Mixed Race Studies

Recasting the Real: Reconstructivism: A Response to Hybridity in Contemporary Art Methodologies

The University of Alabama McNair Journal
The McNair Scholars Program
Volume 7 (Spring 2007)
pages 65-84

Suzanah Moorer

While many artists are taking an interdisciplinary approach to art making, currently there is not a critical consensus on the direction and significance of hybrid artwork in American culture. Responding to Nikos Papastergiadisʼs summary of this situation, “Scholars and writers have not proposed a new philosophical framework that can assist people to make sense of their experience [with hybrid artwork],” I have borrowed the philosophical framework “Reconstructivism” from cultural criticism in an effort to further the understanding of hybridity in art today. In this project, I have first explored the parameters of Reconstructivism as it relates to the practical methodology of a sample of contemporary artistsʼ practice. Second, using a Reconstructivist methodology, I have created a body of work that is hybrid in both form and content, which culminated in an installation which includes a work of short fiction, a cycle of prints, an assemblage of objects, sound, and video. The content of the work addresses the construction of identity for biracial persons of African-American and Caucasian descent as influenced by social forces in the American South. Finally, I offer a Reconstructivist analysis of the work to elucidate the ways in which Reconstructivism can function as a “philosophical framework” to help people better understand hybrid artwork.

…My Reconstructivist Body of Work

More than “who are you?” I have been asked the question “what are you?” As a child, questions like this confused me. My reaction prompted the curious to give me options: “black or white.” I first tried responding with “or”; it was the most logical option between the two, syntactically. The answer is not simple. Before the day of the “multi-racial” race box on census documents, miscegenated people disrupted the binary system of racial classification. Because of my experience as a miscegenated person in the South, hybridity is not simply a model of interpretation for me but rather a mode of existence. The reality and significance that I perceive from the hybrid perspective compel me to create artwork that addresses the social conflict that surrounds the hybrid entity. I seek to communicate the reality of this split situation to the viewer.

Using a Reconstructivist methodology, I have created a body of work called “Halve” that is hybrid in both form and content. This body of work culminated in an installation which includes a work of short fiction, a cycle of prints, an assemblage of objects, and looped video projection. The environment that I have sought to reconstruct through an art installation is that of racial tension in the American South. Specifically, the installation addresses the perception of identity in the biracial subject (of both African-American and Caucasian descent) as influenced by social forces. The foundation of this work has come from my own personal mythology which I have constructed in the form of a short fiction, “Ribbons for Magnolia.”…

Read the entire article here.

Hybridity gets fashionable

Andréia Azevedo Soares

LabLit.com: the culture of science fiction & fact
2009-10-24

The novel White Teeth offers a different perspective on science

Even if you haven’t read the novel White Teeth by Zadie Smith, you probably remember it—unless you were lying comatose at the beginning of this century. White Teeth was considered to be the literary find even before it was fully written and, immediately after its release, rapturous reviews popped in the media like wild rabbits. Critics praised the “multi” issues cleverly addressed in this multi-layered, multicultural and multiethnic story—but overlooked much of the science that lies in it. Yes, although you may not clearly recall it, there is a scientist in White Teeth.

As a fictional character, Marcus Chalfen seems to represent this century’s emerging group of biotechnology researchers. It is his wife, Joyce Chalfen, who introduces him to the readers. Joyce portrays her husband as a geneticist deeply focused on both social and scientific progress. Promoting the chimeric fusion of embryos, it was possible to generate “mice whose very bodies did exactly what Marcus told them”. Dr. Chalfen believes that he controls every single cell of the Future Mouse^©, his ultimate genetically engineered creation.

…White Teeth is a story about many things. Zadie Smith knits together, in a tragicomic epic, a variety of tantalizing themes such as gender, race, class, eugenics and religion embedded in a saga of three multicultural families in North London. One of them are the Chalfens (who have Jewish ancestry), and the two others are the Joneses and the Iqbals. The patriarchs of the latter families, the British Archie and Indian Samad, happen to be close friends who met by chance during the Second World War and who cherished ever since a mutual and sincere friendship. Samad is married to an Indian woman and is a father of twins, Magid and Millat. His sons share the same genetic material, but each one responds to the environment in uneven ways. Archie is married to a Jamaican woman and is the father of Irie. He considers life to be a matter of chance. Every time Archie must to make a decision, he tosses a coin. His daughter, Irie, also believes in accidents but feels herself a victim of “genetic fate”. Like Zadie Smith herself, Irie Jones carries in her veins a double ancestry: “Irie believed she had been dealt the dodgy cards: mountainous curves, buck teeth and thick metal retainer, impossible Afro hair.”

In White Teeth, we should understand hybridity in its broader cultural meanings—and these meanings are not necessarily correct in scientific terms. Here, hybridity can be a chimera produced in a lab but also racial or cultural mixing. In that sense, it is possible to say that London is, due its multicultural or multiethnic condition, a sort of capital of hybridism. Different ingredients are combined in the same pot and the result can be both fun and tragic, as Zadie Smith shows. The author’s attitude towards her characters and plotline is also a hybrid one—and, if we consider that the tragicomic is also a mixture of genres, this is also quite telling.

People are enduringly enthralled with hybridity. In the past, naturalists believed that species, when intercrossed, were doomed to be infertile “in order to prevent the confusion of all organic forms”, as Darwin wrote in his The Origin of Species. In fact, sterility turned out to be associated with close interbreeding rather than hybridity. Now there is a relatively fresh idea that people who have different racial or cultural backgrounds are tailored to be more tolerant, cosmopolitan, creative and so forth. Or even more successful—like Barack Obama or Zadie Smith herself…

Read the entire essay here.

Amalgamation Schemes: Antiblackness and the Critique of Multiracialism [Review: Spickard]

American Studies
Volume 50, No. 1/2: Spring/Summer 2009
pages 125-127

Paul Spickard, Professor of History
University of California, Santa Barbara

Amalgamation Schemes: Antiblackness and the Critique of Multiracialism. Jared Sexton. Minneapolis: University of Minnesota Press. 2008.

One of the major developments in ethnic studies over the past two decades has been the idea (and sometimes the advocacy) of multiraciality. From a theoretical perspective, this has stemmed from a post-structuralist attempt to deconstruct the categories created by the European Enlightenment and its colonial enterprise around the world. From a personal perspective, it has been driven by the life experiences in the last half-century of a growing number of people who have and acknowledge mixed parentage. The leading figures in this scholarly movement are probably Maria Root and G. Reginald Daniel, but the writers are many and include figures as eminent as Gary Nash and Randall Kennedy.

A small but dedicated group of writers has resisted this trend: chiefly Rainier Spencer, Jon Michael Spencer, and Lewis Gordon. They have raised no controversy, perhaps because their books are not well written, and perhaps because their arguments do not make a great deal of sense. It is not that there is nothing wrong with the literature and the people movement surrounding multiraciality. Some writers and social activists do tend to wax rhapsodic about the glories of intermarriage and multiracial identity as social panacea. A couple of not-very-thoughtful activists (Charles Byrd and Susan Graham) have been co-opted by the Gingrichian right (to be fair, one must point out that most multiracialists are on the left). And, most importantly, there is a tension between some Black intellectuals and the multiracial idea over the lingering fear that, for some people, adopting a multiracial identity is a dodge to avoid being Black. If so, that might tend to sap the strength of a monoracially-defined movement for Black community empowerment.

With Amalgamation Schemes, Jared Sexton is trying to stir up some controversy. He presents a facile, sophisticated, and theoretically informed intelligence, and he picks a fight from the start. His title suggests that the study of multiraciality is some kind of plot, or at the very least an illegitimate enterprise. His tone is angry and accusatory on every page. It is difficult to get to the grounds of his argument, because the cloud of invective is so thick, and because his writing is abstract, referential, and at key points vague…

Login to read the review here.