Mixed Race Studies

Fifty years after Frantz Fanon: beyond diversity

Advances in Psychiatric Treatment
Volume 18, Number 1 (January 2012)
pages 25-31
DOI: 10.1192/apt.bp.110.008847

Adedapo Sikuade

Frantz Fanon (1925–1961), a West Indian of mixed race, was a French colonial psychiatrist trained in Lyon, France, who worked mainly in colonial North Africa between 1953 and 1957. He was one of the earliest psychiatrists to suggest that the lived experience of ethnic minorities within a discriminatory colonial environment could trigger mental illness. This article focuses on Fanon’s work and contributions to psychiatry, as well as his philosophy, advocacy for social inclusion and pioneering work in culturally relevant rehabilitation. It also examines what lessons could be learnt from his life’s work as a psychiatrist and traces his influence on a generation of psychiatric researchers, suggesting how his contribution may have influenced critical thought and current views.

Read or purchaes the article here.

Black, White, Other: Racial categories are cultural constructs masquerading as biology

Natural History
Volume 103, Number 12 (December 1994)
pages 32-35

Jonathan Marks, Professor of Anthropology
University of North Carolina, Charlotte

While reading the Sunday edition of the New York Times one morning last February, my attention was drawn by an editorial inconsistency. The article I was reading was written by attorney Lani Guinier (Guinier, you may remember, had been President Clinton’s nominee to head the civil rights division at the Department of Justice in 1993. Her name was hastily withdrawn amid a blast of criticism over her views on political representation of minorities.) What had distracted me from the main point of the story was a photo caption that described Guinier as being “half-black.” In the text of the article, Guinier had described herself simply as “black”

How can a person be black and half black at the same time? In algebraic terms, this would seem to describe a situation where x = 1/2 x, to which the only solution is x = 0.

The inconsistency in the Times was trivial, but revealing. It encapsulated a longstanding problem in our use of racial categories—namely, a confusion between biological and cultural heredity. When Guinier is described as “half-black,” that is a statement of biological ancestry, for one of her two parents is black. And when Guinier describes herself as black, she is using a cultural category, according to which one can either be black or white, but not both.

Race—as the term is commonly used—is inherited, although not in a strictly biological fashion. It is passed down according to a system of folk heredity, an all-or-nothing system that is different front the quantifiable heredity of biology. But the incompatibility of the two notions of race is sometimes starkly evident—as when the state decides that racial differences are so important that interracial marriages must be regulated or outlawed entirely. Miscegenation laws in this country (which stayed on the books in many states through the 1960s) obliged the legal system to define who belonged in what category. The resulting formula stated that anyone with one-eighth or more black ancestry was a “negro.” (A similar formula, defining Jews, was promulgated by the Germans in the Nuremberg Laws of the 1930s.)

Applying such formulas led to the biological absurdity that having one black great-grandparent was sufficient to define a person as black, but having seven white great grandparents was insufficient to define a person as white. Here, race and biology are demonstrably at odds. And the problem is not semantic but conceptual, for race is presented as a category of nature…

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Negra & Beautiful: The Unique Challenges Faced By Afro-Latinas

Latina
2011-11-29

Damarys Ocaña, Freelance Journalist

The frustrating ironies of being Afro-Latina hit Yuly Marshall with stunning regularity: At work at a Miami hospital, Hispanic patients of the Cuban-born radiology technician usually assume she’s African American, asking her, “Where did you learn to speak Spanish like that?” and expressing shock—even skepticism—that she’s really Latina. Other times, fellow Latinos will disparage African Americans in front of her with phrases like, “What can you expect from negros?” and then turn around and tell her, as if paying her a compliment, “But you’re not like that. You’re one of us.”
 
When Marshall talks about race issues with African American coworkers, they often tell her she has no idea what it’s really like to be black. Yet a few years ago, when Marshall dated a lighter-skinned black Latino, his parents persuaded him to break it off because of her dark skin. “They told him to find a white girl so he could adelantar la raza,” Marshall says, using a phrase that roughly means to ‘push the race forward’ by marrying a light-skinned person and producing children lighter than yourself.

“Sometimes I think, ‘When is this going to end?’” says Marshall, 31. “But I love my skin color. God created me this way, and I’m just as good as any other person.”…

…“People are increasingly identifying as Afro-Latino,” says Miriam Jiménez Román, who edited The AfroLatin@ Reader: History and Culture in the United States, a collection of essays by Afro-Latino writers that recently won the American Book Award. “They’re aware now that such an identity is a possibility.”
 
If it sounds strange that some young Latinas don’t know that it’s okay to be black and Latina, it’s because of the barrage of mixed messages young Afro-Latinas get.
 
Of the estimated 11 million enslaved Africans brought to the New World from the late 1400s to the 1860s, most were taken to Latin America and the Caribbean, with only some 645,000 landing in the United States. “So when you’re talking about blackness, you’re really talking about Latin America,” Jimenez says…

…Many Latin American countries have de-emphasized race for another reason, says Arlene Davila, Ph.D., a New York University professor of anthropology. “National identity was supposed to trump racial identity,” she says, supposedly making everyone equal. Black Latinos were made to feel as if trumpeting their race made them less Cuban, for example, though in reality, the political and economic power lay with light-skinned citizens…

Read the entire article here.

Until Darwin, Science, Human Variety and the Origins of Race

Pickering & Chatto Publishers
2010
224 pages
234 x 156 mm
Hardback ISBN: 978 1 84893 100 8
E-book ISBN: 978 1 84893 101 5

B. Ricardo Brown, Associate Professor of Cultural Studies
Pratt Institute, Brooklyn, New York

Until the publication of Charles Darwin’s On the Origin of Species, the prevailing theory on ‘the species question’ was that humans were made up of five separate species, created at different times and in different places. This view—known as the ‘polygenic theory’—was particularly favoured by naturalists of the early nineteenth-century ‘American School’ as it provided a scientific justification for slavery. Darwin’s Origin demolished this view.
 
This work fills a gap in recent studies on the history of race and science. Focusing on both the classification systems of human variety and the development of science as the arbiter of truth, Brown looks at the rise of the emerging sciences of life and society—biology and sociology—as well as the debate surrounding slavery and abolition.

Table of Contents

• Introduction: Ecce Homo or Slavery and Human Varietry
• 1 Classification and the Species Question
• 2 Polygenesis and the Types of Mankind
• 3 Darwin in Context: Science Against Slavery
• Conclusion: The Authority of the Sciences of Life

“White Slaves” and the “Arrogant Mestiza”: Reconfiguring Whiteness in The Squatter and the Don and Ramona

American Literature
Volume 69, Number 4 (December, 1997)
pages 813-839

David Luis-Brown, Associate Professor of Cultural Studies and English
Claremont Graduate University, Claremont, California

In Helen Hunt Jackson’s Ramona (1884) and The Squatter and the Don (1885) by Maria Amparo Ruiz de Burton are indisputably political novels, representing conflicts over land, class position, and racial status in California in the 1870s. These novels represent Anglos, Californios, and Indians as struggling for social position following the U.S. annexation of one-half of Mexico as a result of the Mexican War of 1846-1848. However, although most critics view these texts as political, their insufficient historicization of narrative form has led them to misconstrue as antagonistic the relationship between form and reform in these novels. Despite the canon-expanding feminist criticism of Lauren Berlant, Ann Douglas, Jane Tompkins, and others, which has allowed us to read as politically engaged the previously marginalized genres of melodrama and romance, Michael Dorris associates melodrama in Ramona with improbable events, simplistic characterization, and chaste love; Rosaura Sánchez and Beatrice Pita split Squatter into “two tracks, one historical and one romantic.” Sánchez and Pita view the romance as a love story inadequate to Squatter’s historical content—conflicts over racial caste. According to the logic of such constricting definitions of romance, a politically engaged, protofeminist nineteenth-century sentimental text would be a contradiction in terms, a clearly untenable conclusion given recent feminist scholarship.

Feminist scholarship on sentimentalism has allowed us to grasp the point of view expressed by José Martí, an early admirer of Ramona. In the prologue to his 1888 translation of Ramona, Martí argues that Ramona’s sentimental qualities constitute its political strength…

Purchase the article here.

Mix Up, Mix Up: Reviewing Bob Marley as the Militant Mulatto

University of Miami
Fall 2011
ENG 106 R4/S4

Rachel Panton, Lecturer of English

In lieu of what would have been Bob Marley’s 66th birthday, we will explore the impact of Rastafari on the life and music of Marley, and on other contemporary Roots Reggae artists. We will also discuss the history of Marley’s mixed-race heritage and the ways in which race influenced his music and being. Students will be encouraged to investigate these issues, as well as develop their own inquiries about this mystical legend.

Marley class inspires UM students

South Florida Times
2009-09-08

Juliana Accioly

CORAL GABLES — On a recent weekday, students at the University of Miami watched a screen in front of a blackboard ignite with lively performances of music legend Bob Marley.

Then, suddenly, those images were juxtaposed with graphic footage of segregation and violence.

When it comes to English lectures, the ones given by Professor Rachel Panton are far from routine.

Panton’s course, titled “Mix Up, Mix Up: Reviewing Bob Marley as the Militant Mulatto” has been a recurring hit among UM undergraduates.  Since 2006, more than 400 students have enrolled in the class.  They examine Marley’s life and music through his social and political times, and his contribution to the international recognition of reggae and Rastafari as empowering black power movements.

“There is all this iconography of Bob Marley just floating out there,” Panton told the South Florida Times. “This course analyzes the context in which he became a luminary.”

The class also explores the singer’s mixed heritage. He was born the son of a Jamaican black mother and an English white father at a time when intermixing of races was not rare, but still not welcome.

Marley chose to identify himself as black.

“Marley is an interesting figure because most biracial people don’t see the dichotomy ‘either or,’ but think of themselves as ‘both and,’” said Panton, alluding to her own black-white heritage…

Read the entire article here.

HIS 3015: Intermarraige in the U.S.: Race, Sex and Power in a Multicultural Society

Castleson State College, Vermont
Fall 2011, Fall 2014

An overview of the historical evolution of intermarriage and sexual relations among the various racial and ethnic groups comprising the population of the United States, and the myriad ways in which “miscegenation” has affected the national cultural of the United States from colonial times to the present.

“The Case Was Very Black against” Her: Pauline Hopkins and the Politics of Racial Ambiguity at the “Colored American Magazine”

American Periodicals
Volume 16, Number 1 (2006)
pages 52-73

Sigrid Anderson Cordell, Librarian for History, American Literature, and American Culture
University of Michigan

When Pauline Hopkins’s short story. “Talma Gordon,” appeared in the October 1900 issue of the Colored American Magazine, it ran opposite a photograph of a young smiling African-American boy balancing an American flag across one arm with the other arm raised in a salute (Figure 1). By linking the black child and the American flag, this picture, entitled “The Young Colored American.” attempts to align U.S. interests with those of the black community and reflects the magazine’s aim to recover the role of African Americans in American history. The figure of the child evokes both a sense of optimism and an historical link to America’s infancy. Likewise, the photograph of the  “Young Colored American” echoes the revisionist themes of “Talma Gordon.” a story which calls into question the hagiography of the American elite and instead celebrates the figure of a mixed-race woman who has been scorned by her white father, a scion of New England society. In this story. Hopkins reflects the Colored American Magazine’s mission to “perpetuat[e] … a history of the negro race” and re-write the triumphal narratives of traditional American history. As I will argue, however, the interweaving of gender and racial politics in the narrative structure of this story both reflects and complicates the politics of the journal itself.

Throughout her literary career. Pauline Hopkins (1859-1930) deliberately incorporated politics into her work and claimed a voice for African Americans, particularly African-American women. Rather than publishing in the mainstream literary journals such as Harper’s and the Atlantic that dominated the American cultural scene at the turn of the twentieth century, Hopkins wrote for periodicals specifically targeted to the black community, such as the Colored American Magazine. What sets her fiction and journalism apart from that of her female contemporaries—both black and white—is her blunt depiction…

Purchase the article here.

A Jazz Celebration – Remembering the Life of Philippa Schuyler

Southbank Centre
London, England
The Clore Ballroom
2012-01-27, 17:30Z

The Abram Wilson Quartet

Charismatic New Orleans trumpeter and vocalist Abram Wilson debuts original music inspired by the life of the Harlem born, mixed race classical piano prodigy, Philippa Schuyler, who died tragically young in 1967.

Wilson and his band of musicians explore new compositional ground with music ranging from the roughest blues to the most melodic swing. Soulful trumpet playing complements the vocals as Wilson tells the sensitive story of an extraordinary and gifted musician’s troubled life.

With a band featuring Alex Davies (bass), Dave Hamblett (drums) and Reuben James (piano), the multi-award winning Wilson has created a unique style of melodic compositions that swing and groove. His sound is reminiscent of Freddie Hubbard, Miles Davis and Wynton Marsalis.

For more information, click here.