Mixed Race Studies

Afro-Mexico: Dancing between Myth and Reality

University of Texas Press
December 2010
183 pages
62 b&w illus, 14 color photos
7 x 10 in.
Hardcover ISBN: 978-0-292-72324-5

Anita González, Associate Professor and Associate Chair of Theatre Arts
State University of New York, New Paltz

Photographs by George O. Jackson and José Manuel Pellicer
Foreword by Ben Vinson III

While Africans and their descendants have lived in Mexico for centuries, many Afro-Mexicans do not consider themselves to be either black or African. For almost a century, Mexico has promoted an ideal of its citizens as having a combination of indigenous and European ancestry. This obscures the presence of African, Asian, and other populations that have contributed to the growth of the nation. However, performance studies—of dance, music, and theatrical events—reveal the influence of African people and their cultural productions on Mexican society.

In this work, Anita González articulates African ethnicity and artistry within the broader panorama of Mexican culture by featuring dance events that are performed either by Afro-Mexicans or by other ethnic Mexican groups about Afro-Mexicans. She illustrates how dance reflects upon social histories and relationships and documents how residents of some sectors of Mexico construct their histories through performance. Festival dances and, sometimes, professional staged dances point to a continuing negotiation among Native American, Spanish, African, and other ethnic identities within the evolving nation of Mexico. These performances embody the mobile histories of ethnic encounters because each dance includes a spectrum of characters based upon local situations and historical memories.

Table of Contents

• Foreword by Ben Vinson III
• Preface
• Introduction
• Chapter 1: Framing African Performance in Mexico
• Chapter 2: Masked Dances: Devils and Beasts of the Costa Chica
• Chapter 3: Archetypes of Race: Performance Responses to Afro-Mexican Presence
• Chapter 4: Becoming National: Chilena, Artesa, and Jarocho as Folkloric Dances
• Conclusion
• Notes
• Bibliography
• Index

Introduction

Afro-Mexico: Dancing between Myth and Reality, as the title suggests, is a book about dancing. But more important, it is a book about how dance reflects on social histories and relationships. The photographs and text document how residents of some sectors of Mexico construct their histories through performance. The idea of Afro-Mexico is, in some ways, an enigma. While Africans and their descendants have lived in Mexico for centuries, many Afro-Mexicans do not consider themselves either black or African. Instead, members of this ethnic population blend into the national imagination of Mexico as a mixed-race country. For almost a century, Mexico has promoted an ideal of its citizens as a combination of indigenous and European ancestry. This construct obscures the presence of African, Asian, and other populations that have contributed to the growth of the nation. However, performance studies—dance, music, and theatrical events—reveal that African people and their cultural productions have consistently influenced Mexican society…

…Race in the Americas

The concept of race is continually being redefined. “Race” troubles academic theorists and affects popular social conceptions about origins and nationality. Political events like the rise of Barack Obama challenge existing myths about race and bring to questions the realities of racial mixtures in the Americas. In both local and global communities public understandings about blackness greatly influence who African Diaspora people think they are. Clearly, those who reside in Mexico are Mexican. However, self-perceptions influence both self-esteem and the sense of belonging. Recently, I was traveling by airplane to Costa Chica and picked up a copy of the magazine Intro*, which services the Oaxacan coast. Inside was a story about a surfer named Angel Salinas, an Afro-Mexican from Mancuernas, Pinotepa Nacional. Salinas is a surfing star who has won national and international tournaments. But he wears a wrestler’s mask to cover his face when he appears in public. The article states that the surfer wears the mask as “a result of some advice that his mother gave him when he didn’t appear in magazines because of his dark skin; he decided to do something that would make him different and that would show a Mexican cultural icon. Now he is known as ‘the masked surfer.'” Angel Salinas feels the need to cover his face in order to feel Mexican. Although Mexico is a country where, at first glance, the races have mixed to become a “cosmic race,” there are still urgent social discrepancies that manifest as internalized or blatant racism. This discrepancy between public policy and daily practices influences the kinds of lives that contemporary Afro-Mexicans lead…

4203W-01 – Racial Passing, Masquerade, and Transformation in African American Literature, Law, Film, and Culture

University of Connecticut
Fall 2010

Martha Cutter, Associate Professor of English

What is “race”? What is “whiteness”? What is “blackness”? What does it mean to be “mixed-race” or “multi-racial” in the US? This course will examine what racial passing—people who transform themselves from one race to another—can tell us about the meaning of race itself. Our methodology will be chronological as we test the idea that texts about passing and racial transformation both highlight, but also perhaps undermine, ideas about the meaning of race in a particular cultural and historical moment. Our focus will mainly be on twentieth and twenty-first century manifestations of racial passing and transformation, although we will also look at some earlier texts to get a sense of how ideas of race have changed over time. Our examination will also include scientific and legal texts which help us understand the meaning of blackness, whiteness, and race.

Texts: Charles Chesnutt, The House Behind the Cedars; William and Ellen Craft, Running a Thousand Miles for Freedom; Nella Larsen, Passing; George Schuyler, Black No More; Randall Kennedy, Sellout; Danzy Senna, Life on the Color Line; Spike Lee (Director), Bamboozled; Ariela Gross, What Blood Won’t Tell: A History of Race on Trial in America; Barbara Koenig, ed. Revising Race in a Genomic Age (Excerpts); other readings on racial science.

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Whiteness in the Novels of Charles W. Chesnutt

University Press of Mississippi
2004
248 pages
bibliography, index
Cloth ISBN: 1578066670 (9781578066674)
Paper ISBN: 9781604732481

Matthew Wilson, Professor of English and Humanities
Pennsylvania State University, Harrisburg

An examination of race and audience in an American innovator’s writings

Charles W. Chesnutt (1858-1932), critically acclaimed for his novels, short stories, and essays, was one of the most ambitious and influential African American writers of the late nineteenth and early twentieth centuries. Today recognized as a major innovator of American fiction, Chesnutt is an important contributor to de-romanticizing trends in post-Civil War Southern literature, and a singular voice among turn-of-the-century realists who wrote about race in American life.

Whiteness in the Novels of Charles W. Chesnutt is the first study to focus exclusively on Chesnutt’s novels. Examining the three published in Chesnutt’s lifetime—The House Behind the Cedars, The Marrow of Tradition, and The Colonel’s Dream—as well as his posthumously published novels, this study explores the dilemma of a black writer who wrote primarily for a white audience.

Throughout, Matthew Wilson analyzes the ways in which Chesnutt crafted narratives for his white readership and focuses on how he attempted to infiltrate and manipulate the feelings and convictions of that audience.

Wilson pays close attention to the genres in which Chesnutt was working and also to the social and historical context of the novels. In articulating the development of Chesnutt’s career, Wilson shows how Chesnutt’s views on race evolved. By the end of his career, he felt that racial differences were not genetically inherent, but social constructions based on our background and upbringing. Finally, the book closely examines Chesnutt’s unpublished manuscripts that did not deal with race. Even in these works, in which African Americans are only minor characters, Wilson finds Chesnutt engaged with the conundrum of race and reveals him as one of America’s most significant writers on the subject.

American Mixed-Race Literature: Cultural History, Precursors, Identities, and Forms of Expression

Purdue University
2004
116 pages
Publication Number: AAT 3166693
ISBN: 9780542022999

Gino Michael Pellegrini, Adjust Assistant Professor of English
Pierce College, Woodland Hills, California

This dissertation focuses on recent instances of mixed race literature in American culture such as Danzy Senna’s novel Caucasia, Rebecca Walker’s Black, White, and Jewish: Autobiography of a Shifting Self, and Kip Fulbeck’s Paper Bullets: A Fictional Autobiography. This dissertation suggests that these mixed race literary texts, as well as the multiracial experiences, sensibilities, themes, and expressions communicated therein, differ from traditional conceptions and descriptions of race and mixed race in American society, history, and literature that are based on the logic of the binary racial system. Mixed race literature attempts to phrase and communicate suppressed, distorted, and/or neglected multiracial experiences, sensibilities, and possibilities. Mixed race literature is also coextensive with the emergence of the multiracial social formation and movement in the post-civil rights era. “Precursors” to mixed race literature fall short in their attempt to phrase and to communicate complexities and experiences of mixed race lived existence. I read Jean Toomer’s Cane as one of the most significant precursors to mixed race literature in American literature. Mixed race literature also differs from “mixed race in American literature” insofar as the later, in the presentation of mixed race characters and themes, both relies on and validates the categorical, hierarchical, and dichotomous logic of the binary racial system. Notable examples in the canon of American and American Ethnic literature are William Faulkner and Toni Morrison who, from a mixed race perspective, extend and promote in their texts the suppression and distortion of multiracial complexities, possibilities, and lived realities in the service of the binary racial system.

Table of Contents

• Abstract
• Chapter One: Multiracial Identity in the Post-Civil Rights Era: A Personal Narrative Essay
  • The Summer of 1999
  • Growing up Racially Mixed in the 1970s and 1980s
  • Negotiating Raciated University in the 1990s
  • Conclusion
• Chapter Two: Cane and Jean Toomer: Percursors, American Mixed Race Literature
• Chapter Three: Danzy Senna’s Caucasia: A Novel About Growing Up Racially Mixed and Becoming Multiracial in the Post-Civil Rights Era
• Chapter Four: American Mixed Race Ficiational Autobiographies: Rebecca Walker’s Black, White and Jewish and Kip Fulbeck’s Paper Bullets
• List of References
• Vita

Purchase the dissertation here.

From Manenberg to Soweto: race and coloured identity in the black consciousness poetry of James Matthews 

African Studies
Volume 62, Issue 2 (December 2003)
pages 171-186
DOI: 10.1080/0002018032000148740

Mohamed Adhikari, Associate Professor of Historical Studies,
University of Cape Town

The Black Consciousness poetry of James Matthews, internationally recognised Coloured writer from the Cape Flats, reflects the growing popularisation amongst politicised Coloured people during the 1970s of the idea that racial distinctions in general, and Coloured identity in particular, had historically been used by the white supremacist establishment to divide and rule the black majority. This insight, by no means novel, provided the main thrust to the popular rejection of Coloured identity in the anti-apartheid movement of the 1980s. Coloured rejectionism had, however, originated within a small section of the Coloured intelligentsia, in particular amongst those active within the Non-European Unity Movement (NEUM) in the early 1960s (Adhikari 2002: 186-87, 213-14, 243-48) and grew into a significant movement by the time it peaked at the end of the 1980s. Though confined to a politicised minority within the Coloured community itself, and observed mainly in public discourse or for pragmatic reasons, the disavowal of Coloured identity had by the early 1980s nevertheless become a politically correct orthodoxy within the anti-apartheid movement, especially in the Western Cape. In response to the overt racism of apartheid, the democratic movement embraced non-racism as a cornerstone of its philosophy and any recognition of Coloured identity was condemned as a concession to apartheid thinking. This tendency was, however, reversed during the four-year transition to democratic rule as radical changes to the political landscape in the first half of the 1990s once again made the espousal of Coloured identity acceptable in left-wing and “progressive” circles (Adhikari 2000: 349; 2002: 23-24, 281-87). 

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“What Are You?”: Exploring Racial Categorization in “Nowhere Else on Earth”

The Southern Literary Journal
Volume 39, Number 1 (Fall, 2006)
pages 33-53

Erica Abrams Locklear, Assistant Professor of Literature & Language
University of North Carolina, Asheville

In his introduction to the 1985 collection of essays entitled “Race,” Writing, and Difference, Henry Louis Gates rightfully asserts: “Race, as a meaningful criterion within the biological sciences, has long been recognized to be a fiction” (4), Even so, contemporary disputes centered on race remain one of American most glaring problems. Although laws supporting atrocities such as the Jim Crow South rest in the past, the systems of classification that inspired them still operate on many different levels of present-day American society, ranging from the way people describe themselves, to the labels people place on difference, to the way the American government decides what fraction of “blood” constitutes race. Fiction writer Josephine Humphreys explores the complexities, falsifications, and implications of racial classification for the Lumbee Indians of Robeson County, North Carolina in her historically based novel Nowhere Else on Earth. First published in 2000, the work’s 2001 Penguin edition includes a readers guide following the text in which Humphreys explains her impetus for writing about the Lumbee people. She admits that when she first encountered a Lumbee aboard a train, upon discovering ihat the woman was not white, Humphreys asked, “What are you?”, She goes on to remember that the young woman explained the story of the Lumbee people, as well as the infamous tale…

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“The Horrid Alternative”: Miscegenation and Madness in the Frontier Romance

Journal of American & Comparative Cultures
Volume 24, Issue 3 (Fall/Winter 2001)
Pages: 137-151
DOI: 10.1111/j.1537-4726.2001.2403_137.x

Harry J. Brown, Assistant Professor of English
DePauw University

In a speech delivered to a gathering of Delaware and Mohican Indians, Thomas Jefferson foresaw the destiny of the United States as a “marriage” of its various races, declaring that, in ”the natural progress of things,” Indians and whites “would meet and blend together… intermix, and become one people” (Wald 25). He invites (the Indians to “mix with us by marriage” and grandly prophesies, “your blood will run in our veins and will spread with us over this great island” (Wald 26). But even as Jefferson imagined the new nation as a “marriage” of whites and Indians, the subsequent generation of writers who assumed the responsibility of telling the story of th nation found it difficult to imagine what such a marriage would yield.

In her survey of American frontier writing in The Land Before Her (1984), Annette Kolodny observes a “studied literary silence on the subject of white-red intermarriage” (70). Scholars have since suggested that the uneasiness of the frontier romance with miscegenation stems from the sacred myths of  racial, national, and patriarchal accendance. Racial mixing represents a fundamental contradiction to the national ideology of racial separatism; therefore, the frontier romance, intent upon the creation of a “national” literature, registers this contradiction as a tense “silence.”

I will examine this “silence” more closely in Lydia Maria Child’s Hobomok: A Tale of Early-Times (1824), James Fenimore Cooper’s The Last of The Mohicans (1826), and Catherine Maria Sedgwick’s Hope Leslie, or A Tale of Early Times in ihe Massachusetts (1827).  As these romances are confronted and confounded by the specter of miscegenation, they drift from the daylight world of the “historical,” the native realm of a solid “national” literature, into the nightmare world of me “gothic,” where racial hybridity is manifested not exactly as “silence” but more sharply as madness, degeneracy, and horror. Within these novels we find an intersection of science and sensationalism as the widely-held racial theory of “diminishing fertility” manifest itself in the romance as insanity or living death, the ineveitable “curse” invoked by the “unnatural” mingling of white and Indian blood. The presence of miscegenated women and “half-breed” figures confounds the foundational categories of the national identity imagined by these romances—white and red, civilization and nature, future and past—and, consequently, these figures are represented as irrational, perverse, or doomed, the recurring “nightmare” invading America’s dream of itself.

At the same time, a tradition of “hybrid texts” resists this widely disseminated myth of degeneration and present alternative visions of racial mixing to those provided by the critically sanctioned historical romances. James E. Seaver’s A Narrative of the the Life of Mrs. Mary Jemison (1824), for example, published in the same years as Hobomok and equal to The Last of the Mohicans in popularity, offers a way to “read against” the The popularily of the narrative further suggests that, contrary to critical assumptions, audiences were perhaps more receptive to Jefferson’s idea of a racially mixed American future than were romance writers and reviewers.  Jemison’s over-looked success tells us that while reviewers strongly objected to considering miscegenation as part of the formula for a national literature, common readers were apparently less troubled by the prospect of a heterogeneous nation and less insistent on the separation of races as a necessary component of national identity. This apparent gap between the critical and popular responses suggests that…

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The Octoroon: Early History of the Drama of Miscegenation

The Journal of Negro Education
Volume 20, Number 4 (Autumn, 1951)
pages 547-557

Sidney Kaplan, Instructor In English
University of Massachusetts

From the moment of its birth the American democracy has appeared to some of its best champions as the perfect subject for Aristotelian tragedy. Could the democracy with an overwhelming reservation be anything other than the hero with a fatal flaw? The essence of slavery, complained Jefferson at the close of the Revolution, was the “perpetual exercise of the most boisterous passions, the most unremitting despotism on the one part, and degrading submissions on the other”; he trembled for his country when he reflected that God was just and that his justice could not sleep forever. One ramification of this peculiarly American tragedy—the “problem” of passion between black and white—has been a staple of our stage for almost a century. From Boucicault’s The Octoroon in the decade before Gettysburg, through O’Neill’s All God’s Chillun in the era of the first World War, to Hughes’s The Barrier of the current guilty hour, the drama of miscegenation has packed box and balcony throughout the land.

Putting aside the question of its dramatic merit, it is easy to see why Boucicault’s play, from the historian’s point of view, is the most interesting of the genre; for not only did The Octoroon for the first time, effectively and sympathetically, place a Negro in the center of an American stage, but also, in the troubled time of its premiere, despite all its meagerness as play or tract, it became a small portent of impending crisis and irrepressible conflict. As Joseph Jefferson wrote, thirty years after its first night, The Octoroon “was produced at a dangerous time”; for the slightest allusion to the peculiar institution served then only “to inflame the country, which was already at a white heat.”

Three days after John Brown had been hanged in Virginia, the curtain arose on The Octoroon in New York. On the evening of December 6, 1859, just as Brown’s coffin began the last lap on the journey North to the quiet Adirondack farms, the Winter Garden…

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Pinturas de Casta: Mexican Caste Paintings, a Foucauldian Reading

New Readings
School of Modern Languages, Cardiff University
Volume 10 (July 2009)
page 1-17

Nasheli Jiménez del Val
Cardiff University

This article looks at the genre of casta painting developed in colonial Mexico during the eighteenth century. The genre consists of a series of paintings representing the different racial mixes that characterised New Spain throughout the colonial period and that continue to play an important role in contemporary Mexican society. By referring to several Foucauldian concepts such as disciplinary power, biopower, normalisation, deviance and heterotopia, this essay aims to locate the links between this genre and prevailing discourses on race, with a particular focus on the ensuing institutional and political practices implemented in the colony during this period. Centrally, by focusing on this genre as a representational technology of colonial surveillance, the paper argues that discourses on race in New Spain oscillated between an ideal representation of colonial society, ordered and stabilised through rigid classificatory systems, and a real miscegenated population that demanded a more fluid understanding of the colonial subject’s societal value beyond the limitations of racial determinism.

It is known that neither the Indian nor Negro contends in dignity and esteem with the Spaniard; nor do any of the others envy the lot of the Negro, who is the “most dispirited and despised”. […] It is held as systematic that a Spaniard and an Indian produce a mestizo; a mestizo and a Spaniard, a castizo; and a castizo and a Spaniard, a Spaniard. It is agreed that from a Spaniard and a Negro a mulatto is born; from a mulatto and a Spaniard, a morisco; from a morisco and a Spaniard, a torna atrás; and from a torna atrás and a Spaniard, a tente en el aire. The same thing happens from the union of a Negro and Indian, the descent begins as follows: Negro and Indian produce a lobo; lobo and Indian, a chino; and chino and Indian, an albarazado, all of which incline towards the mulatto. [For more terms, see here.]

—Pedro Alonso O’Crowley, 1774.

Casta painting is a pictorial genre produced by colonial artists between the early 18th century and the early 19th century that consists of a series of paintings representing the different racial mixings that characterised the colony of New Spain. As a pictorial genre, it is constituted by a succession of images that show a male and female subject from different ethnic origins and the offspring that result from this combination. The three racial strands of Spaniard, Indian and Black initiate the series, with the possible combinations that derive from these crossing being depicted in detail, to the degree that even fifth or sixth degrees of derivations are often assigned specific names and traits…

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The Monster Inside: 19th Century Racial Constructs in the 24th Century Mythos of Star Trek

The Journal of Popular Culture
Volume 31, Issue 1 (Summer 1997)
pages 23–35
DOI: 10.1111/j.0022-3840.1997.3101_23.x

Denise Alessandria Hurd

That is the ineffaceable curse of Cain. Of the blood that feeds my heart, one drop in eight is black—bright red as the rest may be, that one drop poisons all the flood. Those seven bright drops give me love like yours, hope like yours—ambition like yours—life hung with passions like dew-drops on the morning flowers; but the one black drop gives me despair, for I’m an unclean thing—forbidden by the laws—I’m an Octoroon!

Zoe in The Octoroon, 1859

Myself, I think I got the worst of each… that [my Klingon side] I keep under tight control… some times I feel there’s a monster inside of me, fighting to get out… My Klingon side can be terrifying, even to me.

K’Ehleyr from Star Trek: The Next Generation, 1989

Judging from the above two quotes, not much has changed in 130 years of racial image management, The language may have become less poetical by the time of Star Trek, and the “Other” race less specifically marked as an existing ethnic group, but the construction of the Other, especially the Hybrid Other, even down to the implication of an inevitable atavistic biological essentialism when two races are mixed, remains the same. In the world of Star Trek, the society of the future is a pattern card of egalitarian homogeneity. Prejudice is gone and brotherhood reigns supreme, at least theoretically. It is just those pesky “alien” cultures that repeat outmoded cultural conflicts. Or is it? In this article I wish to examine how this television series, whose original intent was to explore and disprove the encoded prejudices of contemporary society by displacing this debate onto a future and presumably Utopian society, still tends to reify a particularly loaded image from nineteenth century psychology and anthropology in the United States: The Tragic Mulatto.

Beginning with the character of Spock in The Original Series (TOS) and on down to B’Elanna Torres on the newest series. Star Trek:  Voyager, (STV) the following familiar crisis is enacted: A Hybrid character…

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