fictional Autobiography. This dissertation suggests that these mixed race literary texts, as well as the multiracial experiences, sensibilities, themes, and expressions communicated therein, differ from traditional conceptions and descriptions of race and mixed race in American society, history, and literature that are based on the logic of the binary racial system. Mixed race literature attempts to phrase and communicate suppressed, distorted, and/or neglected multiracial experiences, sensibilities, and possibilities. Mixed race literature is also coextensive with the emergence of the multiracial social formation and movement in the post-civil rights era. “Precursors” to mixed race literature fall short in their attempt to phrase and to communicate complexities and experiences of mixed race lived existence. I read Jean Toomer’s Cane as one of the most significant precursors to mixed race literature in American literature. Mixed race literature also differs from “mixed race in American literature” insofar as the later, in the presentation of mixed race characters and themes, both relies on and validates the categorical, hierarchical, and dichotomous logic of the binary racial system. Notable examples in the canon of American and American Ethnic literature are William Faulkner and Toni Morrison who, from a mixed race perspective, extend and promote in their texts the suppression and distortion of multiracial complexities, possibilities, and lived realities in the service of the binary racial system.

Table of Contents

• Abstract
• Chapter One: Multiracial Identity in the Post-Civil Rights Era: A Personal Narrative Essay
  • The Summer of 1999
  • Growing up Racially Mixed in the 1970s and 1980s
  • Negotiating Raciated University in the 1990s
  • Conclusion
• Chapter Two: Cane and Jean Toomer: Percursors, American Mixed Race Literature
• Chapter Three: Danzy Senna’s Caucasia: A Novel About Growing Up Racially Mixed and Becoming Multiracial in the Post-Civil Rights Era
• Chapter Four: American Mixed Race Ficiational Autobiographies: Rebecca Walker’s Black, White and Jewish and Kip Fulbeck’s Paper Bullets
• List of References
• Vita

Purchase the dissertation here.

From Manenberg to Soweto: race and coloured identity in the black consciousness poetry of James Matthews 

African Studies
Volume 62, Issue 2 (December 2003)
pages 171-186
DOI: 10.1080/0002018032000148740

Mohamed Adhikari, Associate Professor of Historical Studies,
University of Cape Town

The Black Consciousness poetry of James Matthews, internationally recognised Coloured writer from the Cape Flats, reflects the growing popularisation amongst politicised Coloured people during the 1970s of the idea that racial distinctions in general, and Coloured identity in particular, had historically been used by the white supremacist establishment to divide and rule the black majority. This insight, by no means novel, provided the main thrust to the popular rejection of Coloured identity in the anti-apartheid movement of the 1980s. Coloured rejectionism had, however, originated within a small section of the Coloured intelligentsia, in particular amongst those active within the Non-European Unity Movement (NEUM) in the early 1960s (Adhikari 2002: 186-87, 213-14, 243-48) and grew into a significant movement by the time it peaked at the end of the 1980s. Though confined to a politicised minority within the Coloured community itself, and observed mainly in public discourse or for pragmatic reasons, the disavowal of Coloured identity had by the early 1980s nevertheless become a politically correct orthodoxy within the anti-apartheid movement, especially in the Western Cape. In response to the overt racism of apartheid, the democratic movement embraced non-racism as a cornerstone of its philosophy and any recognition of Coloured identity was condemned as a concession to apartheid thinking. This tendency was, however, reversed during the four-year transition to democratic rule as radical changes to the political landscape in the first half of the 1990s once again made the espousal of Coloured identity acceptable in left-wing and “progressive” circles (Adhikari 2000: 349; 2002: 23-24, 281-87). 

Read or purchase the article here.

Race Classification at the University of KwaZulu-Natal: Purposes, Sites and Practices

IOLS‐Research, Dr. Shaun Ruggunan and ccrri
For: Centre for Critical Research on Race and Identity (ccrri)
University of Kwazulu-Natal
2010-11-08
59 pages

Race classification has long been a feature of South African life, in daily life and its cognitive processes, and also in formal state-driven bureaucratic forms. In the post-apartheid period, classification of individuals on the basis of race has continued despite a stated commitment to principles of non-racialism. Primarily, this is justified in its formal manifestation because of the acknowledged need for redress of apartheid generated inequalities both in the labour market and in access to opportunities and resources (such as higher education).

Investigating the purposes and practices of race classification in an institution of higher learning in South Africa—in this case, the University of KwaZulu-Natal as one of the largest employers in the province of KwaZulu-Natal, as well as one of the largest national universities—offers a particularly interesting insight into these issues and provides an example of sites where this occurs. The research project has three key aims. Firstly it seeks broadly to identify the purpose of race classification, secondly the project investigates the processes followed in classifying people according to race, thirdly the study is interested in the effects, if any, of both classifying and being classified (from the perspective of the classifier) and the challenges involved in race classification. The project concludes by suggesting alternatives to race based classification.

…7. Challenges of classification

The challenges of classification on the basis of race at UKZN identified by interviewees mainly relate to ‘misclassifications’ (a term that holds true only if there is a notion of true/accurate classification of race). These cases of misclassification result from a myriad of problems including:

1. Problems with inaccurate data capturing. For example the data capturer could accidentally misclassify someone, or even make a subjective judgement call and change the person’s self classification to match a racial category deemed more appropriate by the data capturer.
2. The difficulties in making judgements of race classification in a society that is increasingly integrated and becoming increasing racially mixed. This problem extends beyond the mixed race category of ‘coloured’ (Erasmus, 2007).
3. The problem presented by the current four categories in use (African, Indian, Coloured and White). The use of these four categories has meant that Chinese South Africans, for example, have seen their identity collapsed under the generic category of Black. Racial classification in this sense assumes an economic currency and imperative (see Erasmus and Park, 2008) when related to Broad-Based Black Economic Empowerment (BBBEE) for example.
4. The challenges related to race classification where it is perceived to relate to access to jobs, funding or placement at University were noted…

…7.2. The ‘Coloured’ question

Classifying people of ‘mixed race’ heritage is becoming more and more difficult and this challenge was noted by a number of respondents. ‘Coloured’ in South Africa may be understood to refer to people of ‘mixed race’ heritage but it is also sometimes seen as tied to a particular cultural identity, that of ‘Cape Coloured’; or of specific races in the mix. As a result, people of mixed race heritage that do not belong to this cultural formation that is tied to a ‘black-white’ racial heritage may feel uncomfortable adopting this category for classification. Interviewees observed:

The one might be when it comes to this classification of coloured which is a bit of a, you know, what does it mean (Interview Fihlela, 2009).

If they want to keep the mixed box or the bi-racial box they can maybe have subsections under that because I think that is really going to grow in the future. There’s more interracial families […] coming forward (Interview Van Soelen et al, 2009).

Read the entire report here.