Mixed Race Studies

The future of Hispanic identity

Reuters
2013-05-06

Reihan Salam, Policy Analyst

In an interview with ABC News this past weekend, Bill Richardson, the former governor of New Mexico and a veteran of the Clinton White House, shared his thoughts on Sen. Ted Cruz, a Republican from Texas who has been gaining prominence as a staunch, and sometimes strident, conservative voice. Though Richardson acknowledged that Cruz is “articulate,” he accused the Texas senator of having introduced “a measure of incivility in the political process.” When asked if Cruz “represents most Hispanics with his politics,” Richardson replied that because Cruz is anti-immigration, “I don’t think he should be defined as a Hispanic.”

Regardless of Richardson’s true meaning, he hit a nerve. Bill Richardson and Ted Cruz are both entitled to define themselves as Hispanics, as both have roots in Spanish-speaking countries. Yet both men, like a large and growing number of Hispanics, are of mixed parentage. Richardson is the son of a father who was half-Anglo-American and half-Mexican and a Mexican mother. Ted Cruz is the son of an Irish-American mother and a Cuban immigrant father. And so the Richardson-Cruz kerfuffle gives us an opportunity to think about the future of Hispanic identity.

As of the 2010 Census, Hispanics represented 16.3 percent of the total U.S. population. And in the decades to come, the Census Bureau projects that the Hispanic share of the U.S. population will increase dramatically, from just under one American in six to just under one in three.

But there is a small complication with these numbers. The Census Bureau relies on individuals to self-identify with a given ethnic category. We now know, however, that many individuals who could identify as Hispanic, by virtue of a parent or grandparent born in a Spanish-speaking country, choose not to do so. In recent years, Brian Duncan, an economist at the University of Colorado Denver, and Stephen Trejo, an economist at the University of Texas at Austin, have been studying this “ethnic attrition rate” among U.S. immigrants and their descendants. And their findings suggest that while a given generation of Americans might identify as Hispanic, there is a decent chance that their children will not…

Read the entire article here.

Community Profiles – Melissa Nobles

MIT School of Humanities, Arts & Social Sciences
Great Ideas Change the World
2013-04-21

Leda Zimmerman

“All societies periodically have to do soul-searching,” says Melissa Nobles, the Arthur and Ruth Sloan Professor of Political Science. With research that illuminates historic episodes of racial and ethnic injustice, Nobles has developed a deep understanding of how different nations go about the process of self-examination and attempt to right the wrongs of the past. Such efforts, believes Nobles, require rigorous honesty and “making sure all voices are heard.”

Budding Political Aspirations

A self-described “political person,” Nobles learned early on about speaking up in the public arena. She was class president during most of her high school years in New Rochelle, NY and remembers attending forums in city hall to protest the school board “taking our school’s money away.” The daughter of parents born and raised in the American South, Nobles grew up during a racially fraught era, and was riveted by news accounts of the civil rights movement, as well as profoundly interested in the political struggles and history of black Americans.
 
Politics and Race
 
This passion to understand politics and its relation to race found an outlet during Nobles’ undergraduate years at Brown University in the early 1980s. Through courses on Latin America, she became fascinated with Brazil, a slave-holding country like the U.S. well into the 19th century. The prevailing academic wisdom was that post-slavery, Brazil evolved into a racial democracy with “no sharp lines of racial demarcation,” while the U.S. saw reconstruction, Jim Crow, racial violence and socioeconomic inequities.
 
But as scholars scrutinized the lives of contemporary Brazilians of color, the disparity (between U.S. and Brazilian national stories) began to crumble. According to Nobles, who eagerly absorbed the new findings, “all socioeconomic indicators that make democracy meaningful didn’t look so good for them, and in a further irony, things looked better for black Americans.” She recalls thinking, “If I’d been born in Brazil, looking the way I do, I wonder what my life outcomes would have been.”…

Read the entire article here.

Notes on the Racial Contours of Visual Culture in São Paulo, Brazil

Flow
Volume 17 (2012-12-18)

Reighan Gillam, Postdoctoral Research Fellow
Department of Afroamerican and African Studies
University of Michigan

In this three part series of essays I will consider some of the aspects of race and visuality in Brazil. This article will lay out the dominant ways in which Afro-Brazilians are represented in the public sphere and describe the racial logics that sustain these images. The next two articles will probe the domestic and international incursions into the racial visual field.

On one of my meetings with Renato Ribeiro, an Afro-Brazilian media worker, we walked along the crowded streets of São Paulo en route to eat lunch and talk about his experience working in mainstream and alternative black media. I jogged beside him in order to keep up with his short, brusque strides, and listened to him tell me about the hegemony of whiteness in the national media. He suddenly stopped in front of one of the bancos das revistas or magazine stands that punctuate the city’s sidewalks and illustrated his point by gesturing towards the covers facing us and saying, “look at the capas (covers) of the magazines facing us. They are all white people…of course except for Revista Raça (Race Magazine).” Race Magazine is Brazil’s only national magazine that represents Afro-Brazilians and a quick scan of the magazine’s stand’s content proved his point. In recognizing the magazine stands as visual sites of racial representations, Renato also drew attention to the ways in which visual culture is embedded within the landscape of the city and the racial implications of its depictions.

That someone would point out the dominance of whiteness in the media is not new. What is different is the national context of Brazil and the racial ideologies that underpin the forms that some representations take. Although becoming increasingly more common, racial critiques of the media and other areas of power have largely been silenced or ignored by the belief in racial democracy that many Brazilians sustain. The idea of racial democracy in Brazil ascribes the origins of the national population to mixture between Portuguese, African, and Indigenous peoples. It is commonly thought that this mixture blurred the boundaries between distinct racial groups and thus acts as a barrier against racism or racial prejudice. Although scholars have documented the ways in which racism continues to marginalize Afro-Brazilian access to economic, political, and social power, general ideas about racial democracy continue to underwrite a pervasive silence around discussing race or racial inequality among the general Brazilian populace. Thus when Renato levies a racial critique of the magazine stand’s visual contents, he articulates a view often unheard among many segments of the population…

Read the entire article here.

Read part 2, “Watching Everybody Hates Chris in Brazil” (2013-03-05).
Read part 3, “Afro-Brazilian Public Sphere” (2013-05-07).

‘Show Boat’ Steams On, Eternally American

All Things Considered
National Public Radio
2013-05-07

Nina Totenberg, Legal Affairs Correspondent

It’s been more than eight decades since Show Boat — the seminal masterpiece of the American musical theater — premiered on a stage in Washington, D.C. Now the sprawling classic is back, in a lush production put on by the Washington National Opera.

Based on Edna Ferber’s epic best-selling novel, Show Boat was nothing like the frothy musicals and scantily clad Broadway revues of its time. Sure, the story is about a traveling showboat that plays to audiences along the Mississippi River, but the plot focuses on serious subjects: racial injustice, alcoholism, abandonment.

Panoramic in scale, the show spans 40 years, from 1885 in the South — not long after the Civil War — to the Roaring ’20s in Chicago. And displayed in all their glory are some of the most beautiful love songs of the 20th century: “Can’t Help Lovin’ Dat Man,” “Make Believe,” “Bill.”

Show Boat made musical-theater history, pioneering the merging of music and plot, integrating them for the first time to provide a seamless transition from scene to song. Lyricist Oscar Hammerstein II, just 31 years old, worked closely with composer Jerome Kern to replicate Ferber’s sweeping narrative. In a 1958 interview released on vinyl by MGM Records, he explained how he used the Mississippi itself as the thread that would hold all the plot elements together.

“I thought that we lacked something to make it cohesive,” Hammerstein told interviewer Arnold Michaelis. “I wanted to keep the spirit of Edna’s book, and the one focal influence I could find was the river, because she had quite consciously brought the river into every important turn in the story. The Mississippi. So I decided to write a theme — a river theme.”

That theme, of course, became “Ol’ Man River,” one of the most primal American melodies ever sung.

‘Misery’ Restored, And Threaded Throughout The Show

Director Francesca Zambello, who pushed and prodded to get the current revival staged at the Kennedy Center, says she was drawn to the show because of the timeless issues it dramatizes — not least that key underlying theme of race, embodied in the show by Julie, the showboat’s star performer.

“Julie is the fulcrum of the show, because she brings the dramatic issue that changes everything,” Zambello says.

Secretly biracial, but “passing” — living publicly as a white woman — Julie has married a white man. That makes their relationship a crime in Mississippi, and in much of the rest of the country besides.

No surprise, then, that even before Julie is found out and forced to leave the showboat, the company’s mother figure, who’s in on her secret, senses trouble. “Misery’s comin’ around,” sings Queenie, the showboat’s cook, in a gorgeously melancholy melody that was cut from the original production for time.

“The theme of ‘Misery’ you hear not only with Queenie and all the women working, but it also weaves its way underneath the dialogue every time Julie speaks after that,” Zambello points out. “It becomes her sadness, and her secret.”

There are no U.S. laws against interracial marriage anymore; they were struck down in 1967 by the Supreme Court’s . But as Show Boat plays at the Kennedy Center this month, the court — just a couple of miles away — is considering questions of same-sex marriage, affirmative action and voting rights, while Congress focuses on how we as a nation treat immigrants.

“To do this kind of work that has such deep social underpinnings to it, and really speaks about social change, is I think rare in music theater,” Zambello says. “If you wrote this musical today, I’m not sure that it would get on.”…

Read the entire article here.  Listen to the story here.  Download the audio here.

Acclaimed Actress Performs Play on Race, Love

The Daily Nexus
University of California, Santa Barbara’s Independent, Student Run Newspaper
2013-05-08

Carissa Quiambao

William Zhou / Daily Nexus

Award-winning actress and playwright Fanshen Cox DiGiovanni performed her one-woman play, “One Drop of Love: A Daughter’s Search for Her Father’s Racial Approval” at the UCSB Multicultural Center Theater yesterday evening.

DiGiovanni, who has appeared in the Academy Award-winning film “Argo,” is the co-creator and co-host of award-winning weekly podcast Mixed Chicks Chat and a co-founder and co-producer of the Mixed Roots Film & Literary Festival.

Her solo performance, “One Drop of Love,” co-produced by Ben Affleck, Matt Damon and Chay Carter, begins with DiGiovanni counting the number of “whites” and “blacks” in the audience in a portrayal of a United States Census Bureau employee in 1790, then transitions into her present-day narrative meeting her husband and getting married in 2006, only to have her father decline attending her wedding…

…DiGiovanni alternates between scenes of racial categorization by the U.S. Census Bureau in the late 1700s and her personal narrative about growing up as a multiracial youth in cities across the United States and in West and East Africa. Using filmed images, photographs and animation, she explains the development of “race” in the U.S. and how it affected her identity and her relationship with her black, Jamaican father.

Over the course of the play, DiGiovanni explores her family history in order to reconstruct her racial identity and confront her father about his absence at her wedding. She said this process gave her insight into her heritage and ultimately allowed her to feel more comfortable with her personal identity.

“Today, especially having done this and reconnected with my dad, I feel stronger in my black identity as well as in my mixed identity,” DiGiovanni said. “I feel stronger, and I feel so much more relaxed about it. Unfortunately, it took a long time, and it might take you guys a long time, but just know that you will feel comfortable at some point. I think the sooner we can all get there, it will really help in terms of looking at racism.”…

Read the entire article here.

A German doctor [Johann Friedrich Blumenbach] in 1776 divided the human species into five races. Today, nearly two and a half centuries later, these are the same five races into which the U.S. Census divides the American population, making America the only country in the world firmly wedded to an eighteenth-century racial taxonomy. Embedded in this science were theories of a racial hierarchy: there were not just different races but superior and inferior races. American politics and policy held onto this assumption for nearly two centuries.

Kenneth Prewitt, What Is Your Race? The Census and Our Flawed Efforts to Classify Americans, (Princeton: Princeton University Press, 2013). 8.

State of Race 2013: Presentation on the Demographics of Race

The Aspen Institute
Washington, D.C.
2013-04-24

Presenter:

Paul Taylor, Executive Vice-President and Director of Social and Demographic Trends Project
Pew Research Center

The Material Gene: Gender, Race, and Heredity after the Human Genome Project

New York University Press
May 2013
303 pages
Cloth ISBN: 9780814790687

Kelly E. Happe, Assistant Professor of Communication Studies and Women’s Studies
University of Georgia

In 2000, the National Human Genome Research Institute announced the completion of a “draft” of the human genome, the sequence information of nearly all 3 billion base pairs of DNA. Since then, interest in the hereditary basis of disease has increased considerably. In The Material Gene, Kelly E. Happe considers the broad implications of this development by treating “heredity” as both a scientific and political concept. Beginning with the argument that eugenics was an ideological project that recast the problems of industrialization as pathologies of gender, race, and class, the book traces the legacy of this ideology in contemporary practices of genomics. Delving into the discrete and often obscure epistemologies and discursive practices of genomic scientists, Happe maps the ways in which the hereditarian body, one that is also normatively gendered and racialized, is the new site whereby economic injustice, environmental pollution, racism, and sexism are implicitly reinterpreted as pathologies of genes and by extension, the bodies they inhabit. Comparing genomic approaches to medicine and public health with discourses of epidemiology, social movements, and humanistic theories of the body and society, The Material Gene reworks our common assumption of what might count as effective, just, and socially transformative notions of health and disease.

Contents

• Acknowledgments
• Preface
• 1. Ideology and the New Rhetoric of Genomics
• 2. Heredity as Ideology: Situating Genomics Historically
• 3. Genomics and the Reproductive Body
• 4. Genomics and the Racial Body
• 5. Genomics and the Polluted Body
• 6. Toward a Biosociality without Genes
• Notes
• Bibliography
• Index
• About the Author

Counting The People

San Francisco Call
Sunday, 1890-06-01
page 6, column 7
Source: California Digital Newspaper Collection

Some of the Inquires to Be Made by the Census Enumerators in June

The eleventh census of the United States will be taken during the month of June. The census enumerators will begin their work on to-morrow, and will visit every house and ask questions concerning every person and every family in the United States. The questions that will be asked call for the name of every person residing in the United States on the first day of June, with their sex and age, and whether white, black, mulatto, quadroon, octoroon, or Chinese, Japanese or Indian. Inquiry will be made also of every person as to whether they are single, married, widowed or divorced and, if married, whether married during the year. The place of birth of every person, and the place of birth of the father and mother of each person, will also be called for, as well as a statement as to the profession, trade or occupation followed and the number of months unemployed during the census year. For all persons 10 years of age or over a return must be made by the enumerator as to the number able to read and write, and also the number who can speak English. For those who cannot speak English the particular language or dialect spoken by them in will be ascertained. For children of school age, also, the number of months they attended school will be recorded by the census enumerators. In the case of mothers an inquiry will be made as to the number of children they have had, and the number of these children living at the present time. This inquiry is to be made of all women who are or have been married, including all who are widows or have been divorced. Foreign-born males of adult age, that is, 21 years of age or over, will be asked as to the number of years they have been in the United States, and whether they are naturalized or have taken, out naturalization papers. Of the head of each family visited the question will be asked as to the number of persons in the family, and whether his home is owned or hired; also, if owned, whether the home is free from mortgage incumbrance. If the head of the family is a farmer, similar inquiries will be made concerning the ownership of the farm. In addition to these inquiries, all of which are made on the population schedule, the law under which the census is taken makes provision for special inquiries concerning such of the population as may be mentally or physically defective in any respect, that is insane, feeble-minded, deaf, blind, or crippled, or who may be temporarily disabled by sickness, disease, or accident at the time of the enumerator’s visit. Certain special inquiries will also be made concerning inmates of prisons and reformatories and of charitable and benevolent institutions. Besides this, a statement will be called for concerning all persons who have died during the census year, giving their name, age, sex, occupation and cause of death.

This official count of the people comes but once in ten years, and every family and every person should consider it to be a duty to answer the questions of the census enumerators willingly and promptly, so that definite and accurate information may be gained concerning the 65,000,000 people living within the bounds of this great country.

Race doesn’t fit in a checkbox

Arkansas Times
Little Rock, Arkansas
2013-05-02

Gene Lyons

Lamentably, the Boston Marathon bombing re-opened some of the most poisonous arguments in American life. Specifically, are the Tsarnaev brothers “white”? It’s a meaningless question.

Some hotheads couldn’t wait to declare all Muslims suspect. Certain thinkers on the left (David Sirota, Salon) argued against collective guilt while oddly lamenting that “white male privilege means white men are not collectively denigrated” for the crimes of Caucasian psycho killers.

Should they be?

Anyway, I’d previously treated the theme of ethnicity as destiny in a column about which racial ID boxes President Obama should have checked on his 2010 census form.

Everybody knows Obama’s mother was a white woman from Kansas, his father an exchange student from Kenya. But there’s no box labeled “African-American.” So the president checked “black.” He could also have checked “white,” but chose not to.

This decision disappointed a unique student group at the University of Maryland, although most understood it. Recently profiled in the New York Times, the Multiracial and Biracial Student Association could with equal accuracy be called “Students Whose Mothers Were Asked Insulting Questions by Busybodies at the Supermarket.”…

…But I’m getting ahead of myself. The Maryland group strikes me as entirely benign. Asked which boxes she checks, vice-president Michelle Lopez-Mullins, age 20, says “It depends on the day, and it depends on the options.”…

…Anyway, back to President Obama, who’s written books about his mixed inheritance. It appears to me that along with his great intelligence, Obama’s mixed background helped make him an intellectual counterpuncher — watchful, laconic, and leery of zealotry, a born mediator.

Like a man behind a mask, Obama watches people watch him.

Checking the “black” box on the census form, however, was the politically canny choice. Americans aren’t far from the days when absurd categories like “mulatto,” “quadroon,” and “octoroon” could determine people’s fate. Sadly, had he checked the “white” box too, many voters would have resented it.

My own choices were simpler. Raised to think of myself as Irish before American — all eight of my great-grandparents emigrated during the late 19th century, hunkering down in ethnic enclaves within walking distance of salt water — I was taught that there was a proper “Irish” opinion on every imaginable topic…

Read the entire article here.