Mixed Race Studies

Comparative Racial Politics in Latin America (First Edition)

Routledge
2018-09-04
358 pages
31 B/W Illus.
Paperback: 9781138485303
Hardback: 9781138727021
eBook (VitalSource): 9781315191065

Edited by:

Kwame Dixon, Associate Professor of Political Science
Howard University, Washington, D.C.

Ollie A. Johnson III, Associate Professor of African American Studies
Wayne State University, Detroit, Michigan

Latin America has a rich and complex social history marked by slavery, colonialism, dictatorships, rebellions, social movements and revolutions. Comparative Racial Politics in Latin America explores the dynamic interplay between racial politics and hegemonic power in the region. It investigates the fluid intersection of social power and racial politics and their impact on the region’s histories, politics, identities and cultures.

Organized thematically with in-depth country case studies and a historical overview of Afro-Latin politics, the volume provides a range of perspectives on Black politics and cutting-edge analyses of Afro-descendant peoples in the region. Regional coverage includes Argentina, Brazil, Colombia, Cuba, the Dominican Republic, Ecuador, Haiti and more. Topics discussed include Afro-Civil Society; antidiscrimination criminal law; legal sanctions; racial identity; racial inequality and labor markets; recent Black electoral participation; Black feminism thought and praxis; comparative Afro-women social movements; the intersection of gender, race and class, immigration and migration; and citizenship and the struggle for human rights. Recognized experts in different disciplinary fields address the depth and complexity of these issues.

Comparative Racial Politics in Latin America contributes to and builds on the study of Black politics in Latin America.

Table of Contents

• Introduction: Comparative Racial Politics in Latin America – Black Politics Matter [Kwame Dixon and Ollie A. Johnson III]
• Part 1: History
  • 1. Beyond Representation: Rethinking Rights, Alliances and Migrations: Three Historical Themes in Afro-Latin American Political Engagement [Darién J. Davis]
  • 2. Recognition, Reparations, and Political Autonomy of Black and Native Communities in the Americas [Bernd Reiter]
  • 3. Pan-Africanism and Latin America [Elisa Larkin Nascimento]
• Part 2: The Caribbean
  • 4. Black Activism and the State in Cuba [Danielle Pilar Clealand]
  • 5. Correcting Intellectual Malpractice: Haiti and Latin America [Jean-Germain Gros]
  • 6. Black Feminist Formations in the Dominican Republic since La Sentencia [April J. Mayes]
• Part 3: South America
  • 7. Afro-Ecuadorian Politics [Carlos de la Torre and Jhon Antón Sánchez]
  • 8. In The Branch of Paradise: Geographies of Privilege and Black Social Suffering in Cali, Colombia [Jaime Amparo Alves and Aurora Vergara-Figueroa]
  • 9. The Impossible Black Argentine Political Subject [Judith M. Anderson]
  • 10. Current Representations of “Black” Citizens: Contentious Visibility within the Multicultural Nation [Laura de la Rosa Solano]
• Part 4: Comparative Perspectives
  • 11. The Contours and Contexts of Afro-Latin American Women’s Activism [Kia Lilly Caldwell]
  • 12. Race and the Law in Latin America [Tanya Katerí Hernández]
  • 13. The Labyrinth of Ethnic-Racial Inequality: a Picture of Latin America according to the recent Census Rounds [Marcelo Paixão and Irene Rossetto]
  • 14. The Millennium/Sustainable Development Goals and Afro-descendants in the Americas: An (Un)intended Trap [Paula Lezama]
• Conclusion [Kwame Dixon and Ollie A. Johnson III]

Mulata Nation: Visualizing Race and Gender in Cuba

University Press of Mississippi
2018-08-15
248 pages (approx.)
58 color illustrations
6 x 9 inches
Hardcover ISBN: 9781496814432

Alison Fraunhar, Associate Professor of Art and Design
Saint Xavier University, Chicago, Illinois

A vivid exploration of the key role played by multi-racial women in visualizing and performing Cuban identity

Repeatedly and powerfully throughout Cuban history, the mulata, a woman of mixed racial identity, features prominently in Cuban visual and performative culture. Tracing the figure, Alison Fraunhar looks at the representation and performance in both elite and popular culture. She also tracks how characteristics associated with these women have accrued across the Atlantic world. Widely understood to embody the bridge between European subject and African other, the mulata contains the sensuality attributed to Africans in a body more closely resembling the European ideal of beauty.

This symbol bears far-reaching implications, with shifting, contradictory cultural meanings in Cuba. Fraunhar explores these complex paradigms, how, why, and for whom the image was useful, and how it was both subverted and asserted from the colonial period to the present. From the early seventeenth century through Cuban independence in 1899 up to the late revolutionary era, Fraunhar illustrates the ambiguous figure’s role in nationhood, citizenship, and commercialism. She analyzes images including key examples of nineteenth-century graphic arts, avant-garde painting and magazine covers of the Republican era, cabaret and film performance, and contemporary iterations of gender.

Fraunhar’s study stands out for attending to the phenomenon of mulataje not only in elite production such as painting, but also in popular forms: popular theater, print culture, later films, and other media where stereotypes take hold. Indeed, in contemporary Cuba, mulataje remains a popular theme with Cubans as well as foreigners in drag shows, reflecting queerness in visual culture.

We Are Who We Say We Are: A Black Family’s Search for Home Across the Atlantic World

Oxford University Press
2014-12-01
224 Pages
32 illustrations
5-1/2 x 8-1/4 inches
Paperback ISBN: 9780199978335

Mary Frances Berry, Geraldine R. Segal Professor of American Social Thought and Professor of History
University of Pennsylvania

This colored Creole story offers a unique historical lens through which to understand the issues of migration, immigration, passing, identity, and color-forces that still shape American society today. We Are Who We Say We Are provides a detailed, nuanced account of shifting forms of racial identification within an extended familial network and constrained by law and social reality.

Author Mary Frances Berry, a well-known expert in the field, focuses on the complexity and malleability of racial meanings within the US over generations. Colored Creoles, similar to other immigrants and refugees, passed back and forth in the Atlantic world. Color was the cause and consequence for migration and identity, splitting the community between dark and light. Color could also split families. Louis Antoine Snaer, a free man of color and an officer in the Union Army who passed back and forth across the color line, had several brothers and sisters. Some chose to “pass” and some decided to remain “colored,” even though they too, could have passed. This rich global history, beginning in Europe–with episodes in Haiti, Cuba, Louisiana, and California–emphasizes the diversity of the Atlantic World experience.

Contents

• Preface
• Chapter I: Becoming Colored Creole
• Chapter II: Becoming Americans
• Chapter III: Family Troubles
• Chapter IV: Fighting for Democracy
• Chapter V: Becoming “Negroes”
• Chapter VI: Opportunity and Tragedy in Iberia Parish
• Chapter VII: Mulattoes and Colored Creoles
• Chapter VIII: Just Americans
• Chapter IX: At Home or Away: We Are Who We Say We Are
• Epilogue: Becoming “Black”
• Notes

Misty Copeland on Seeing So Many Brown Ballerinas in Cuba: “That Will Forever Stick With Me”

Remezcla
2016-12-22

Yara Simón, Trending Editor

Photo: Emily Jan/NPR

In the world of American ballet, Misty Copeland is the exception. As the first black woman to become a principal dancer for the American Ballet Theatre, Copeland knows what it’s like to be one of the few women of color to break through. That’s why when President Barack Obama asked her to visit Cuba as part of a sports envoy program designed to further strengthen relations between the United States and the Caribbean nation, Misty felt struck by the number of brown bodies she saw at the prestigious Ballet Nacional de Cuba.

“Just the imagery of seeing a room full of Cuban women and men with brown skin, doing classical ballet, and it’s not even a question for them,” she told The Undefeated. “It’s like, ‘No, this is what we do and this is what we look like.’ That’s something that will forever stick with me.”…

Read the entire article here.

Misty Copeland En Pointe

The Undefeated
2016-12-14

Kelley L. Carter, Senior Culture Writer

Photographs by Brent Lewis
Videos by Lois Nam, Senior Digital Producer

America’s most famous prima ballerina heads to Cuba to represent female athleticism. (Yes, athleticism.)

HAVANA, Cuba

Misty Copeland is at the barre.

She’s demonstrating a battement tendu to a group of ballerinas at a dance magnet school.

The dancers — all girls ages 15 to 17, all in black leotards, white tights and pointe shoes, and all with their hair pulled up into impeccable topknots — listen intently.

All eyes are focused on her. Copeland is speaking in English. The teen dancers only understand Spanish.

There is a language translator — Maria Luz Pereya, a former dancer herself, originally from Buenos Aires, Argentina — and she offers at one point to bring a corded microphone toward Copeland and translate. Copeland quickly shakes her head, declining her assistance in this moment. This is, after all, Havana, the capital of Cuba, an island in the northern Caribbean where, as they say, the three languages spoken and understood by all are: Spanish, baseball and dance.

And Copeland, a groundbreaking ballerina — as well as author, and newlywed — who made history last year when she became the first African-American woman to be promoted to principal dancer in the American Ballet Theatre’s 75-year history, happens to be fluent in the art of motion. “Sport and art and dance unify people,” Copeland said later, sitting on the rooftop of Havana’s The Saratoga — the same place Beyoncé and Jay Z spent their 2013 wedding anniversary. “It’s a language and a culture that people from everywhere, all over the world, can relate to, and understand, and come together for.”…

Misty Danielle Copeland got her start in ballet on the basketball court…

Read the entire article here.

Colorism And Privilege: An Afro-Cuban American In Havana

FEM: UCLA’s Feminist Newsmagazine Since 1973
2016-04-28

Graciela Barada

My father, born in Cuba at the end of Castro’s Revolution, migrated to the United States in 1980. He was a young, black, Spanish-speaking political refugee who left his wife and months-old daughter behind in hopes of building a better life for himself. A “Marielito,” my father braved the 115-mile stretch of the Caribbean sea to Florida under President Carter’s pardon of Cuban refugees. My mother is a white Spaniard who moved to Washington, D.C. in 1989 for graduate school at Georgetown University. An unlikely couple, my parents met at my father’s Cuban nightclub, a hub for Latino culture, music, and dance. Although my siblings and I were born and raised in the U.S., we have been fortunate enough to travel to our parents’ birth countries in order to familiarize ourselves with their respective cultures…

..In Cuba, the Communist Revolution is often portrayed as the “great equalizer,” not just economically but also in respect to race relations. In many ways, this has been true: people of all racial and ethnic backgrounds have access to education, jobs, transportation, healthcare, and other social services. Regardless, there are traces of racial hierarchy and a colonialist mentality which are deeply entrenched in Cuban society. As far as I know, all of my Cuban relatives are black. The majority of them are dark-skinned; when asked, two of my male cousins expressed that they do not feel hated because of their African ancestry and darker pigmentation. Still, they are well-aware that their roles within society are informed by Cuba’s history of racial hierarchy and discrimination…

Read the entire article here.

Author and Professor Devyn Benson Speaks on Her Book “Antiracism in Cuba”

Block Report Radio
2016-07-14

“Antiracism in Cuba: The Unfinished Revolution” by author and professor Devyn Benson is an impressive study on the history of racism and Black organizing in Cuba prior to the 1959 revolution and right after it. This book is very important because there are very few that I have come across in the U.S. that document Black history on the island as well as exchanges between the Afro-Cuban and U.S. Black communities.

The historical narrative and the current day government of Cuba propagates an image of the island as a mixed race nation. That’s different from the U.S. historical narrative, which propagates that if you have a drop of Black blood, you are Black. I talked with author Devyn Benson about these racial nuances as we discussed Black Cuban history. Check her out in her own words in this exclusive interview.

Listen to the interview here. Read a transcript here.

In Cuba since the 1960s, revolutionary ideology has emphasized a national unity that transcends race and discouraged racial identification. The average Afro-Cuban on the street today will often name being Cuban first, and black, mulatto, or white second. Cuba’s national racial identity is confounded by the fact that there is no accurate way to measure its demographics, especially when using the blurring mixed-race category of “mulatto,” which in Cuba is interchangeable with the term “mestizo,” a self-selected label easily applicable to more than half the island. While the National Office of Statistics stated in 2012 that Cuba is 36 percent nonwhite, Morales claims a more accurate figure is between 60 and 70 percent, largely because many Cubans suffer an internalized racism that makes them publicly deny blackness. I observed this subtle negation one night along the seaside Malecón when a roving guitarista approached the dark-skinned Afro-Cuban poet, hip-hop writer, and activist Carmen Gonzalez Chacon, and tried to flatter his way into 5 pesos by serenading the “beautiful mulatta.” She quickly corrected his misidentification.

Erik Gleibermann, “Where Hip Hop Fits in Cuba’s Anti-Racist Curriculum,” The Atlantic, August 1, 2016. http://www.theatlantic.com/education/archive/2016/08/where-hip-hop-fits-in-cubas-anti-racist-curriculum.

Where Hip Hop Fits in Cuba’s Anti-Racist Curriculum

The Atlantic
2016-08-01

Erik Gleibermann

The country’s education leaders confront deep-seated discrimination in the classroom through rap.

I was sitting with the Afrocentric rapstress Magia López Cabrera in her modest Havana walk-up in June when Cuba’s prominent black-history scholar Tomás Fernández Robaina showed up for a café con leche. Her tiny living room was filled with African folk art and images of women with 1970s-style Afros. It felt like the Cuban equivalent of Cornel West dropping in on Queen Latifah. Two nights later at an anniversary celebration for López’s rap-duo Obsesión, Fernández Robaina sat discussing racial profiling in the U.S. with Roberto Zurbano Torres, widely known in the U.S. for his writing on Cuban racial issues.

Since arriving in Havana several weeks before to investigate Cuba’s work to eliminate racism, I had discovered a collaborative, tight-knit movement that’s gone largely unpublicized in the U.S., including in its six-time-zone, decentralized academic world. In Havana, community artists like Lopez, academics like Fernández, and members of the National Ministry of Education are collectively exploring how to integrate Afro-Cuban history and related gender concerns into the primary-through-university school system. It’s hard to imagine a U.S. parallel, such as Secretary of Education John King officially asking teachers to teach students a song like “Le Llaman Puta” (They Call Her Whore)—López’s critique of how Afro-Cuban women are driven into prostitution—to fulfill the Common Core standards.

Efforts to combat racism in Cuba—which is widely believed to be majority nonwhite—through education have emerged quietly over the last several years. The National Ministry of Education officially leads the way through the Aponte Commission, where Fernández has served, exploring how to remove traces of racially denigrating language and imagery from, and include more Afro-Cuban history in, school textbooks. But the bold efforts are coming from below. A few semi-independent universities in Havana, and regional centers like Matanzas, Santiago de Cuba, and Camagüey, are taking the initiative, along with grassroots educators and activists involved in a hip-hop movement spearheaded by Obsesión…

Read the entire article here.

Uniting Blacks in a Raceless Nation: Blackness, Afro-Cuban Culture, and Mestizaje in the Prose and Poetry of Nicolás Guillén

Bucknell University Press
May 2016
274 pages
Size: 6 x 9
Hardback ISBN: 978-1-61148-758-9
eBook ISBN: 978-1-61148-759-6

Miguel Arnedo-Gómez, Senior Lecturer
Spanish and Latin American Studies Program
Victoria University of Wellington, New Zealand

The Cuban writer Nicolás Guillén has traditionally been considered a poet of mestizaje, a term that, whilst denoting racial mixture, also refers to a homogenizing nationalist discourse that proclaims the harmonious nature of Cuban identity. Yet, many aspects of Guillén’s work enhance black Cuban and Afro-Cuban identities. Miguel Arnedo-Gómez explores this paradox in Guillén’s pre-Cuban Revolution writings placing them alongside contemporaneous intellectual discourses that feigned adherence to the homogenizing ideology whilst upholding black interests. On the basis of links with these and other 1930s Cuban discourses, Arnedo-Gómez shows Guillén’s work to contain a message of black unity aimed at the black middle classes. Furthermore, against a tendency to seek a single authorial consciousness – be it mulatto or based on a North American construction of blackness – Guillén’s prose and poetry are also characterized as a struggle for a viable identity in a socio-culturally heterogeneous society.