Mixed Race Studies

Becoming a black woman: an identity in process

Black Women of Brazil: The site dedicated to Brazilian women of African descent
2013-07-31

Fernanda Souza

“(…) We are born preta (black), mulata, parda, brown, roxinha (a little purple) among others, but becoming negra (black) (1) is an achievement.” (Lélia Gonzalez)

“How (does one) to form an identity around color and non self-acceptance of blackness by the majority whose future was projected in the dream of branqueamento (whitening)?” (Munanga, p. 137, 2004)

My entire life I saw myself as a parda (brown), morena, mulata, mestiça (mixed race), but never, under any circumstances, negra (black). Although having blacks uncles and cousins, besides my late grandmother being black, I didn’t not recognize as such because of not thinking my parents were black, because I believed in the idea that blacks were only those people who had darker skin and my father and my mother could be seen, even by themselves, as mestiços and not as negros. That’s where we have one of the great subtleties while one of the biggest problems for racial consciousness in the country: the mestiço. The mestiço, as an intermediate category between white and black, is a result of the long process of mestiçagem (racial mixture) that marks Brazil. Mestiço here should be understood primarily as someone who is the child of a interracial couple (in this case, I refer to the union between a black man/ white woman and white man/black woman) and can also, to facilitate understanding of the text, be understood as someone who, even though not being the son/daughter of an interracial couple but of black parents, having lighter skin and had/has difficulty in defining themselves as black. Again I reiterate: this extension of the concept of “mestiço” is only to help in the understanding of the text and not to have to use the term “non-white” because it encompasses other ethnic groups, such as indigenous and neither “pardos (browns)”, because I find it politically innocuous for a text that will discuss mainly mestiçagem and the difficulty of asserting a racial-ethnic identity.

Miscegenation constitutes the cornerstone of the myth of racial democracy, whose central idea is that we are mestiços, the result of interbreeding between the three races – white, Indian and Black – which occurred through a contact and a harmonious coexistence between the three – forgetting that this process started from the rape of black women enslaved by plantation masters and there is nothing harmonious about it – and, in this sense, here there doesn’t exist so much discrimination and racial prejudice and people recognize themselves first as Brazilian than from a racial-ethnic identity of the oppressed, because as the myth of racial democracy dissolves, it mitigates and obscures the tensions, conflicts and racial prejudices present in Brazil, as Kabengele Munanga (2004) pointed out…

Read the entire article here.

The Journal of Critical Mixed Race Studies inaugural issue is now available

Journal of Critical Mixed Race Studies
Volume 1, Number 1 (2014-01-30)
ISSN: 2325-4521

Laura Kina, Associate Professor Art, Media and Design and Director Asian American Studies
DePaul University, Chicago, Illinois

G. Reginald Daniel, Professor of Sociology
University of California at Santa Barbaral

Saya Woolfalk, video still from “The Emphathics,” 2012.

The Journal of Critical Mixed Race Studies inaugural issue is now available. Volume 1, No. 1, 2014 “Emerging Paradigms in Critical Mixed Race Studies” It has been a long journey from the publication of Maria Root’s groundbreaking and award-winning anthology Mixed People in America (1992) to the inauguration of the Journal of Critical Mixed Race Studies. We would like to thank all of our contributors, volunteers, and editorial review board for their hard work and patience. We hope you enjoy this issue of the journal and find it an informative resource on the topic of mixed race identities and experiences.

G. Reginald Daniel, Editor in Chief

Laura Kina, Managing Editor

The Journal of Critical Mixed Race Studies (JCMRS) is a peer-reviewed online journal dedicated to Critical Mixed Race Studies (CMRS). Launched in 2011, it is the first academic journal explicitly focused on Critical Mixed Race Studies. Sponsored by UC Santa Barbara’s Sociology Department, JCMRS is hosted on the eScholarship Repository, which is part of the eScholarship initiative of the California Digital Library.

Table of Contents

• Front Matter
• Cover Art
• Table of Contents
• Editor’s Note / Daniel, G. Reginald
• Emerging Paradigms in Critical Mixed Race Studies / Daniel, G. Reginald; Kina, Laura; Dariotis, Wei Ming; Fojas, Camilla
• Appendix A: Publications from 1989 to 2004 / Riley, Steven F.
• Appendix B: Publications from 2005 to 2013 / Riley, Steven F.

Articles

• “Historical Origins of the One-Drop Racial Rule in the United States” / Jordan, Winthrop D. (Edited by Spickard, Paul)
• “Reconsidering the Relationship Between New Mestizaje and New Multiraciality as Mixed-Race Identity Models / Turner, Jessie D.
• “Critical Mixed Race Studies: New Directions in the Politics of Race and Representation / Jolivétte, Andrew J.
• “‘Only the News They Want to Print’: Mainstream Media and Critical Mixed-Race Studies” / Spencer, Rainier
• “The Current State of Multiracial Discourse” / McKibbin, Molly Littlewood
• “Slimy Subjects and Neoliberal Goods: Obama and the Children of Fanon” / McNeil, Daniel

Book Reviews

• Stephen Murphy-Shigematsu, When Half Is Whole: Multiethnic Asian Americans Identities / Crawford, Miki Ward
• Ralina Joseph, Transcending Blackness: From the New Millennium Mulatta to the Exceptional Multiracial / Elam, Michele
• Greg Carter, The United States of the United Races: A Utopian History of Racial Mixing / Mount, Guy Emerson
• Rudy P. Guevarra, Jr., Becoming Mexipino: Multiethnic Identities and Communities in San Diego / Schlund-Vials, Cathy J.

About the Contributors

• About the Contributors

GalleryDAAS: Photographs by Ed West

University of Michigan
G648 Haven Hall
505 S State Street
Ann Arbor, Michigan 48109
2014-03-13 through 2014-05-02
Opening Reception: 2014-03-14, 17:30-20:00 CDT (Local Time)

Hosted by the Department of Afroamerican and African Studies (DAAS)

GalleryDAAS presents So Called, a photography series by award-winning artist and U-M professor Edward West. Curated by Franc Nunoo-Quarcoo, So Called is a transnational project about multi-ethnic identities in three locations: Honolulu, Hawaii, Havana, Cuba and Cape Town, South Africa. The series includes photographic portraits of individuals drawn from these communities and focuses on the issue of race, specifically the mixing of races and its social complexities. While the mixing of races has long been a consequence of diasporic/nomadic history, we have only recently found a place in our cultural imaginary for a fuller representation of these collective and individual identities and destinies. The introduction of a mixed race category on the U.S. census, literary and filmic treatments of racialized lives, the emergence of postcolonial studies, all suggest an expanded space for the reception of ideas and issues concerning creolization. See GalleryDAAS here.

A practicing artist for more than 30 years, Edward West’s creative work includes photography, collage, and installation. His exhibitions include installations at the Smithsonian Institution, the Detroit Institute of Arts, the Brooklyn Museum of Art, the Museum of Contemporary Photography in Chicago, the Art Institute of Chicago, the Rose Art Museum in Boston, the Honolulu Academy of Arts, the Corcoran Gallery of American Art, and the University of Michigan Museum of Art.

For more information, click here.

Identity Politics of the Captivity Narrative after 1848

University of Nebraska Press
2006
160 pages
Hardcover ISBN: 978-0-8032-4400-9
Paperback ISBN: 978-0-8032-2067-6

Andrea Tinnemeyer, English Teacher
The College Prepartory School, Oakland, California

Andrea Tinnemeyer’s book examines the nineteenth-century captivity narrative as a dynamic, complex genre that provided an ample medium for cultural critique, a revision of race relations, and a means of elucidating the U.S.–Mexican War’s complex and often contradictory significance in the national imagination.

The captivity narrative, as Tinnemeyer shows, addressed questions arising from the incorporation of residents in the newly annexed territory. This genre transformed its heroine from the quintessential white virgin into the Mexican maiden in order to quell anxieties over miscegenation, condone acts furthering Manifest Destiny, or otherwise romanticize the land-grabbing nature of the war and of the opportunists who traveled to the Southwest after 1848. Some of these narratives condone and even welcome interracial marriages between Mexican women and Anglo-American men.

By understanding marriage for love as an expression of free will or as a declaration of independence, texts containing interracial marriages or romanticizing the U.S.–Mexican War could politicize the nuptials and present the Anglo-American husband as a hero and rescuer. This romanticizing of annexation and cross-border marriages tended to feminize Mexico, making the country appear captive and in need of American rescue and influencing the understanding of “foreign” and “domestic” by relocating geographic and racial boundaries.

In addition to examining more conventional notions of captivity, Tinnemeyer’s book uses war song lyrics and legal cases to argue that “captivity” is a multivalenced term encompassing desire, identity formation, and variable definitions of citizenship.

Tuning Out Blackness: Race and Nation in the History of Puerto Rican Television

Duke University Press
2005
280 pages
24 b&w photos
Paperback ISBN: 978-0-8223-3543-6
Cloth ISBN: 978-0-8223-3531-3

Yeidy M. Rivero, Associate Professor in the Department of Screen Arts and Culture and the Program in American Culture
University of Michigan, Ann Arbor

Tuning Out Blackness fills a glaring omission in U.S. and Latin American television studies by looking at the history of Puerto Rican television. In exploring the political and cultural dynamics that have shaped racial representations in Puerto Rico’s commercial media from the late 1940s to the 1990s, Yeidy M. Rivero advances critical discussions about race, ethnicity, and the media. She shows that televisual representations of race have belied the racial egalitarianism that allegedly pervades Puerto Rico’s national culture. White performers in blackface have often portrayed “blackness” in local television productions, while black actors have been largely excluded.

Drawing on interviews, participant observation, archival research, and textual analysis, Rivero considers representations of race in Puerto Rico, taking into account how they are intertwined with the island’s status as a U.S. commonwealth, its national culture, its relationship with Cuba before the Cuban Revolution in 1959, and the massive influx of Cuban migrants after 1960. She focuses on locally produced radio and television shows, particular television events, and characters that became popular media icons—from the performer Ramón Rivero’s use of blackface and “black” voice in the 1940s and 1950s, to the battle between black actors and television industry officials over racism in the 1970s, to the creation, in the 1990s, of the first Puerto Rican situation comedy featuring a black family. As the twentieth century drew to a close, multinational corporations had purchased all Puerto Rican stations and threatened to wipe out locally produced programs. Tuning Out Blackness brings to the forefront the marginalization of nonwhite citizens in Puerto Rico’s media culture and raises important questions about the significance of local sites of television production.

Table of Contents

• Acknowledgments
• Introduction: Translating Televisual Blackness
• 1. Caribbean Negritos: Ramon Rivero, Blackface, and Black Voice in Puerto Rico
• 2. Bringing the Soul: Afros, Black Empowerment, and the Resurgent Popularity of Blackface
• 3. The CubaRican Space Revisited
• 4. Mi familia: A Black Puerto Rican Televisual Family
• 5. Translating and Representing Blackness
• Notes
• Bibliography
• Index

Sex Tourism in Bahia: Ambiguous Entanglements

University of Illinois Press
December 2013
224 pages
1 map
6 x 9 in
Cloth ISBN: 978-0-252-03793-1
Paper ISBN: 978-0-252-07944-3

Erica Lorraine Williams, Assistant Professor of Anthropology
Spelman College, Atlanta, Georgia

Winner of the National Women’s Studies Association/University of Illinois Press First Book Prize

How sexism, racism, and socio-economic inequality interact in the Brazilian sex industry

Brazil has the largest economy of any Latin American country with a population five times greater than any other South American country, and for nearly a decade, Brazil has surpassed Thailand as the world’s premier sex tourism destination. As the first full-length ethnography of sex tourism in Brazil, this pioneering study treats sex tourism as a complex and multidimensional phenomenon that involves a range of activities and erotic connections, from sex work to romantic transnational relationships. Erica Lorraine Williams explores sex tourism in the Brazilian state of Bahia from the perspectives of foreign tourists, tourism industry workers, sex workers who engage in liaisons with foreigners, and Afro-Brazilian men and women who contend with foreigners’ stereotypical assumptions about their licentiousness.

In her analysis, Williams argues that the cultural and sexual economies of tourism are inextricably linked in the Bahian capital city of Salvador’s tourism industry. She shows how the Bahian state strategically exploits the touristic desire for exotic culture by appropriating an eroticized blackness and commodifying the Afro-Brazilian culture in order to sell Bahia to foreign travelers. Drawing on eighteen months of ethnographic research and in-depth interviews, Sex Tourism in Bahia: Ambiguous Entanglements combines historical, sociological, anthropological, cultural studies, and feminist perspectives to demonstrate how sexism, racism, and socio-economic inequality interact in the context of tourism in Bahia.

Migrating race: migration and racial identification among Puerto Ricans

Ethnic and Racial Studies
Volume 37, Number 3 (2014-02-23)
pages 383-404
DOI: 10.1080/01419870.2012.672759

Carlos Vargas-Ramos, Research Associate
Center for Puerto Rican Studies
Hunter College, City University of New York

The pattern of racial identification among Puerto Ricans is not uniform. It varies depending on where they live. Most identify as white, but more do so in Puerto Rico than in the USA. This paper addresses the impact that living alternatively in the USA and in Puerto Rico has on racial identification among Puerto Ricans. Using Public Use Microdata Sample data from the American Community Survey and the Puerto Rico Community Survey 2006–2008, I find that while there is no single pattern of impact, those more grounded on the island’s racial system are more likely to identify as white in the USA, while those less grounded in Puerto Rico are more likely to identify as multiracial or by another racial descriptor. On their return to the island, they revert to the prevalent pattern of racial identification, while still exhibiting effects of their sojourn on their racial identity.

Census data on Puerto Ricans and race manifest the contingent nature of racial identity and identification and how specific racial formations impact an individual’s understanding of race and racial identification. Despite contemporary projections of Puerto Ricans as a multiracial people (Davila 1997), in fact a mulatto nation (Torres 1998; Duany 2002). the majority of Puerto Ricans portray themselves as white in the context of official statistics. This is the case for both Puerto Ricans on the island and in the USA. Their location, however, determines the proportions by which they identify as white or as something else.

Presently, more than half of the 8.3 million people who identify as Puerto Ricans live in the USA. Moreover, there is a recurrent movement of migrants between the island and the USA, with net migration reaching the hundreds of thousands between decades (Rivera-Batiz and Santiago 1996; Duany 2002; Acosla-Belen and…

Read or purchase the article here.

And if We Weren’t Genetically Mixed Race?

Cubanow
Havana, Cuba
2013-12-23

Luis Toledo Sande (Translated by Dayamí Interián)

To effectively fight racism, it’s necessary to know everything about it and expose its tricks. Otherwise, we run the risk of getting trapped by them, since they are powerful, able to “innocently” camouflage themselves in the interstices of language, which isn’t a simple code of signs but the natural medium – the easiest and most regular, together with behavior – for expressing the conscience. The mentioned tricks have an effect even when opting for “the equality of the human races,” because these terms imply accepting the existence of races within the species, and this is central to the heart of the deception. The name of the evil, racism, reinforces prejudices, even when it’s used to fight the reality it designates, because it originated from the erroneous imposition of racial divisions on the human race and carries it implicitly.

Cuba has a special and honorable responsibility in cultivating an enlightening legacy – there have been some – the one that José Martí bequeathed to this country and to the world as part of his thinking, more than a hundred years before science proved, with discoveries related to the human genome, that humanity is one only, regardless of external differences among its members. In Nuestra América (Our America), an essay published in January 1891, Martí categorically and with good reason denied the existence of races among humans. This opinion has been cited countless times, but the persistence in the world and the country of the fallacies he repudiated confirms the urgency of reiterating it more often, as the revolutionary concept it is:

“There is no racial hatred, because there are no races. Puny, arm-chair minds string together and reheat the library-shelf races that the honest traveler and the cordial observer seek in vain in the justice of Nature, where the universal identity of man leaps forth in victorious love and turbulent appetite. The soul, equal and eternal, emanates from bodies that are diverse in form and color. Anyone who promotes and disseminates opposition or hatred among races is committing a sin against Humanity.”…

Read the entire article here.

Brazil Endorses International Decade for People of African Descent

Americas Quarterly: The Policy Journal for Our Hemisphere
Blog
2014-01-16

Shari Wejsa

On Monday, December 23, 2013, the United Nations General Assembly adopted a resolution establishing the International Decade for People of African Descent, which will run from January 1, 2015 to December 31, 2024. The aim will be to raise social consciousness in the fight against prejudice, intolerance, xenophobia, and racism.

The resolution follows a series of related efforts, including the General Assembly’s December 12, 1997 resolution, which convened the World Conference against Racism, Racial Discrimination, Xenophobia, and Related Intolerance, and the December 16, 2005 resolution, which guided the implementation of the Durban Declaration and Programme of Action.

Assembly representatives emphasized its importance. Verene Shepherd, chair of the Working Group of Experts on People of African Descent, stated that the “indigestible fishbone of slavery” continued to stick in the throat due to the persistence of its legacies.  She added that the impact of slavery and colonialism were most obvious in the Americas and on the African content itself.

Responses from Brazilian representatives reinforced this perspective.  Bruno Santos de Oliveira noted that the 2010 national census data indicated that “more than 100 million Brazilians, more than half the population, had declared themselves African descendants,” and that the country has the largest number of people of African descent outside of Africa. The Brazilian Delegation recalled that the country continues to face racism and intolerance inherited from its colonial past.

This legacy is evident in high poverty levels, which vary significantly by region within Brazil. More than half of all poor Brazilians live in the Northeast, which is home to the highest concentration of African descendants. In the Northeast, the head of the household is often illiterate, despite attending school, and works in agriculture. Poor households are generally quite large, having nearly twice as many children when compared to families in higher socioeconomic levels, with limited resources and access to utilities. In Salvador, the capital of the northeastern state of Bahia, approximately 80 percent of the population is said to be of African ancestry.  Some critics claim that “the majority of Brazilians of African descent in Salvador are an example of continuing discrimination, living in the poorest areas, their lives often blighted by violence and largely excluded from political power.” Although recent studies indicate that the income gap between black and mixed race Brazilians and that of white Brazilians has been falling, a notable difference remains. From access to a high quality education to health and housing, Brazilians of African descent are usually worse off than their white counterparts…

Read the entire article here.

(Re)mapping the Borderlands of Blackness: Afro-Mexican Consciousness and the Politics of Culture

Duke University
2013
233 pages

Talia Weltman-Cisneros

Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Studies in the Graduate School of Duke University

The dominant cartography of post-Revolutionary Mexico has relied upon strategic constructions of a unified and homogenized national and cultural consciousness (mexicanidad), in order to invent and map a coherent image of imagined community. These strategic boundaries of mexicanidad have also relied upon the mapping of specific codes of being and belonging onto the Mexican geo-body. I argue that these codes have been intimately linked to the discourse of mestizaje, which, in its articulation and operation, has been fashioned as a cosmic tool with which to dissolve and solve the ethno-racial and social divisions following the Revolution, and to usher a unified mestizo nation onto a trajectory towards modernity.

However, despite its rhetoric of salvation and seemingly race-less/positivistic articulation, the discourse of mestizaje has propagated an uneven configuration of mexicanidad in which the belonging of certain elements have been coded as inferior, primitive, problematic, and invisible. More precisely, in the case of Mexicans of African descent, this segment of the population has also been silenced and dis-placed from this dominant cartography.

This dissertation examines the coding of blackness and its relationship with mexicanidad in specific sites and spaces of knowledge production and cultural production in the contemporary era. I first present an analysis of this production immediately in the period following the Revolution, especially from the 1930’s to the 1950’s, a period labeled as the “cultural phase of the Mexican Revolution.” This time period was strategic in manufacturing and disseminating a precise politics of culture that was used to reflect this dominant configuration and cartography of mexicanidad. That is, the knowledge and culture produced during this time imbedded and displayed codes of being and belonging, which resonated State projects and narratives that were used to define and secure the boundaries of a unified, mestizo imaginary of mexicanidad. And, it is within this context that I suggest that blackness has been framed as invisible, problematic, and foreign. For example, cultural texts such as film and comics have served as sites that have facilitated the production and reflection of this uneasy relationship between blackness and mexicanidad. Moreover, this strained and estranged relationship has been further sustained by the nationalization and institutionalization of knowledge and culture related to the black presence and history in Mexico. From the foundational text La raza cósmica, written in 1925 by José Vasconcelos, to highly influential corpuses produced by Mexican anthropologists during this post-Revolutionary period, the production of knowledge and the production of culture have been intimately tied together within an uneven structure of power that has formalized racialized frames of reference and operated on a logic of coloniality. As a result, today it is common to be met with the notion that “no hay negros en México” (there are no blacks in Mexico).

Yet, on the contrary, contemporary Afro-Mexican artists and community organizations within the Costa Chica region have been engaging a different cultural politics that has been serving as a tool of place-making and as a decolonization of codes of being and belonging. In this regard, I present an analysis of contemporary Afro-Mexican cultural production, specifically visual arts and radio, that present a counter-cartography of the relationship between blackness and mexicanidad. More specifically, in their engagement of the discourse of cimarronaje (maroonage), I propose that these sites of cultural production also challenge, re-think, re-imagine, and re-configure this relationship. I also suggest that this is an alternative discourse of cimarronaje that functions as a decolonial project in terms of the reification and re-articulation of afromexicanidad (Afro-Mexican-ness) as a dynamic and pluri-versal construction of being and belonging. And, thus, in their link to community programs and social action initiatives, this contemporary cultural production also strives to combat the historical silence, dis-placement, and discrimination of the Afro-Mexican presence in and contributions to the nation. In turn, this dissertation offers an intervention in the making of and the relationships between race, space and place, and presents an interrogation of the geo-politics and bio-politics of being and belonging in contemporary Mexico.

Contents

• Abstract
• List of Figures
• Acknowledgements
• Introduction
• Chapter One: Mapping Blackness Elsewhere: Mestizaje, Anthropology, and the Coloniality of Knowledge
  • 1.1 Mestizaje and the Mapping of Blackness Beyond the Borders of Modern Mexicanidad
  • 1.2 Gonzalo Aguirre Beltran: The Production of Knowledge and the Anthropological (Dis)placement of Blackness in Post-Revolutionary Mexico
  • 1.3 Recuerdos del Jarocho: The Museumification of Blackness
  • 1.4 The Coloniality of Knowledge and the Dis-placement of Blackness
• Chapter Two: Forjando Patria: Framing and Performing Blackness in the “Golden Age” of Mexican Culture
  • 2.1 Memin Pinguin: Dis-locating Blackness
  • 2.2 Angelitos negros: Absorbing Blackness and Saving the National Family
  • 2.3 Al son del mambo: Discovering and Modernizing the Primitive Place of Blackness
  • 2.4 On Framing Blackness and Popular Culture as a Racialized Regime of Representation
• Chapter Three; Cimarronaje Cultural: Towards a Counter-Cartography of Blackness and Belonging in Mexico
  • 3.1 Articulating the Place of Blackness in the Costa Chica
  • 3.2 Understanding Cimarronaje Cultural as a Counter-Cartography of Blackness and as a Place-Making Narrative
  • 3.3 Cimarronaje Cultural: Towards a Counter-Cartography of Blackness
    • 3.3.1 El Centro Cultural Cimarron
    • 3.3.2 Naufragio and the Work of Aydée Rodriguez Lopez
    • 3.3.3 Cimarron: La Voz de los Afromestizos
  • 3.4 Conclusions: Cimarronaje as a Decolonial Project
• Chapter Four: Towards a Re-mapping of Blackness and Belonging in Mexico
  • 4.1 México Negro and the Encuentro de los Pueblos Negros: From Pluri-versal Networks to Social and Political Action
  • 4.2 Nomenclature, Identity in Politics, and the Re-thinking of Afro-Mexican Consciousness
• Conclusions
• Figures One-Six
• Bibliography
• Biography

LIST OF FIGURES

• Figure 1: Mural Painting, Centro Cultural Cimarrón
• Figure 2: Mural Painting, Centro Cultural Cimarrón
• Figure 3: Mural Painting, Centro Cultural Cimarrón
• Figure 4: Naufragio, Aydée Rodriguez Lopez
• Figure 5: Naufragio, Aydée Rodriguez Lopez
• Figure 6: Naufragio, Aydée Rodriguez Lopez

Read the entire dissertation here.