Mixed Race Studies

Latinx Files: When Mexicans became ‘White’-ish

The Los Angeles Times
2022-05-12

Fidel Martinez

Hi folks, Fidel here. Every once in a while, I’ll ask a guest writer to take over the main story. We’ve experimented with formats here and there — we recently ran an illustration — and this week it’s no different. Below is an excerpt from Julissa Arce’s memoir, “You Sound Like a White Girl: The Case for Rejecting Assimilation.”

The first colonizers to arrive in what is now the United States were not the pilgrims in 1620. It was the Spanish, who came to New Mexico in 1598. The oldest capital in the country, Santa Fe, was founded in 1610 by a Spaniard who was born in Mexico. This is not a point of pride but a part of our complicated story. Along with Spanish colonizers looking for riches, priests looking for souls to save, many Indigenous people came as well — some as servants, others forcibly to quench the lust of men, some as wives, and many more for endless other reasons.

After gaining its independence from Spain, Mexican authorities attempted to increase the population in its northern territory — a land that stretched all the way up the west coast of California and across to the Rocky Mountains — and so welcomed Anglo immigrants. By 1834, more than 30,000 of them lived in Texas, heavily outnumbering the Mexican population of 7,800.*

Mexico abolished African slavery in 1829, before the U.S. Emancipation Proclamation in 1863, but those Anglo immigrants had brought with them more than 5,000 enslaved people in violation of Mexican law. This is where the story needs some revision. Texas’ independence from Mexico and eventual annexation into the United States is often told as a freedom fight. But Anglo Texans wanted to be “free” in order to keep Black people enslaved. They became legends while stealing Black bodies, stealing Mexican land, and terrorizing native Tejanos. The Mexicans who stayed in Texas were treated as second-class citizens, an attitude that still pollinates along with the bluebonnets, their stories lost to white historians. The horrors that Mexicans suffered in Texas at the hands of Anglos have been buried in forgotten graves, in cemeteries that no longer exist. However, in Texas history classes, Davy Crockett, William B. Travis, and Jim Bowie die heroes at the Alamo, killed by the vicious Mexican army — a story still retold in museums and textbooks. They were visitors, undocumented immigrants even, and by proclaiming self-rule, they forced Mexico into war….

Read the entire article here.

Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media

University of Illinois Press
2022-04-26
152 pages
6 x 9 in
12 black & white photographs
Cloth ISBN: 978-0-252-04441-0
Paper ISBN: 978-0-252-08648-9
eBook ISBN: 978-0-252-05340-5

Reighan Gillam, Associate Professor of Anthropology
University of Southern California

A new generation of Afro-Brazilian media producers have emerged to challenge a mainstream that frequently excludes them. Reighan Gillam delves into the dynamic alternative media landscape developed by Afro-Brazilians in the twenty-first century. With works that confront racism and focus on Black characters, these artists and the visual media they create identify, challenge, or break with entrenched racist practices, ideologies, and structures. Gillam looks at a cross-section of media to show the ways Afro-Brazilians assert control over various means of representation in order to present a complex Black humanity. These images–so at odds with the mainstream–contribute to an anti-racist visual politics fighting to change how Brazilian media depicts Black people while highlighting the importance of media in the movement for Black inclusion.

An eye-opening union of analysis and fieldwork, Visualizing Black Lives examines the alternative and activist Black media and the people creating it in today’s Brazil.

Watch IRAAS Conversations | Visualizing Black Lives: Ownership and Control in Afro Brazilian Media on YouTube (01:26:36) here.

The Capital of Free Women: Race, Legitimacy, and Liberty in Colonial Mexico

Yale University Press
2022-04-12
296 pages, 5 1/2 x 8 1/2
9 b/w illustrations
Hardcover ISBN: 9780300258066

Danielle Terrazas Williams, Lecturer in the School of History
University of Leeds, Leeds, United Kingdom

A restoration of the agency and influence of free African-descended women in colonial Mexico through their traces in archives

The Capital of Free Women examines how African-descended women strove for dignity in seventeenth-century Mexico. Free women in central Veracruz, sometimes just one generation removed from slavery, purchased land, ran businesses, managed intergenerational wealth, and owned slaves of African descent. Drawing from archives in Mexico, Spain, and Italy, Danielle Terrazas Williams explores the lives of African-descended women across the economic spectrum, evaluates their elite sensibilities, and challenges notions of race and class in the colonial period.

The White Indians of Mexican Cinema: Racial Masquerade throughout the Golden Age

State University of New York Press
April 2022
326 pages
Hardcover ISBN: 9781438488035

Mónica García Blizzard, Assistant Professor of Spanish and Portuguese
Emory University, Atlantic, Georgia

The White Indians of Mexican Cinema theorizes the development of a unique form of racial masquerade—the representation of Whiteness as Indigeneity—during the Golden Age of Mexican cinema, from the 1930s to the 1950s. Adopting a broad decolonial perspective while remaining grounded in the history of local racial categories, Mónica García Blizzard argues that this trope works to reconcile two divergent discourses about race in postrevolutionary Mexico: the government-sponsored celebration of Indigeneity and mestizaje (or the process of interracial and intercultural mixing), on the one hand, and the idealization of Whiteness, on the other. Close readings of twenty films and primary source material illustrate how Mexican cinema has mediated race, especially in relation to gender, in ways that project national specificity, but also reproduce racist tendencies with respect to beauty, desire, and protagonism that survive to this day. This sweeping survey illuminates how Golden Age films produced diverse, even contradictory messages about the place of Indigeneity in the national culture.

From Multiracial to Monoracial: The Formation of Mexican American Identities in the U.S. Southwest

Genealogy
Volume 6, Issue 2 (2022) (Special Issue: Beyond the Frontiers of Mixedness: New Approaches to Intermarriage, Multiethnicity, and Multiracialism)
DOI: 10.3390/genealogy6020028
21 pages

G. Reginald Daniel, Professor of Sociology
University of California, Santa Barbara

The racialization of Mexican Americans in northern Mexico, that is, the U.S. Southwest, following the Anglo-Americanization during the second half of the nineteenth century, is an excellent case study of the historical formations of Anglo-American and Spanish American racial orders. Both racial orders were based on a hierarchy that privileged Whiteness and stigmatized Blackness. Yet Spanish America’s high levels of miscegenation resulted in ternary orders allowing for gradation in and fluidity within racial categories, in addition to the formation of multiracial identities, including those of individuals with African ancestry. Anglo-America was characterized by restrictions on miscegenation and more precise definitions of and restrictions on racial categories. This prohibited the formation of multiracial identities while buttressing a binary racial order that broadly necessitated single-race (monoracial) identification as either White or non-White, and more specifically, as White or Black, given their polar extremes in racial hierarchy. Within this order, hypodescent applies most stringently to those with African ancestry through the one-drop rule, which designates as Black all such individuals. This article examines monoracialization through historical processes of Mexican–American identity formations. Over the twentieth century, this shifted from White to Brown, but without any acknowledgment of African ancestry.

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Patchwork Freedoms: Law, Slavery, and Race beyond Cuba’s Plantations

Cambridge University Press
February 2022
320 pages
236 x 156 x 25 mm
0.64kg
Hardback ISBN: 9781108499545
Paperback ISBN: 9781108730808

Adriana Chira, Assistant Professor of Atlantic World History
Emory University, Atlanta, Georgia

In nineteenth-century Santiago de Cuba, the island of Cuba’s radical cradle, Afro-descendant peasants forged freedom and devised their own formative path to emancipation. Drawing on understudied archives, this pathbreaking work unearths a new history of Black rural geography and popular legalism, and offers a new framework for thinking about nineteenth-century Black freedom. Santiago de Cuba’s Afro-descendant peasantries did not rely on liberal-abolitionist ideologies as a primary reference point in their struggle for rights. Instead, they negotiated their freedom and land piecemeal, through colonial legal frameworks that allowed for local custom and manumission. While gradually wearing down the institution of slavery through litigation and self-purchase, they reimagined colonial racial systems before Cuba’s intellectuals had their say. Long before residents of Cuba protested for national independence and island-wide emancipation in 1868, it was Santiago’s Afro-descendant peasants who, gradually and invisibly, laid the groundwork for emancipation.

Table of Contents

• Introduction
• 1. Unenclosed people, unenclosed lands: Santiago de Cuba to 1800
• 2. Foreign implants: The Saint-Domingue refugees and the limits of plantation development, 1791–1808
• 3. Keeping people put: Enslaved families, policing, and the re-emergence of coffee planting, 1810s–1830s
• 4. Manumission’s legalities: From need-based prerogatives to merit-based entitlements
• 5. ‘A freedom with further bonds’: Free people of African descent, property ownership, and color status
• 6. ‘Para levantar los negros y proclamar la República’: The beginnings of the Cuban wars of independence in Santiago de Cuba
• Conclusion
• Appendices
• Bibliography

Bleach in the Rainbow: Latin Ethnicity and Preference for Whiteness

Transforming Anthropology
Volume 13, Issue 2 (October 2005)
Pages 103-109
DOI: 10.1525/tran.2005.13.2.103

William A. Darity, Jr., Samuel DuBois Cook Distinguished Professor of Public Policy
Duke University, Durham, North Carolina

Jason Dietrich, Section Chief, Compliance Analytics and Policy
Consumer Financial Protection Bureau, Washington, D.C.

Darrick Hamilton, Henry Cohen Professor of Economics and Urban Policy
Milano School of Policy, Management, and Environment
The New School, New York, New York

The conventional wisdom is that race is constructed in vastly different ways in the United States and throughout Latin America. Race is ostensibly understood as genotypical in the United States, while race ostensibly is understood as phenotypical in Latin America. Furthermore, the conventional wisdom, represented by the rainbow people metaphor, characterizes racial identity as far less a source of stigma in Latin America than in the United States. In contrast, research reported in this article indicates strong similarities in the construction and the operation race the entire Americas. Genotype, or African ancestry, is shown to matter in Latin America; phenotype, or appearance, is shown to matter in the United States. Race is strongly associated with social exclusion and inequality throughout all of the Americas, with Latinos demonstrating a strong preference for Whiteness and an aversion toward a Black identity. African Americans’ tendency to be Black identified may be the result of the social selection effects the phenomenon “passing.”

Read or purchase the article here.

“What are you?” Reactions to American Racial Rhetoric among Mixed and Multiracial Caribbeans

Charisse L’Pree, Ph.D.: Media Made Me Crazy
2014-08-19

Charisse L’Pree, Associate Professor of Communications
S.I. Newhouse School of Public Communications
Syracuse University, Syracuse, New York

Historically, the United States has had tumultuous relationship with mixed and multiracial individuals within its borders; interracial marriage was illegal until 1967, and the one-drop rule continues affect racial discourse. Combined with the hegemonic power of American culture, the effect of this rhetoric is especially evident in neighboring cultures with different social constructions of race. This paper explores the experiences of young adults in the United States and the Caribbean who identify as mixed or multiracial, and their use of social media to publicly identify and affect this conversation.

To be “mixed” is to contain different qualities or elements. Although racial categorizations can differ from culture to culture, much of the literature regarding the identity of mixed individuals has emerged from the United States and Western Europe. In these communities, multiracial individuals are less than 3% of the population and considered to be between groups. Stereotypes like the “tragic mulatto” describe the psychological stress that multiracial individuals can experience as simultaneously ostracized and exoticized anomalies. They are the targets of curiosity, resulting in the common question: “What are you?”…

Read the entire article here.

Punta Music Has Never Been a Honduran ‘Thing,’ It Has Always Been a Black One

Remezcla
2022-03-24

Julaiza Alvarez

I was 12 years old when I went to my first fedu, a Garifuna word for a traditional gathering or party in Honduras. I was intrigued by how comfortable everyone was: The women dressed in traditional garments danced to the beat of the drum and sang to the sound of hands clapping. It was effortless. I had never seen anything like it. While I had been to family functions and seen my aunts dance, this did not compare. It was mesmerizing, especially with everyone being Black. It was different, and it set me on a journey to discover who I was.

Growing up in Charlotte, North Carolina, I struggled to find a sense of belonging in a community that did not accept me but accepted what my Blackness could give them. I wrestled with constantly being challenged to prove myself, not realizing that we are burdened with defending ourselves from the people we call our neighbors. Through music, Garifunas have told their story. But sadly, Punta is one of the countless Black musical movements that are having its history erased. The scene at my first fedu was unlike the music videos I grew up watching on YouTube where the Garifuna men would beat the drums, and the fair-skinned and dark-haired women would dance in front of them.

In my introduction to Punta, I saw my Blackness be celebrated. But to the rest of the world, their introduction to Punta showed my Blackness used as an accessory. Something you put on and take off when you are done with it. That’s why it is disheartening to watch the deliberate whitewashing of this sacred genre of music. The genre’s mainstream face is based on the misconception that Punta is the heartbeat of the Honduran people, the entirety of the country. In fact, this genre is rooted in a more specific community: the Garifuna people, the descendants of mixed West African and indigenous people that have historically resided on the Caribbean coast of Central America…

Read the entire article here.

Aline Motta and the personal diving into collective memory

ARTE!Brasileiros
2020-03-18

Marcos Grinspum Ferraz

The multimedia artist, one of the winners of the 7th Marcantonio Vilaça Award, departs from a thorough research on his family history to address major topics such as slavery, African heritage and a patriarchal structure that remains in Brazil today

The journey of artist Aline Motta looking for her roots and the vestiges of her ancestors is undoubtedly a personal endeavour. The result, however, concerns the collective memory of thousands of Brazilian families built (or destroyed) in the violent process of the country’s formation, based on slavery and patriarchal structure.

“It took a while for me to acquire some maturity and psychic centering to deal with issues so deep and difficult that concern my own history and family,” she says in an interview with ARTE!Brasileiros. This maturation time included not only some early artwork that dealt with other topics, carried out especially from the beginning of this decade, but also a vast trajectory as a continuist in movies, which commenced in 2001.

It was from 2016, when she had the project Pontes sobre Abismos (Bridges over Abysses) selected by Itaú Cultural’s Rumos program, that Motta, now 45, began to devote herself full-time to authorial work, with a multimedia production that did not leave aside cinema, but also unfolded in installations, photographs, texts, publications and performances…

Read the entire interview here.