Mixed Race Studies

An Estimate of Assimilation Rate of Mixed-Blood Aborigines in New South Wales

Oceania
Volume 32, Number 3 (March, 1962)
pages 187-190

J. Le Gay Brereton

Some anthropologists have suggested that the Aboriginal population of New South Wales (very largely mixed-bloods) will prefer integration to assimilation. It is therefore important to obtain some estimate of the rate of assimilation in recent years (Elkin, 1960; Bell, 1960).

Assimilation here is taken to have occurred if mixed-bloods (1) no longer mix predominantly with mixed-bloods but find their friends as much or more among white Australians ; (2) live in houses typical of white Australians, dispersed among white Australians, at a standard of living like that of white Australians ; and (3) for purposes of census regard themselves as white Australians, and not mixed-blood or Aboriginal Australians.

An estimate of crude birth-rate and death-rate of mixed-bloods was made from published records of Stations in the Reports of the Aboriginal Welfare Board for the years 1944 to 1959. The birth-rates and death-rates were calculated for each year and the variation analysed by the linear regression of these rates on time. No trend was demonstrable for birth-rate, but the death-rate showed a fall which was significant (P<0.01). The average birth-rate and death-rate over the whole period was 41.8748 and 13.2056 per 1,000 persons per year, giving a crude net increase of 28.6692. No countries have a higher rate than this except Mexico (34.0 persons per 1,000 persons per year) (Commonwealth Year Book, 1959). Although it has been shown that the erode death-rate is falling, it will be assumed that the life table is fixed; in this way the population capacity to increase is underestimated. The crude net increase (28.6692) is not an ideal figure for estimating the growth of the population. It would be better to use the true rate of natural increase (Dublin and Lotka, 1925). However, this cannot be calculated owing to the lack of reliable life-tables and age-specific fecundities for the mixed-blood population. Nevertheless calculations were made using various life-tables and age-specific fecundities, and a standard mean length of a generation (28.5 years). These results are set out in Table 1. They show that to obtain a crude birth-rate as high as 23.0 live births per 1,000 persons per year, a population must have a good survival rate, and in contrast to most high age-specific fecundity schedules, high fertility in the 15-19 and 20-24 years age classes.  The crude birth-rate on stations is considerably higher than this,…

Examining the Legacy of European Names in the Elmina-Cape Coast Area of Ghana

Afroeuropa: Journal of Afroeuropean Studies
Volume 1, Number 3 (2007)
22 pages

Amma Kyerewaa Akrofi
Texas Tech University

Lawrence Owusu-Ansah
Texas Tech University

The prevalence of European family and place names in Fante areas of Ghana is one of the best known vestiges of the interaction between African and European cultures, but there has been little systematic study of it. The aim of this research was to investigate the European and Europeanized names commonly found in the Cape Coast–Elmina area. Using data obtained from interviews and a variety of written sources, the names were collected, classified, and their linguistic characteristics analyzed. The results of the study show that 1) there is a pervasiveness of such names still used by the citizens of the area under study, 2) the names are classifiable according to origin, and 3) there is a tendency toward hybridization.

1. Ancient Cities Marked by History

The interaction between Europe and modern day Ghana dates back to the fifteenth century. Francis K. Buah (1980) recounts that the Portuguese were the first European power to arrive on Ghana’s shores in January 1471, lured by the rich trade in gold. They operated from Elmina where, in 1492, they built the Sao Jorge da Mina castle and settled for about a century and a half being engaged in trade. Later, the Dutch came and conquered the Portuguese and, after staying there for about half a century, they also left, selling their holdings to the English. Buah further informs us that about a century and a half after the advent of the Portuguese, the English settled in Cape Coast and in 1664 built the Cape Coast Castle. From there they traded in merchandise and slaves and later ruled the colony until the capital was moved to Accra in 1876. Joseph Brookman-Amissah (1972) supports Buah’s account and provides further evidence of other Europeans frequenting the coastal towns of Cape Coast and Elmina. Notable among them were the French, the Danes, the Swedes and even the German Bradenbergers, the latter two staying for only a short time. Therefore, Mylène Rémy and Jean-Claude Klotchkoff’s (1992, 109) description of Elmina and Cape Coast as ancient cities marked by history is appropriate. Rémy and Klotchkoff elaborate this portrayal (1992, 109) with an assertion that the past seems more present than the present itself in both towns. However, in making this statement, Rémy and Klotchkoff’s thoughts seem to dwell more on historical monuments like the castles and forts and colonial architecture than on anything else, as evidenced by the following description of central Elmina as an aggregate of:

old creole-style houses, a totally unexpected Italian palace, and the equally startling statue of a doughty Queen Victoria in the middle of one of the town squares (Rémy and Klotchkoff 1992, 109).

But it is not only the antiquated European architecture that gives the two towns their nostalgic charm. They get their charm also from a unique characteristic –the prevalence of European and Europeanized family names. Buah (1980, 75) referred to this phenomenon as another lasting result of European activities in the country.

It is most intriguing that after 50 years of independence, the people of Cape Coast and Elmina still maintain the pre-colonial and colonial practice of giving European and Europeanised family names to their offspring. However, apart from brief and scattered comments such as the one by Buah quoted above, no systematic study has been made of those names, although they constitute some of the most obvious vestiges of the interaction between Europe and Ghana. This study attempted to establish that the names are an important record not only of that interaction but also of the different European powers who visited that part of the world. We asked the following research questions: 1) what kinds of European and Europeanized names are currently used in the area, 2) why are they used, and 3) what are the future trends? The cordial relationship between the Europeans and the Africans as evidenced by those names is a living testimony of the oneness of humanity, a fact that is often ignored in a world struggling to come to terms with ethnic conflicts and racial intolerance…

…6. Reasons for Adopting European and Europeanized Names

The informants who were interviewed gave five main reasons for adopting European or Europeanized names: European ancestry, conversion to Christianity, acquisition of formal education, to obtain colonial jobs, and miscellaneous reasons. We discuss these below.

6.1. European ancestry

Several of the European names, especially those of Portuguese and Dutch origin, were given directly by European fathers to their children with African women and these have been passed down to the present generation. A very good example of this is the name Bartels, which is common in Elmina. Originally German, it came to Elmina when Governor Bartels, whose family had migrated to Holland earlier, married a Fante woman.2 The Bartels family in Elmina today is descended from the children of this marriage, including Johann Carl Bartels who was a very rich merchant in his day. In addition to this, many families whose histories are not well documented claim direct descent from European forebears, e.g. the LeJeune and Guichard families of Elmina and Cape Coast, respectively. In both cases, as in many others, bi-racial characteristics support the claim…

Read the entire article here.

Does The Heritage Controversy Tell Us More About Warren Or The Media?

Radio Boston
WBUR
2012-05-22

Dan Mauzy, Associate Producer

Hosts

Meghna Chakrabarti, Co-Host

Anthony Brooks, Co-Host

Guests

Kevin Noble Maillard, Associate Professor of Law (member of the Seminole Nation of Oklahoma)
Syracuse University

David Catanese, National Political Reporter
Politico

Here’s a bit of a problem that political reporters have to contend with: How should we handle those stories that appear to distract from what most regard as the big, important issues of the day? When a particular campaign or a political party fans the flames of one of these sidebar stories in an effort to keep a controversy alive, what should the media do?
 
The story about Elizabeth Warren’s claims of Native American ancestry presents one of those challenges.
 
The Harvard law professor who’s challenging Sen. Scott Brown has talked proudly about her Native American heritage, and we’ve learned that she listed herself as a “minority” for nearly a decade back in the late 1980s and early 90s. Warren has tried to explain why and there’s no evidence that Harvard, or any other university, hired her because of her claim…

Read the entire article here. Listen to the interview (00:25:32) here. Download it here.

The Relationship Between Colour and Identity in the Literature of Nella Larsen and Richard Wright

Lethbridge Undergraduate Research Journal
Volume 3, Number 2 (June 2008)
ISSN 1718-8482

Elisabeth Hudson
King’s College London

The fiction of Nella Larsen and Richard Wright explores the struggle of African-American men and women to forge an identity for themselves that is free of the bonds placed on them by society. The protagonists of Larsen’s Quicksand and Passing and Wright’s Black Boy all have one thing in common: they do not wish for their identities to be defined by their race. Helga Crane, Irene Redfield, Clare Kendry, and the young Richard Wright all try to create identities for themselves that transcend racial boundaries. Because of this desire, they all have trouble relating completely to either white society or black society and, as a result, feel estranged from their communities.

In Nella Larsen’s Quicksand, the protagonist Helga Crane, who Hazel Carby called ‘the first truly sexual black female protagonist in Afro-American fiction,’ is trapped between two racial identities. The daughter of a white Danish woman and a black jazz musician she has never known, Helga has never had a black family member, and therefore struggles with the disconnect between her outward appearance and her external reality. Helga never truly feels at home in the company of either black people or white people and, as a result, is constantly fleeing from place to place in search of a society wherein she can ‘fit in.’ Wherever Helga finds herself, she is portrayed as the ‘other.’ In black society, she feels ostracised because of her colourful, flamboyant clothing, her distaste for ‘the race problem,’ and her ethnic identity as a mulatto. In white society, she is objectified as an exotic, primitive creature without agency. She is portrayed as a spectacle, almost never as spectator. Because she does not belong to one race completely, she never truly finds a place where she belongs. Helga’s sense of self is always censored by society’s restrictions and expectations. She never finds a version of reality that is not mediated by her surroundings…

Read the entire article here.

Clare Kendry’s “True” Colors: Race and Class Conflict in Nella Larsen’s Passing

Callaloo
Volume 15, Number 4 (Autumn, 1992)
pages 1053-1065

Jennifer DeVere Brody, Professor of Drama
Stanford University

Interpretations of Nella Larsen’s Passing (1929) often have failed to explain the complex symbolism of the narrative. Indeed, dismissive or tendentious criticisms of the text have caused it to be eclipsed by Larsen’s “earlier and more intriguing” book, Quicksand (1928). This essay reexamines Passing as a work concerned with the simultaneous representation and construction of race and especially class, within a circumscribed community. As such, my paper contributes to debates within Black feminist criticism about the value of these aspects of identity in relation to the production of black female subjectivities. I contend that the novel’s main characters are neither purely “psychological” beings, as Claudia Tate asserts, nor are they essentially “sexual” creatures, as Deborah McDowell argues. Rather, I read Irene Redfield and Clare Kendry as representatives of different ideologies locked in struggle for dominance.

In her introduction to Passing Deborah McDowell one of the most astute critics of Larsen’s work, states that “many critics have been misled by the novel’s epigraph … [since] it invites the reader to place race at the center of any critical interpretation.” It would appear that McDowell herself has been misled by Passing’s obviously unreliable narrator. So too, McDowell seems to agree with Claudia Tate’s belief that, “Race is peripheral to Passing. It is more a device to sustain the suspense than a compelling social issue.” I disagree with these assertions because it seems to me that the text is “all about race” or rather, the mediation of race in relation to sexuality and class.

McDowell recognizes certain tropes employed by Larsen and, like many other critics, she maintains that Irene Redfield is the primary referent of the novel’s title. Ultimately, however, McDowell is unable to give a full explication of the texf s meaning since she tries to read/uce the text as a tale of latent sexual passion without discussing the key issues of race and class. Thus, while her discussion is certainly valuable, one might also say that it reifies sexuality at the risk of not exploring how sexuality is connected inextricably with other historically produced phenomena such as race and class. In order to sustain her ingenious reading of Passing as a tale that “passes for straight” and sublimates lesbian desire, McDowell misses the more intricate implications addressed by Larsen’s work. The iconography McDowell reads as sexual is simultaneously racial: it also expresses class positionality. For example, the objective correlative envelope used in the first paragraph of the novel signifies not only the “sexual” (McDowell reads it as a “metaphorical vagina”) but also the sender’s race (alien) and class (elite). Thus, my reading emends McDowell’s by insisting on the importance of race and class in Passing.

If race as well as class conflict must occupy a primary position in any discussion of…

The Hypervisible Man: Obama as the First Black, Mixed-Race, Asian American and now Gay President

Mixed Dreams: towards a radical multiracial/ethnic movement
2012-05-24

Nicole Asong Nfonoyim

“I have always sensed that he [Obama] intuitively understands gays and our predicament—because it so mirrors his own. And he knows how the love and sacrifice of marriage can heal, integrate, and rebuild a soul. The point of the gay-rights movement, after all, is not about helping people be gay. It is about creating the space for people to be themselves. This has been Obama’s life’s work. And he just enlarged the space in this world for so many others, trapped in different cages of identity, yearning to be released and returned to the families they love and the dignity they deserve.” −Andrew Sullivan, “The First Gay President,” Newsweek

I admit, I’ve missed quite a bit being oceans and continents away from the US of A. But one watershed moment managed to reach my little apartment in Udaipur last week as I was sipping my morning chai. Front page of the Times of India was Obama’s declaration of support for marriage equality. Between you and I, I was always of the camp that believed Obama’s previous stance was no more than a mere (albeit calculated and predictable) front to protect his political hide as the over-hyped newbie presidential candidate. Seems my sentiments were shared by Andrew Sullivan in his cover article in this week’s edition of Newsweek, which featured the above image and the headline “The First Gay President.”

Reading Sullivan’s article, I remembered a talk I attended at Oberlin College for Asian Pacific American Month in 2010 where the speaker’s last slide was entitled “The First Asian-American President” beneath two photographs of Obama, one as a child in Indonesia and one hugging his sister Maya Soetoro-Ng at his high school graduation in Hawaii. The speaker insisted that Obama’s early childhood spent in Indonesia with  his mother and stepfather, his youth spent in Hawaii, his identity as a hyphen American, and immigrant son made his experience akin to that of many Asian-Americans and thus earned him the title “First Asian-American President.” And in those terms it totally made sense. Obama could be Asian-American. Obama’s identity lends itself quite easily to repeated acts of reading and (re)interpretation. Though he’s self-identified as African-American, many still call him “The First Multiracial President.” Because it matters much less what Obama thinks of himself than what we the people think of him—what images we project onto his being.

In my course, I used Obama’s story, his identity as a tool to understand how multiraciality contains multitudes and how a multiracial critique could be instrumental in breaking down monolithic notions of identity. So I encouraged students to talk about multiraciality as part of black identities, as part of Asian-American identities, Latin@, Native, White, adoptee and queer identities. If anything multiraciality benefits a great deal from a queer critique—queering race. And there’s increasingly more out there in Academe that works at the rich intersection. That being said, I still found myself a bit surprised to see such a bold act of race queering on the cover of a mainstream American publication such as Newsweek…

Read the entire essay here.

Black White & Jewish: Autobiography of a Shifting Self

Riverhead Press (an imprint of Penguin Press)
2002-01-08
336 pages
5.23 x 8.03in
ISBN 9781573229074

Rebecca Walker

ALA Best Book for Young Adults

The Civil Rights movement brought author Alice Walker and lawyer Mel Leventhal together, and in 1969 their daughter, Rebecca, was born. Some saw this unusual copper-colored girl as an outrage or an oddity; others viewed her as a symbol of harmony, a triumph of love over hate. But after her parents divorced, leaving her a lonely only child ferrying between two worlds that only seemed to grow further apart, Rebecca was no longer sure what she represented. In this book, Rebecca Leventhal Walker attempts to define herself as a soul instead of a symbol—and offers a new look at the challenge of personal identity, in a story at once strikingly unique and truly universal.

The Commoditization of Hybridity in the 1990s U.S. Fashion Advertising: Who Is cK one?

in Beyond the Frame: Women of Color and Visual Representation
Palgrave MacMillan
September 2005
272 pages
5 1/2 x 8 1/4 inches
Hardcover ISBN: 978-1-4039-6533-2, ISBN10: 1-4039-6533-1

Edited by

Neferti X. M. Tadiar, Professor of Women’s, Gender & Sexuality Studies
Barnard College, Columbia University

Angela Y. Davis, Distinguished Professor Emerita
University of California, Santa Cruz

pages 31-47

Laura J. Kuo

…an important caveat follows for postcolonial practices,namely the risk that hybridity might be re-colonised by the apparatus of power as either compensation for our losses,or as the velvet glove of enjoyment that goes hand in hand with the iron fist of exclusion. —Kobena Mercer

How does a concept like hybridity travel within different economies—between the academy, activist arenas, and the media, for example—and what forms does it take on within these smart mutations? Is the adoption of a complex concept like hybridity by the media the simple appropriation of culture by capital? The usages, travels, and permutations of hybridity are more complex and elaborate than a blanket confiscation of its political value. After all, capital is culture (among other things) and hybridity is another sign within postmodern commodity systems. By engaging the structure of these systems we can begin to identify the ways in which hybridity operates within—and in the service of—the dominant logic of postmodern capitalist neoliberalism, and its massive contradictions. In this essay I investigate hybridity as a site of possible transgressions of fixed identities, and as a potentially productive space that has been recolonized by market multiculturalism—a space that views everyone as mixed and thus elides structural differences and persistent hierarchies of race, class, gender, and sexuality.

Specifically within the context of advertising, hybridity becomes, atone level, a strategy that stabilizes discursive power relations within transnational capital. For example, there are complex relations between multinational corporations in the United States and U.S./Third World and gendered immigrant labor practices on the one hand, and the cooptation of political coalitional work on the other. At another level, images of hybridity in advertising generate value in a global world where these commodities circulate. Certainly, a racialized economic hegemony is stabilized through appropriations of racial diversity discourses within market multiculturalism. Yet it is too easy to declare that global capital exploits the labor of women of color in the Third World and in the United States, that advertising hides this exploitative relationship, and that the images therefore should be criticized and dismissed. Instead, I am interested in the way in which this practice of “hiding” constitutes a necessary vector of postmodern diference that enables the dominant logic of late capitalism, which inturn depends upon exploitation, appropriation, and difference. Advertising hybridity becomes complicitous with the act of hiding, yet at the same time images of hybridity open up new communities of possibilities for people who take up the ads within their specifics of home and place, looking toward new forms of identifications and affective communities withinc apitalism’s cultural logic.

The observations in this essay are based on the principal photograph of the cK one advertising campaign, which has been displayed prolifically on billboards and in magazines. This photo (see figure 2.1), which served as the prototype on which other early cK one ads were based, is called “Jenny, Kate & Company” in the Calvin Klein Cosmetics press packet. Using this ad as a sort of case study, I investigate how images of hybridity and multiculturalism in advertising serve to conflate race, class, gender, sexuality, ethnicity, nation, and culture within a totalizing logic of neoliberalism. I call the discursive practice of homogenizing race, class, nation, gender, sexuality, ethnicity, andculture—and the elision of the specificities of their individual locations and their intersections—commoditized hybridity. Commoditized hybridity is a manifestation of a particular practice of the relentless marketing of race. It is informed by processes of consumption of race within postmodern capitalism. Commoditized hybridity also can be represented under the guise of “multiculturalism.”…

…The cK one photos establish hybrid racial relations through biologistic portrayals of appearance. The staging of the models constructs whiteness as a racial essence cosmetically arranged with “other” racialessences in order to convey an impression of harmony/unity/solidarity. In this respect, cK one potentially closes off a space to discuss the different positions whites and people of color occupy in relation to practice,history, and social formations, and structures and relations of power.Through juxtapositions of differently racialized bodies in its ads—which are staged against a homologous black and white backdrop—cK one constructs a notion of multiraciality that postures as social diversity. The hybrid figures of 1990s fashion are bodies on which a racialized seamlessness/sameness is inscribed. The models in cK one photos are racially diverse, and when they are staged together they signify the currency of a multicultural decade. Their bodies are arranged together and “equalized” in a contrived dynamic through photographic distortion and a deliberate homogeneity of height, weight, pose, style, and expression that invokes a sense of cultural similarity, of oneness. The images are presented in black and white, creating a ground tone of similarity against which difference, as separation, is muted, and heterogeneity is emphasized. The models are always already in contact, integrated, and hybrid. They are aesthetically seductive—extremely cool, hip, and sexy—and they become part of the lure to cK one-ness. The models of color appear to be “one” with the white models, creating an illusion of common social and economic positions and cultural identifications. The commoditization of hybridity takes rich heterogeneous spaces of racial and cultural diversity and turns these spaces of promise against their potential, effectively disrupting their ability to spawn real social change. It recolonizes desirable and hopeful formulations of cultural hybridity and transforms them into weapons against the spectator. In short, these ads erase historical memory and social analysis, offering fragrance in return…

Read the entire chapter here.

Bessora: A Writer with a Thirty-Eight Shoe Size

Wasafiri
Volume 24, Issue 2 (2009)
pages 60-65
DOI: 10.1080/02690050902771779

Adele King

The character of literary criticism combined with pedagogical strategies tends to categorise, moving one accepted orthodoxy forward by pushing another out of the way. Early approaches to European literature were to treat it as a body of work by white Europeans and Americans. New classifications of it are, of course, more varied, but still include such undifferentiated general categories as black, immigrant, mixed race etc. The problem is that such comparlmentalisatlons not only ignore the actual diversity of people and their social contexts but, by imposing a presumed political or cultural vision on something quite different including writing against such categorisation—can also obscure what writers are actually doing. I am not going to review the history of postcolonial criticism and pedagogy here, but want to introduce a very good author writing in French who not onfy does not fit reductive categories, but who also seems to be writing against them. Bessora’s work has been well received; in 2000 she won the prestigious Prix Félix-Fénéon, for a literary work by an author under thirty-five (previously awarded to Robbe-Grillet among others) for Les Tachts d’Encre [Ink Stains], and Cueillez-Moi Joiis Messieurs [Pick Me Nice Gentlemen] won the Grand Prix Litteraire d’Afnque Notre in 2007. Bessora’s work has not yet, however, received any extended literary attention.

In contrast to the UK, where a number of writers of mixed African-European parentage were born and work, there are few part-sub-Saharan African, part-European writers in France. Bessora (her full name is Sandrine Bessora Nan Ngueaia), who was born in Belgium in 1968, is part Swiss, part Gabonese. To my knowledge, the only other writers in French born in Europe to mixed European and sub-Saharan African parentage and living outside Africa are: Sylvie Kandé, a poet and university professor of French-Senegalese parentage, who now teaches in the United States; Binéka Lissoumba, of French-Congolese parentage, who now teaches in Canada; and Véronique Tadjo of French-Côte d’Ivoire parentage, who has taught at universities in Africa and lived in the United States, England and South Africa. Like Bessora, these writers are from social elites and are well educated, holding advanced degrees. They are less likely to have faced direct racial prejudice than to have encountered more nuanced occlusions, which come from not being identified with either white or black communities. They are not really representative of immigrant communities, unlike second generation writers of part North African origin (the beurs), who are a different, larger group, sometimes from poor immigrant families.

Bessora’s fiction is part of a change from the overly serious treatment of political themes of much earlier African writing. Among her contemporaries in the francophone world, her work has similarities with a few other writers—a younger generation who never lived under colonialism and who came to France when they were in their early twenties. While of African parentage, they are cultural hybrids, who usually write about individual problems rather than the community. Such works include Abdourahman Waberi’s comic anthropological treatment of Djibouti in Cobier nomade (1996); Alain Mabanckou’s satiric tales of life in Congo in Memoires de porc-epic (2006); Kangni Alem’s Cola Cola Jazz (2002), a book that often playfully refers to itself and that mocks Togolese society; and, from the previous generation. Boubacar Boris Diop’s Le temps de Tomango (1981), with its science fiction tales of wildly differing historical periods, from the era of slavery to the mid-twenty-first century. Bessora, however, as the only métisse [mixed race woman] of this group, is more concerned with the paradoxes that result from classifying people by skin colour and with questions of identity in Europe. She is also more amusing.

Bessora’s life, places of abode and education have been international. Her father is a Gabonese diplomat. Her mother is Swiss, of German and Polish origin, the daughter of a pastry chef. Her father had four children by his first wife, as well as two children, Bessora and a brother, by his second. As a child she lived in Switzerland, France, Austria and Washington, D.C. during her father’s career as a diplomat, as well as in Gabon. She studied business management and applied economics at a prestigious HEC—Hautes Etudes Commerciales—in Switzerland. Later, when she came to France, she studied anthropology and wrote a doctoral thesis on the myths and legends of the oil business in Gabon. This…

Read or purchase the article here.

Cuban surrealist Wifredo Lam fetches record price

BBC News
2012-05-24

A painting by Cuban surrealist artist Wifredo Lam fetched a record personal price at a Latin American art sale at auctioneers Sotheby’s in New York.

An unnamed South American collector paid $4.5m (£2.9m) for Lam’s 1944 Idol (Oya/Divinite de l’Air et de la mort), well above the $2m-3m guide price…

…But Diego Rivera’s 1939 painting Girl in Blue and White, considered the main attraction, remained unsold.

The work by the Mexican artist had been expected to sell at a price between $4m and $6m.

In contrast, Lam’s piece, which had been in private hands since 1947, sold for more than double the previous top price for his paintings.

An Afro-Cuban, Lam died in 1982 and was heavily influenced both by surrealism and by santeria, an Afro-Caribbean religion based on Yorùbá and Roman Catholic beliefs…

Read the entire article here.