Mixed Race Studies

Unbecoming Blackness: The Diaspora Cultures of Afro-Cuban America

New York University Press
November 2012
272 pages
10 halftones
Cloth ISBN: 9780814765463
Paper ISBN: 9780814765470

Antonio López, Assistant Professor of English
George Washington University

In Unbecoming Blackness, Antonio López uncovers an important, otherwise unrecognized century-long archive of literature and performance that reveals Cuban America as a space of overlapping Cuban and African diasporic experiences.

López shows how Afro-Cuban writers and performers in the U.S. align Cuban black and mulatto identities, often subsumed in the mixed-race and postracial Cuban national imaginaries, with the material and symbolic blackness of African Americans and other Afro-Latinas/os. In the works of Alberto O’Farrill, Eusebia Cosme, Rómulo Lachatañeré, and others, Afro-Cubanness articulates the African diasporic experience in ways that deprive negro and mulato configurations of an exclusive link with Cuban nationalism. Instead, what is invoked is an “unbecoming” relationship between Afro-Cubans in the U.S and their domestic black counterparts. The transformations in Cuban racial identity across the hemisphere, represented powerfully in the literary and performance cultures of Afro-Cubans in the U.S., provide the fullest account of a transnational Cuba, one in which the Cuban American emerges as Afro-Cuban-American, and the Latino as Afro-Latino.

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.

“Custodians of History”: (Re)Construction of Black Women as Historical and Literary Subjects in Afro-American and Afro-Cuban Women’s Writing

University of Texas, Austin
August 2005
500 pages

Paula Sanmartín, Assistant Professor of (Afro) Caribbean and (Afro) Spanish American Literature
California State University, Fresno

Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor in Philosophy

Set within a feminist and revisionist context, my dissertation examines literary representations of the historic roots of black women’s resistance in Cuba and the United States, by studying texts by both Afro-American and Afro-Cuban women from four different literary genres: Harriet Jacobs’s autobiographical slave narrative, a neo-slave narrative by Sherley Ann Williams, the testimonio of María de los Reyes Castillo (“Reyita”), and the poetry of Nancy Morejón and Georgina Herrera. Conscious of the differences between the texts, I nevertheless demonstrate how the writers participate in black women’s self-inscription in the historical process by positioning themselves as subjects of their history and seizing discursive control of their (hi)stories.

Although the texts form part of separate discourses, I explore the commonalities of the rhetorical devices and narrative strategies employed by the authors as they disassemble racist and sexist stereotypes, (re)constructing black female subjectivity through an image of active resistance against oppression, one that authorizes unconventional definitions of womanhood and motherhood. My project argues that in their revisions of national history, these writings also demonstrate the pervasive role of racial and gender categories in the creation of a discourse of national identity, while promoting a historiography constructed within flexible borders that need to be constantly negotiated.

Putting these texts in dialogue with one another both within and across geopolitical boundaries, my project is characterized by a tension between positions, from close textual readings to historical commentaries, as I develop multilayered readings drawing on sources that range from cultural history and genre studies to psychoanalytical theory and black feminist criticism. The authors’ literary representations of their culture of resistance constitute an essential contribution to literary and historical studies, suggesting a dialectic model for “reading dialogically” such concepts as “subjectivity,” “discourse,” “tradition,” and “history,” by simultaneously exploring multiple, contradictory, or complementary discursive spaces. This dialectic of identification and difference, continuity and change, serves to describe the intertextual relationships within Afro-American and Afro-Cuban literary traditions. Simultaneously, drawing on dialogic relationships can open up new lines of enquiry and redress the historical imbalance of Western historiography by presenting black women’s history and subjectivity as multiple and discontinuous.

Table of Contents

• Introduction. “Custodians of History”: (Re)Construction of Black Women as Historical and Literary Subjects in Afro-American and Afro-Cuban Women’s Writing
  1. Gender and Genre
  2. Authorship and Authority
  3. Rebellious (M)Others
  4. National Identification
  5. Revising (Hi)stories
• Chapter 1. “We Could Have Told Them a Different Story”: Harriet Jacobs’s Alternative Narrative and the Revision of the White Transcript
  1. Hybrid Genres: Assimilation and Subversion in Autobiographical Slave Narratives
  2. The Female Slave Author and the Dialogic of Discourses in Incidents
  3. “The War of Her life”: Harriet Jacobs’s Rebellious Motherhood
  4. Split Subject/Split Nation: Abolitionism, Miscegenation and Black Women as National Subjects
  5. Rewriting the Slave Woman’s “Histories.”
• Chapter 2. “They Mistook Me for Another Dessa”: Correcting the (Mis)Reading Techniques of the Master(’s) Narrative
  1. Neo-Slave Narratives and the Revision of the Slaves’ Texts.
  2. “Twice-Told Tales”: Real and Fictive Authorships in a Black Women’s Double-Voiced Text
  3. Devil Woman or Debil Woman?: Asserting Rebelliousness Through an Interracial Sisterhood
  4. One Single Nation?: Interrelation of Communities in Dessa Rose
  5. Revising the Fictions of History
• Chapter 3. “In My Own Voice, In My Own Place”: The Continuous Revision of History in a Black Cuban Woman’s Testimonial Narrative
  1. The Dialectics of Testimonio: Past, Present and Future?
  2. A Family Feud? “Authority-in-Process” in the Production of Reyita, sencillamente: testimonio de una negra cubana nonagenaria
  3. Like Mother, Like Daughter: The Rebel/Revolutionary (M)Other
  4. Black and/or Cuban: The Black Female (M)Other of the Cuban Nation
• Chapter 4. Revolution in Poetic Language: (Re)Writing Black Women’s History in Black Cuban Women’s Poetry
  1. Neo-Negrista Poetry? : Searching for the “Authentic” Black Female Subject
  2. Authorship and (State’s) Authority in Black Cuban Women’s Poetry
  3. Black Cuban Women Poets and the Revolutionary Black (M)Other
  4. “National” Poetry? Diaspora and/or Transculturation in the Representation of Cuban National Identity
  5. (Re)construction of (Revolutionary) History
• Bibliography
• Vita

Read the entire dissertation here.

Constructing Afro-Cuban Womanhood: Race, Gender, and Citizenship in Republican-Era Cuba, 1902-1958

University of Texas, Austin
343 pages
August 2011

Takkara Keosha Brunson

Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy

This dissertation explores continuities and transformations in the construction of Afro-Cuban womanhood in Cuba between 1902 and 1958. A dynamic and evolving process, the construction of Afro-Cuban womanhood encompassed the formal and informal practices that multiple individuals—from lawmakers and professionals to intellectuals and activists to workers and their families—established and challenged through public debates and personal interactions in order to negotiate evolving systems of power. The dissertation argues that Afro-Cuban women were integral to the formation of a modern Cuban identity. Studies of pre-revolutionary Cuba dichotomize race and gender in their analyses of citizenship and national identity formation. As such, they devote insufficient attention to the role of Afro-Cuban women in engendering social transformations. The dissertation’s chapters—on patriarchal discourses of racial progress, photographic representations, la mujer negra (the black woman), and feminist, communist, and labor movements—probe how patriarchy and assumptions of black racial inferiority simultaneously informed discourses of citizenship within a society that sought to project itself as a white masculine nation. Additionally, the dissertation examines how Afro-Cuban women’s writings and social activism shaped legal reforms, perceptions of cubanidad (Cuban identity), and Afro-Cuban community formation. The study utilizes a variety of sources: organizational records, letters from women to politicians, photographic representations, periodicals, literature, and labor and education statistics. Engaging the fields of Latin American history, African diaspora studies, gender studies, and visual culture studies, the dissertation maintains that an intersectional analysis of race, gender, and nation is integral to developing a nuanced understanding of the pre-revolutionary era.

Table of Contents

• List of Figures
• Introduction: Constructing Afro-Cuban Womanhood: Race, Gender, and Citizenship in Republican-Era Cuba, 1902-1958
• Historiographical Contributions
• Mapping the Dissertation
• A Note on Terminology
• Chapter 1: Patriarchy and Racial Progress within Afro-Cuban Societies in the Early Republic
  • Patriarchy, Racial Progress, and Social Hierarchy
  • Afro-Cuban Organizations during the Republican Era
    • Gender, Patriarchy, and Respectability
  • Afro-Cuban Social Life during the Early Decades of the Republic
    • Class, Gender, and Society Life in Santa Clara
  • A Shift in Discourse: Morality
    • Women, the Family, and Racial Regeneration
  • Conclusion
• Chapter 2: Exemplary Women: Afro-Cuban Women’s Articulation of Racial Progress
  • Racial Progress and Republican Womanhood
  • Republican Womanhood and the Work of Racial Improvement
    • Writing Republican Womanhood
  • Women of the Partido Independiente de Color (Independent Colored Party)
    • Patriarchy and Women’s Contributions to the PIC
  • Minerva and the Emergence of Afro-Cuban Feminism
    • Marriage and Divorce
  • Patriarchy and Political Voice Through Letter Writing
    • Writing for Work and Educational Opportunities
  • Conclusion
• Chapter 3: Visualizing Progress: Afro-Cuban Womanood, Sexual Politics, and Photography
  • Theoretical Framework and Methodology
  • Photography and Racism in Cuba
  • Afro-Cuban Photographic Portraiture and Racial Progress
  • Staging Racial Progress Through Adornment Practices
    • Racial Womanhood and Understandings of Beauty
  • The Legal and Moral Family
  • Modern Womanhood and Photography during the 1920s
    • Amelia González: Afro-Cuban Society and Modern Womanhood
  • Conclusion
• Chapter 4: La Mujer Negra (The Black Woman): The Transformation of Afro-Cuban Women’s Political and Social Thought during the 1930s
  • Popular Mobilization and the Tranformation of Gender Ideologies
    • The “Triple Discrimination” Confronted by Black Women
    • Political Debates on Race, Gender, and Citizenship
  • Black Women and National Politics
    • Afro-Cuban Feminism in the 1930s
  • Afro-Cuban Feminists and the Third National Women’s Congress of 1939
    • Black Womanhood and the Third National Women’s Congress
  • Conclusion
• Chapter 5: Enacting Citizenship: Afro-Cuban Womanhood in a New Constitutional Era
  • Political Alliances and Democratic Discourses
  • Afro-Cuban Women Communists in the New Constitutional Era
  • Labor and Citizenship
  • Afro-Cuban Women Communists and Popular Protests
    • Economic Reform and Anti-War Protests
    • Connecting Local Issues to Global Struggles after WWII
    • The Democratic Cuban Women’s Federation
  • Nuevos Rumbos (New Directions) and the Struggle for Citizenship
    • Women’s Political Representation and Civil Rights within Afro-Cuban Publications
  • Anti-Racial Discrimination Campaign
    • Racial Discrimination and the Law
  • Conclusion
• Conclusion
• Bibliography

List of Figures

• Figure 1: “Úrsula Coimbra Valverde,” Minerva (15 December 1888)
• Figure 2: “Úrsula Coimbra Valverde,” El Nuevo Criollo (17 December 1904)
• Figure 3: “Consuelo Serra y Heredia,” El Nuevo Criollo (18 June 1905)
• Figure 4: “Consuelo Serra y Heredia,” El Nuevo Criollo (18 June 1905)
• Figure 5: “Esperanza Díaz,” Minerva (September 1910)
• Figure 6: “Inéz Billini,” Minerva (30 September 1910)
• Figure 7: “Juana M. Mercado,” Minerva (15 December 1912)
• Figure 8: Advertisement for Pomada “Mora,” Minerva (15 December 1914)
• Figure 9: Portrait of Martín Morúa Delgado and his daughters, Arabella and Vestalina. Published in Rafael Serra’s Para blancos y negros: ensayos políticos, sociales y económicos
• Figure 10: Portrait of Martín Morúa Delgado, his wife, Elvira Granados de Morúa, and their daughters, Vestalina and Arabella. Published in El Fígaro (12 September 1910)
• Figure 11: “Amelia González,” El Mundo (1 December 1922)
• Figure 12: “Dámas de Atenas,” Revista Atenas (1931)

Rumblings of The Earth: Wifredo Lam, His Work and Words

Filmakers Library (an imprint of Alexander Street Press)
1996
23 minutes

Denise Byrd

Awards

• San Antonio CINEFEST, 1996
• Latin American Studies Association, 1995

The Afro-Cuban artist Wifredo Lam played a leading role in bringing the art of the non-white world to the attention of the international community. Of mixed race and cultural heritage, he was born in 1902 in Sangua La Grande, Cuba to a mother who was a descendent of slaves and a father who was a Chinese immigrant. In his youth he was exposed to the rich heritage of African, Santaria and Confucian traditions. These traditions affected him deeply and are reflected in his art which is in the collections of major museums here and abroad.

This film follows Lam from student days in Havana through his development as an artist in Europe where he became a close friend of Picasso and other luminaries. Upon returning to Cuba, Lam rediscovered his roots, became a leader in the Négritude movement, and produced his most famous work, “The Jungle.”

This richly illustrated film uses Lam’s paintings and writing along with interviews with authorities on art and Caribbean culture to trace the evolution of a unique and truly multicultural twentieth century artist.

Inscribing African descendant identity in nineteenth century Cuba: The transculturated literature of Juan Francisco Manzano and Gabriel de la Concepcion Valdes

Michigan State University
2010
260 pages
Publication Number: AAT 3435282
ISBN: 9781124337340

Matthew Joseph Pettway

Studies in Race Crossing: IV. Crosses of Chinese, Amerindians and Negroes, and their Bearing on Racial Relationships

Zeitschrift für Morphologie und Anthropologie
Volume 47, Number 3 (March 1956)
pages 233-315

R. Ruggles Gates
Department of Anthropology
Harvard University

With 36 figures on plates 24—32 and 7 figures and 41 tables in the text

This paper is one of the fruits of an expedition to Eastern Cuba in January and February, 1952. The names of many individuals who aided these investigations in various ways will be mentioned later in the course of this work. Authorities of the Universided de Oriente in Santiago de Cuba procured the indispensable cooperation of all the families in Santiago whose data are recorded here. I wish to thank all the individuals concerned for the friendly way in which they cooperated, permitting records and photographs, as well as blood specimens to be taken, and for the interest they showed in this work. I was also able to make a study of Indians and their descendants in Eastern Cuba, which has been published elsewhere (Gates 1954a).

Introduction

Many records of the results of various racial crosses have been made, some of which will be referred to later. These studies have been partly on the inheritance of characters which are from one point of view qualitative, such as skin color, eye-folds and hair characters, but the emphasis has frequently been on purely quantitative characters, based on anthropometric measurements. These results have previously been generally treated as a matter of population statistics, not based on individual pedigrees.

Trevor (1953) has carefully analyzed the inheritance results to be derived from the investigations of metrical characters in racial crossing. Selecting the nine investigations which are sufficiently extensive to yield results having statistical significance, he finds that in some cases the hybrid series are more variable, in others less variable than the populations which are chosen as more or less representative of the original parents. This mixed result is not surprising when one recognizes that the populations chosen as “parental” must differ more or less markedly from the actual ancestors of the hybrid populations. In fact, much difficulty was encountered in selecting populations as presumptively equivalent to the parents of the various crosses, since they had to be groups in which sufficient anthropometric measurements had been made. But notwithstanding the many…

Trans-American Modernisms: Racial Passing, Travel Writing, and Cultural Fantasies of Latin America

University of Southern California
August 2009
311 pages

Ruth Blandón

Dissertation Presented to the FACULTY OF THE GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (ENGLISH)

In my historical examination of the literary works of Nella Larsen, William Carlos Williams, Langston Hughes, James Weldon Johnson, Jessie Redmon Fauset, and Carl Van Vechten, I investigate U.S. modernists’ interest in Latin America and their attempts to establish trans-American connections. As they engage with and write about countries such as Brazil, Puerto Rico, the Dominican Republic, Cuba, Costa Rica, and Venezuela as utopian spaces, these writers often tend to relegate Latin America to the status of a useful trope, one that allows them to negotiate a variety of identitarian and sexual anxieties.

The domestic political landscape that informs the desire for migration to the Latin Americas—whether real or fantastical—in the early twentieth century leads to Johnson’s depiction of the savvy and ambitious titular character in his first and only novel, Autobiography of an Ex-Coloured Man, to Van Vechten’s, Larsen’s, and Fauset’s fantastical Brazil in their respective Nigger Heaven, Passing, and Plum Bun. Hughes’s translation of Cuban poet Nicolás Guillén’s poetry illustrates his straddling of national and color lines through the translation of language. These writers react to Jim Crow laws, one-drop rules, and color lines in their connections to and fantasies of the Latin Americas. What then of writers who make similar trans-American connections and constructions, but who write from a space of relative privilege, however resistant they are to that privilege? Consider William Carlos Williams, who negotiates the pressures of assimilation in the United States as he attempts to assert his Afro Puerto Rican and Anglo Dominican heritages. Although Williams is commonly recalled as an “all-American” poet, his works betray his constant attempts to harness three perpetually shifting and overlapping identities: that of a son of immigrants, of a first generation “American,” and of a son of the Americas.

The trans-American connections I reveal span the fantastical to the truly cross-cultural. In placing United States modernism and the Harlem Renaissance within a larger hemispheric context, I shift our sense of U.S. modernism in general, but also of the Harlem Renaissance’s place within U.S. modernism in particular.

Table of Contents

• Dedication
• Acknowledgments
• List of Figures
• Abstract
• Introduction
• Chapter One:
  • Reading, Misreading, and Language Passing in James Weldon Johnson’s The Autobiography of an Ex-Coloured Man and Along This Way
  • Blackness under the law
  • James Weldon Johnson’s Along This Way
  • The Autobiography of an Ex-Coloured Man
  • Conclusion
• Chapter Two:
  • Brazilian Schemes and Utopian Dreams in Nella Larsen’s Passing, Jessie Redmon Fauset’s Plum Bun, and Carl Van Vechten’s Nigger Heaven
  • Historical Context
  • From Liberia to Brazil—A Change of Venue
  • Carl Van Vechten’s Nigger Heaven
  • Jessie Fauset’s Plum Bun, “Home,” and Brazil
  • Larsen’s Passing and Brazil as Utopia/Dystopia
  • Conclusion: Utopia vs. Brazilian Reality
• Chapter Three:
  • All-American Me: William Carlos Williams’s Construction and Deconstruction of the Self
  • Cultural Context—Casta and Passing
  • Blurring Cultural Boundaries: “Only the whites of my eyes were affected.”
  • The Specter of Blackness: “I had visions of being lynched…”
  • In The American Grain: “I am—the brutal thing itself.”
  • Translation: “El que no a vista Sevilla, […] no a vista maravilla!”
  • Conclusion: “I’ll keep my way in spite of all.”
• Chapter Four:
  • “Look Homeward Angel Now”: Travel, Translation, and Langston Hughes’s Quest for Home
  • Langston Hughes in Mexico and Cuba—1907-1948: Mexico
  • Cuba
  • Langston Hughes and Nicolás Guillén in Spain
  • Translation, Analogy, and the “I”
  • Of Poetry, Jazz, Son, and Rumba
  • The Translations
  • Conclusion: Translating, Travel, and “Home”
• Bibliography

List of Figures

• Figure 1: James Weldon Johnson, photographed by Carl Van Vechten in 1932.
• Figure 2: “Les Demoiselles d’Avignon.” Pablo Picasso, 1907.
• Figure 3: “Noire et Blanche.” Man Ray, 1926.
• Figure 4: “Blues.” Archibald Motley, 1929.
• Figure 5: “An Idyll of the Deep South.” Aaron Douglas, 1934.
• Figure 6: Bessie Smith, photographed by Carl Van Vechten, 1936.
• Figure 7: Billie Holiday, photographed by Carl Van Vechten, 1949.
• Figure 8: The Williams Family
• Figure 9: “De Español y Mulata; Morisca.” [“From Spaniard and Mulatto, Morisca.”] Miguel Cabrera, 1763.
• Figure 10: “De Mestizo y d India; Coyote.”[“From Mestizo and Indian, Coyote.”] Miguel Cabrera, 1763.
• Figure 11: William Carlos Williams, circa 1903.
• Figure 12: Elena Hoheb Williams
• Figure 13: Langston Hughes
• Figure 14: Diego Rivera with Frida Kahlo, photographed by Carl Van Vechten, 1932.
• Figure 15: Nicolás Guillén

Read the entire dissertation here.

Ciphering Nations: Performing Identity in Brazil and the Caribbean
 
University of Minnesota
June 2011
197 pages

Naomi Pueo Wood, Assistant Professor of Spanish
The Colorado College, Colorado Springs, Colorado

A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY

This dissertation explores the interaction of theories of hybridity, mestizaje, mestiçagem and popular culture representations of national identity in Cuba, Brazil, and Puerto Rico throughout the 20th century. I examine a series of cultural products, including performance, film, and literature, and argue that using the four elements of Hip Hop culture—deejay, emcee, break, graffiti—as a lens for reading draws out the intra- American dialogues and foregrounds the Africanist aesthetic as it informs the formation of national identity in the Americas.

Hip Hop, rather than focus solely on its characteristic hybridity, calls attention to race and to a legacy of fighting racism. Instead of hiding behind miscegenation and aspirations of romanticized hybridity and mixing, it blatantly points out oppressions and introduces them into popular culture through its four components—thus reaching audiences through multiple modalities. Tropes of mestizaje or branqueamento—racial mixing/whitening—depoliticize blackness through official refusal to cite cultural contributions and emphasize instead a whitened blending. Hip Hop points blatantly to persistent social inequalities. Diverse and divergent in their political histories, the geographic and nationally bound sites that form the foci of this study are bound by their contentious relationships to the United States, an emphasis on the Africanist aesthetic, and a rich history of intertextual exchanges. Rather than look at individual nation formation and marginalized bodies’ performances of subversion, this study highlights the common tropes that link these nations and bodies and that privilege an alternative way of constructing history and understanding present day transnational bodies.

Table of Contents

• Acknowledgements
• Abstract
• Introduction: De-Ciphering
• Chapter 1: Ciphered Nations
• Chapter 2: Defining Nation from the Outside-In: Las Krudas and Célia Cruz
• Chapter 3: Brasileiras no Palco: Brazilian Women on Stage
• Chapter 4: Breaking Time: Sirena Selena and Fe en disfraz
• Conclusions: Re-Freaking
• Works Cited:

Read the entire dissertation here.

Measures of Equality: Social Science, Citizenship, and Race in Cuba, 1902-1940

University of North Carolina Press
November 2003
256 pages
6.125 x 9.25, 8 illus., notes, bibl., index
Paper ISBN  978-0-8078-5563-8

Alejandra Bronfman, Professor of History
University of British Columbia

In the years following Cuba’s independence, nationalists aimed to transcend racial categories in order to create a unified polity, yet racial and cultural heterogeneity posed continual challenges to these liberal notions of citizenship. Alejandra Bronfman traces the formation of Cuba’s multiracial legal and political order in the early Republic by exploring the responses of social scientists, such as Fernando Ortiz and Israel Castellanos, and black and mulatto activists, including Gustavo Urrutia and Nicolás Guillén, to the paradoxes of modern nationhood.

Law, science, and the social sciences—which, during this era, enjoyed growing status in Cuba as well as in many other countries—played central roles in producing knowledge and shaping social categories in postindependence Cuba. Anthropologists, criminologists, and eugenicists embarked on projects intended to employ the tools of science to rid Cuba of the last vestiges of a colonial past. Meanwhile, the legal arena created both new freedoms and new modes of repression. Black and mulatto intellectuals and activists, working to ensure that citizenship offered concrete advantages rather than empty promises, appropriated changing social scientific and legal categories and turned them to their own uses. In the midst of several decades of intermittent racial violence and expanding social and political mobilization by Cubans of African descent, debates among intellectuals and activists, state officials, and legislators transformed not only understandings of race, but also the terms of citizenship for all Cubans.