Scholarly perspectives on the mixed race experience.
The truth is that African Americans are essentially all mixed race. From the beginning, enslaved and other Africans had close relationships with poor and indentured servant whites, that’s one reason why so many black people have Irish last names. During slavery, sexual relationships between enslavers and the enslaved, occurring on a range of coercive levels, were routine. Children born to enslaved women from these encounters were identified as “black.” The one-drop rule—you are black if you have one drop of black blood—was an economic tool used to protect the institution of racialized slavery (by preserving the distinction between two increasingly indistinct racial groups) and enrich the individual enslaver (by producing another human being he could own). Those enslaved children grew up and had children with other enslaved people as well as other whites.
Nayara Justino thought her dreams had come true when she was selected as the Globeleza carnival queen in 2013 after a public vote on one of Brazil’s biggest TV shows. But some regarded her complexion to be too dark to be an acceptable queen. Nayara and her family wonder what this says about racial roles in modern Brazil.
‘Introducing…’ is our online interview series to introduce you to some of the amazing authors we’re working with and their brilliant books!
Monique Roffey is an award-winning Trinidadian-born British writer of novels, essays, a memoir and literary journalism. Her novels have been translated into five languages and shortlisted for several major awards and, in 2013, Archipelago won the OCM BOCAS Award for Caribbean Literature. With the Kisses of His Mouth and The Tryst are works which examine female sexuality and desire. Her essays have appeared in The New York Review of Books, Boundless magazine, The Independent, Wasafiri, and Caribbean Quarterly. She is a Senior Lecturer in Creative Writing at Manchester Metropolitan University.
Welcome! To start with, could you tell us a little bit about yourself…
I’m a bi-national writer based in East London. My identity is mixed and fluid in that I was born in Port of Spain, (a city I frequently return to), but I’m also half English. Via my mother, I have Italian, Maltese and Middle Eastern blood. My consciousness, though, has been shaped by my knowledge and understanding of the Caribbean region. Four of my seven books have been set in the Caribbean region. Two of my books have dealt directly with female sexuality and desire. I’d call myself a magical realist as a writer and a practicing Buddhist in my everyday life; everything else is for others to decide. I teach creative writing on the MA/MFA at Manchester Metropolitan University and for the National Writers Centre. I’ve always enjoyed teaching and know, for sure, that the craft of writing can be taught to anyone with a feel for language and an active imagination…
Reighan Gillam, Assistant Professor of Anthropology University of Southern California
The film Pelo Malo / Bad Hair (dir. Mariana Rondón, 2013) depicts the story of Junior, a mixed-race young boy in Venezuela who wishes to straighten his curly hair. This essay shows that the stigmatization of black hair is part of Venezuela’s racial aesthetic regime and thus contextualizes the actions and desires of the main character. Moreover, while much of the literature on race and beauty in Latin America focuses on women’s experiences, this essay examines men’s and boys’ experiences of aesthetic regimes that value whiteness. Junior’s continual fussing with his hair, as well as his other actions, informs his mother’s fears that he is gay. I argue that the main character, Junior, is subject to shifting forms of stigma that inform his attempts to straighten his curly hair and in turn inform Junior’s mother’s perception that he is gay.
J. Michael Francis, Hough Family Endowed Chair University of South Florida, St. Petersburg
Gary Mormino, Professor emeritus of History University of South Florida, St. Petersburg
Rachel Sanderson, Associate Director, La Florida: The Interactive Digital Archive of the Americas University of South Florida, St. Petersburg
Artistic rendering of Luisa de Abrego and others [ KATE GODFREY | University of South Florida, St. Petersburg ]
Every 16th century Spanish expedition to Florida included Africans, both free and enslaved.
On Jan. 5, 1595, an infant boy named Esteban was baptized in the small Spanish garrison town of St. Augustine. In the priest’s three-line baptism entry, Esteban’s mother is identified only by her first name, Gratia. Described as a slave owned by a Spanish woman named Catalina, Gratia was one of perhaps 50 slaves who lived in St. Augustine at the end of the 16th century. And like Gratia, most of the town’s other slaves appear only briefly in the historical record, with few personal details besides a Christian name: Simón, María, Agustín, Francisca, Ana, Baltasar, Felipe or Ambrosio.
Collectively, their long-forgotten stories document and complement a remarkable history that dates back more than a century before the first slaves reached Virginia in 1619. They portray a society that was fluid and eclectic. By 1619, La Florida’s population included Spaniards, Portuguese, Greeks, Italians, French, Flemish, Germans, two Irishmen, West Africans, Sub-Saharan Africans and a diverse group of Native Americans. In other words, early Florida reflected a population that resembled modern America.
Floridanos of African descent were present from the earliest Spanish expeditions to the peninsula. Most readers are familiar with the founding myth of Florida and Juan Ponce de León’s alleged search for the Fountain of Youth. However, his 1513 voyage takes on a different complexion when we understand the crew’s composition, which included several free blacks. One of them, Juan Garrido, a native of West Africa, later participated in Hernando Cortés’s 1519 conquest of Mexico, where he lived over the next two decades, participating in numerous conquest expeditions. In a lengthy petition submitted to the Spanish Crown in 1538, Garrido highlighted his three-decade career as a “conquistador,” adding that he commissioned the construction of Mexico City’s first Christian chapel and that he was the one who introduced wheat into Mexico…
Elizabeth Obregón, Ph.D. candidate in Anthropology University of Illinois, Chicago
This paper will focus on the ways in which conceptualizations of race are (re)produced through Cuban genealogical narratives in Western Cuba. Ethnographic interviews collected among eleven Cubans in Havana were collected during summer 2017 and are described here. My ethnographic data argue that despite Cuba’s colourblind racial democracy – where race “does not matter” because all races are “treated equally” – the familial narratives of ancestry actively reinforce the complex racial landscape and illustrates the superiority of whiteness that belie this ideal. These same family narratives ultimately highlight the various ways interlocutors negotiate racial self-identities and narrate family ancestry across lingering gendered and racial hierarchies.
University of California Press
January 2022 (Originally published 1986)
676 pages
Trim Size: 6.14 x 9.21
Hardcover ISBN: 9780520367005
Paperback ISBN: 9780520337060
This title is part of UC Press’s Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1986.
Table of Contents
Frontmatter
Preface to the first English-Language Edition
Preface to the Second English-language Edition
Translator’s Acknowledgments
Author’s Preface to the Paperback Edition
Introduction to the Paperback Edition
I General Characteristics of the Portuguese Colonization of Brazil: Formation of an Agrarian, Slave-Holding and Hybrid Society
II The Native in the Formation of the Brazilian Family
III The Portuguese Colonizer: Antecedents and Predispositions
IV The Negro Slave in the Sexual and Family Life of the Brazilian
V The Negro Slave in the Sexual and Family Life of the Brazilian (continued)
Have you heard the story of the Jewish mother and children who were born enslaved in the Caribbean and became some of the wealthiest Jews in New York?
Professor Laura Arnold Leibman was researching Jewish communities in Barbados when she discovered two small ivory portraits belonging to a Jewish heiress from New York. She traced the family’s ancestors back to Bridgetown, Barbados in the 1700s. But instead of discovering an exclusively Sephardic ancestry, she uncovered a much more complex story of a diverse Jewish family whose identities were impacted by time and place.
Detail from A Redenção de Cam (Redemption of Ham), Modesto Brocos, 1895. | Museu Nacional de Belas Artes
The complexities of the color line in the U.S. and Brazil
A CENTRAL POINT OF TENSION between Irene Redfield (played by Tessa Thompson) and her husband Dr. Brian Redfield (André Holland) in Rebecca Hall’s Passing, based on the Nella Larsen novel of the same name, is whether their family should remain in the United States. While Irene can pass for white out of convenience, the same is not true of her darker sons and her husband, who routinely informs his children about lynchings and white violence. Irene disapproves of this talk, despite her work for the Negro Welfare League. In one pivotal scene, she drives her tired husband home after a long day of visiting patients, and the couple discuss going to South America, specifically mentioning Brazil. The issue returns when the couple fights over the consuming role that Clare (Ruth Negga)—who has chosen to pass as white to the point of marrying a bigoted white husband and having a daughter with him—exerts in their lives and marriage.
In Larsen’s novel, Brian’s longing for Brazil, which becomes conflated with what Irene perceives as his desire for the effervescent, delightfully dangerous Clare, is even more pronounced: Brazil is the one that got away, Brian’s lost hope for a society where he and other black members of the talented tenth could be judged by their merits, not lynched because they failed to stay in their place. Irene even implicitly sanctions an affair between her husband and Clare to assuage her guilt for denying her family the chance to be truly “happy, or free, or safe”—a state she laments as impossible when speaking to Clare about her choice not to pass…
Hannah Lowe was born in Essex in 1976 to a white English mother and Afro-Chinese Jamaican father. She studied American Literature at the University of Sussex, followed by an MA in Refugee Studies. She undertook her PhD in Creative Writing at Newcastle University in 2012.
Broadly, Lowe’s work is concerned with migration histories, multicultural London and the complex legacies of the British Empire. Her first poetry collection, Chick (Bloodaxe, 2013), blended these political concerns with a deeply personal and elegiac commemoration of her father, a member of the Windrush generation, who earnt a living in London through playing cards and dice. Her second collection, Chan (Bloodaxe, 2016), expanded these explorations of family in writing about the life and untimely death of her father’s cousin, the jazz saxophonist, Joe Harriott. In this book, Lowe developed a new poetic form – the ‘borderliner’ – which uses typography and double narration to explore ideas about multi-heritage experiences. Lowe’s work is often concerned with historical omissions, and in Ormonde, (Hercules Editions, 2014), she excavates the story of the SS Ormonde, on which her father migrated, and which arrived in Britain before the better known Empire Windrush. Most recently she has published the chapbook, The Neighbourhood, (Outspoken Press, 2019), which explores how communities respond to the pressures of austerity, gentrification and deportation. Her third full-length collection, The Kids, inspired by her work as an inner-city sixth form teacher, won the 2021 Costa Poetry Award…
Si-lan Chen in 1944. A socialist, she approached dance as a way to build international solidarity. Man Ray 2015 Trust/Artists Rights Society (ARS), NY, ADAGP, Paris 2021; Telimage
This article is part of Overlooked, a series of obituaries about remarkable people whose deaths, beginning in 1851, went unreported in The Times.
As a dancer and choreographer, she sought to represent a broad range of ethnic groups, but audiences often sexualized and exoticized her by focusing on her mixed race.
In 1945, the dancer Si-lan Chen sent a draft of her memoir to the writer Pearl S. Buck, with a letter asking for her thoughts on why she was struggling to get the attention of a publisher.
The autobiography, Buck said, of a mixed-race girl growing up in Trinidad, studying ballet at the Bolshoi and choreographing films like “Anna and the King of Siam” (1946), was too focused on, well, her…
