Mixed Race Studies

EXCLUSIVE: Bruno Mars Opens Up About the Loss of His Mother

Latina
2017-01-30

Jesus Trivino

Photographs by John Russo

MR. EVERYTHING

Bruno Mars redefines what it means to be a Latino man.

BRUNO MARS DOESN’T WALK; HE GLIDES.

It’s as if he’s perpetually ready to perform a Motown-style choreography set in front of tens of millions watching the Super Bowl (which he has done twice in the past four years)—even easing his way into a suburban L.A. pizza parlor, where moments earlier, his sexy, chart-topping 2012 hit, “Locked Out of Heaven,” was on blast, as if anticipating his appearance. Mars just has that aura. His outfit is straight Fania-era salsa/blaxploitation swag—Gucci cap over his curls; sunglasses; an open shirt, floral and teal; tan shorts; dress shoes (no socks, to accentuate those smooth legs); and minimal gold jewelry. He orders a plain slice, which he sprinkles with garlic powder, and a root beer. It’s obviously a joint he frequents, since he knows all the fellas by name, and the workers aren’t taken aback by the superstar in their midst. He walks to an open booth, wolfs down his food, controlling his urge to eat six more slices, he jokes, and proceeds to be the smoothest cat to ever have lunch at an old-school checkered-tablecloth pizzeria.

Mars learned about charm, confidence, and estilo early in life. “My whole sense of rhythm is because my dad was teaching me bongos as a kid,” he says of his father, Pedro Hernandez. “He’s an old-school working musician, so that’s where the pinky rings come from, the patent-leather shoes, the suits, and the pompadour. It all stems from watching my father. I remember at the time, me and my sisters would be a little embarrassed when he would take us to school in his big-ass Cadillac. No one had

Cadillacs in Hawaii. But my dad would show up in some boat-looking Caddy wearing some silky shit, and we’d run out into the car as soon as possible. And here I am wearing the swap-meet gold, driving Cadillacs,” he says with a laugh…

…But before he was Bruno Muhfuckin’ Mars, he was E-Panda’s lil’ bro, Peter Hernandez, born and bred in Hawaii to a beautiful Filipina and Spanish mom and Puerto Rock and Jewish papi from Brooklyn. His childhood musical career is well-documented on YouTube— at 4, he was the cutest Elvis Presley impersonator ever, performing with his family for oohing-and-ahhing tourists in Waikiki. As the years passed and his skills developed, Mars found himself dealing with racial-identity issues in the multicultural 50th state. “Growing up in Hawaii, there are not too many Puerto Ricans there,” says Mars, “so because of my hair, they thought I was black and white.”

The idea of not being easily categorized is something Mars has dealt with his entire life. When he moved to Los Angeles at 18 to make a serious go in the music industry, record label executives asked, “What are you? Are you urban? Are you Latin?”

“There are a lot of people who have this mixed background that are in this gray zone,” he says, leaning forward to make his point. “A lot of people think, ‘This is awesome. You’re in this gray zone, so you can pass for whatever the hell you want.’ But it’s not like that at all. It’s actually the exact opposite. What we’re trying to do is educate people to know what that feels like so they ’ll never make someone feel like that ever again. Which is a hard thing to do. Because no one can see what we see and no one can grow up with what we grew up with. I hope people of color can look at me, and they know that everything they’re going through, I went through. I promise you.”…

Read the entire article here.

Gender, race and prejudice

Skidmore College
Saratoga Springs, New York
2017-03-20

Leigh Wilton

“As an experimental social psychologist, I’m interested in how people see each other and how that affects their interactions,” says Leigh Wilton, who joined Skidmore’s psychology faculty last year. Her work focuses on race and gender. “People have expectations about gender and race,” she says, “but what happens when they encounter challenges to those beliefs, such as people who have mixed-race or nontraditional gender identities? What are the consequences, in terms of interpersonal and group relations, of the assumptions we hold?”

The essentialist school of thought holds that these identities are mostly in-born and immutable, rather than socially constructed and learned. But as Wilton points out, there’s no support for a scientific concept of race, and she asks, “If people see racial traits as genetically hard-wired, what do they think when they meet people of mixed-race parentage?

For Wilton, it’s more than academic. With a Latina mother and white father, she grew up with a natural curiosity about what social identities really mean and also with a drive to test ways of improving social interactions across difference…

Read the entire article here.

On the Usefulness of Hispanic Heritage Month

American Mestiza: Living In Between the In Between
2016-10-15

Sarah A. Chavez, Visiting Assistant Professor of English
Marshall University, Huntington, West Virginia

This fine fall day – and it is a fine fall day: sunny, the leaves are changing and floating softly to the ground in a light breeze, it’s not hot – is the last day of Hispanic Heritage Month. I have mixed feelings about Hispanic Heritage Month, the same way I do about Women’s History Month, and African American History Month. If we just lived in a world that held the accomplishments of Latinxs, women, and African Americans in the same esteem as Anglo Americans, and if we had more fair representation in U.S. text books, we wouldn’t need these token months. Largely, months like these end up being used to assuage liberal guilt for the rest of the year when no one is held accountable for the monolithic literature, art, history, sociological perspective teachers assign. These are the special months where a teacher brushes the dust off their copy of Martin Luther King Jr.’s “I Have A Dream” speech and shows their students art by Diego Rivera and Frida Kahlo (even though they are solidly Mexican and therefore not “Latina/o” or “Hispanic”), and talks about how in the 1940s women got to put on pants and tie up their hair in red kerchiefs and that was very empowering…

Read the entire article here.

The Signifyin(g) Saint: Encoding Homoerotic Intimacy in Black Harlem

Black Perspectives
2017-03-14

James Padilioni Jr, Ph.D Candidate and Teaching Fellow in American Studies (Africana-affiliated)
College of William and Mary, Williamsburg, Virginia

On June 25, 1942, Edward Atkinson arrived at 101 Central Park West to sit for a photo shoot in the home studio of Carl Van Vechten. Van Vechten, author of the infamous 1926 novel Nigger Heaven, was a white patron of the Harlem Renaissance and amateur photographer who took hundreds of photographs of Black Harlem’s who’s who such as Paul Robeson, Billie Holiday, and James Weldon Johnson. Atkinson, an off-Broadway actor no stranger to playing a role, transformed himself into Martin de Porres (1579-1639), a Peruvian friar who became the first Afro-American saint when the Vatican canonized him in 1962 as the patron of social justice. I trace Martin’s iconography and ritual performances across Black communities in Latin and Anglo America to reveal the historical relations of power that structure and materialize the networks harnessed by Black peoples to mobilize resources in their varied yet persistent efforts to create meaningful lives out of the fragments of the Middle Passage…

Read the entire article here.

Orange Is the New Black Dives into Latinx Identity Politics

The Outtake
2016-11-07

Rebecca Bodenheimer

Maria Ruiz (Jessica Pimentel) and Gloria Mendoza (Selenis Leyva)

The series treats relations between Dominicans, Mexicans, and Puerto Ricans with a level of nuance uncommon in mainstream media

The fourth season of Orange Is the New Black (2013 — ) has a lot to say about inter-ethnic hostility within the Latinx community. The episode “Power Suit” (4.2) dives most deeply into these conflicts, treating relations between New York Dominicans, Mexicans, and Puerto Ricans with a level of nuance and depth uncommon in mainstream media.

In “Power Suit,” we learn via flashbacks that inmate Maria Ruiz (Jessica Pimentel) does not have an easy relationship with the Dominican nationalism her father tried to inculcate in her. We see her reject the ethnocentrism of her father, which is primarily directed at the new waves of Mexican immigrants whom he sees as attempting to take over “Dominican” territory in New York…

…Because Latin American countries have historically included a mixed-race category in their official population counts, many Latinx draw a hard and fast line between mestizo/mulato (mixed race) and negro (black). This presents a major contrast with racial categorization in the U.S., so shaped by the “one-drop” rule that lumps everyone with African ancestry together as “black.”

Afro-Latinx have only begun to be recognized in recent decades as a distinct population group in many countries, such as Mexico, Peru, and Colombia. Thus, to delve into the racial politics of Latinx identity and give this issue some airplay is not a small feat…

Read the entire article here.

The invention of ‘Hispanics’ created a political force of 27 million strong

Timeline
2017-03-02

Heather Gilligan, Senior Editor

Cesar Chavez (left), leader of the National Farm Workers Association, stands with a group of striking workers in Delano, California, in 1975. (Ted Streshinsky/Getty Images)

Before 1970, they were considered white by the government

On a California morning in 1969, as dawn outlined the nearby mountain ridges in purple, a pickup truck bounced down a dirt road in the Coachella Valley, filled with activists urging farmhands still picking grapes to join a statewide strike for higher wages. “These workers are so afraid of their employers,” labor organizer Dolores Huerta explained to The New York Times.

Meanwhile, on the East Coast, against a backdrop of overcrowded tenements in Spanish Harlem, a radical group of 20-something Puerto Ricans protested unsanitary living conditions by blocking Third Avenue with a garbage fire. The trash they burned had sat on the curb for days, creating a veritable rat-topia, as garbage trucks rumbled along, cleaning up regularly in richer, whiter neighborhoods.

Puerto Ricans and Mexicans like these faced many of the same hardships—including the high rates of poverty that went hand in hand with their experience employment discrimination, dilapidated housing, and substandard schools that were ill-equipped to deal with Spanish-speaking students—but what they lacked was a cohesive political identity, an identifiable voting bloc…

Read the entire article here.

2017 PEN/Joyce Osterweil Award For Poetry

PEN America
2017-01-18

Winner

Natalie Scenters-Zapico, The Verging Cities (Center For Literary Publishing/Colorado State University)

The PEN/Joyce Osterweil Award for Poetry of $5,000 is given in odd-numbered years and recognizes the high literary character of the published work to date of a new and emerging American poet of any age and the promise of further literary achievement…

Read the entire article here.

Loving in the War Years: Lo Que Nunca Paso por Sus Labios (South End Press Classics Series) (English and Spanish Edition) 2nd, expanded Edition

South End Press
2000
234 pages
5.3 x 0.5 x 8.3 inches
Paperback ISBN: 978-0896086265

Cherríe L. Moraga, Artist-in-residence
Stanford University

Weaving together poetry and prose, Spanish and English, family history and political theory, Loving in the War Years has been a classic in the feminist and Chicano canon since its 1983 release. This new edition—including a new introduction and three new essays—remains a testament of Moraga’s coming-of-age as a Chicana and a lesbian at a time when the political merging of those two identities was severely censured.

Drawing on the Mexican legacy of Malinche, the symbolic mother of the first mestizo peoples, Moraga examines the collective sexual and cultural wounding suffered by women since the Conquest. Moraga examines her own mestiza parentage and the seemingly inescapable choice of assimilation into a passionless whiteness or uncritical acquiescence to the patriarchal Chicano culture she was raised to reproduce. By finding Chicana feminism and honoring her own sexuality and loyalty to other women of color, Moraga finds a way to claim both her family and her freedom.

Moraga’s new essays, written with a voice nearly a generation older, continue the project of “loving in the war years,” but Moraga’s posture is now closer to that of a zen warrior than a street-fighter. In these essays, loving is an extended prayer, where the poet-politica reflects on the relationship between our small individual deaths and the dyings of nations of people (pueblos). Loving is an angry response to the “cultural tyranny” of the mainstream art world and a celebration of the strategic use of “cultural memory” in the creation of an art of resistance.

Student reflects on mixed-race background

The Times-Delphic
Des Moines, Iowa
2017-02-22

Jessica Spangler, Opinions Editor

As someone who comes from a blend of different cultures, it can sometimes seem like there isn’t really anywhere I belong. There are no neat boxes that I fit into.

I love that I am able to have a unique perspective and have the opportunity to grow up knowing different cultures. I’m proud of who I am and where my family is from. I am Cuban, Mexican and white and I will always consider myself lucky that I am able to have the experiences I do.

But there is also a lot of frustration that comes along with being mixed race.

People have dismissed my Latina side completely (“Please, you’re just white.”) and people have called me racial slurs or have said racist jokes to me (“Want to mow my lawn?”)…

Read the entire article here.

Rosa Clemente: How I Came to Know and Appreciate My Blackness As An Afro-Latina

Atlanta Black Star
2017-02-23

Rosa Clemente

Rosa Alicia Clemente

In 1993, I was a student at the State University of New York-Albany when Dr. Marta Moreno Vega came to speak on our campus. Until that evening, I had never heard the term Afro-Latina. In fact, I had just learned what it meant when someone said “African descendant.” See, even though I had grown up in NYC and Westchester County, respectively, and completely embraced and understood that I was Puerto Rican, it was not until I went to college that I began to get to know who I truly was.

The year before, I had joined the Albany State University Black Alliance and, through my involvement with peers who were racially and politically conscious, I was exposed to the true history of mi gente (my people). This awakening of my racial consciousness would lead me to become an Africana Studies major and, to this day, I have been a scholar-activist in the field of Black studies. For me, it became clear that I was an African descendant, so I began to devour anything and everything I could, not only to learn the truth of who I was but also to confront the lies I had been told by my teachers, family and TV…

Read the entire article here.