Mixed Race Studies

City of Alexandria unveils marker to Louisiana’s first African-American governor

KALB-TV News Channel 5
Alexandria, Louisiana
2020-02-25

ALEXANDRIA, La. (City of Alexandria) – Alexandria Mayor Jeffrey W. Hall joined local historic preservation supporters Tuesday afternoon in the Alexander Fulton Mini Park downtown to unveil a historical marker in honor of P.B.S. Pinchback, Louisiana’s first African-American governor.

“It is fitting that we honor P.B.S. Pinchback, the first African-American Governor of Louisiana, during Black History Month,” Hall said. “Gov. Pinchback was a significant force in Louisiana politics during Reconstruction following the Civil War. And he traveled to Alexandria for meetings during his brief time as governor.”

Alexandria Mayor Jeffrey W. Hall (left) and local historian Michael Wynne unveil a historical marker in honor of P.B.S. Pinchback, Louisiana’s first African-American governor Tuesday afternoon. The marker, located in the Alexander Fulton Mini Park in downtown Alexandria, is the first one erected as part of the City of Alexandria’s new historical marker program designed to recognize historical events and people associated with Alexandria.

Pinckney Benton Stewart Pinchback was born in 1837 in Georgia to a white father, who was a planter, and a black mother who was a former slave. While he could have tried to pass for white, Pinchback embraced his African-American roots. During the Civil War and after the fall of New Orleans, Pinchback recruited the first set of African-American volunteer soldiers for the Union Army in Louisiana known as the 1st Louisiana Native Guards, and he served as its first Captain…

Read the entire story here.

Overlooked No More: Homer Plessy, Who Sat on a Train and Stood Up for Civil Rights

The New York Times
2020-01-31

Glenn Rifkin

A mural in New Orleans shows what Homer Plessy, right, might have looked like. On the left is P.B.S. Pinchback, the first black man to serve as a governor in the United States, in Louisiana. Pinchback is often mistaken for Plessy. Mural by Ian Wilkinson; Photo by Jane Morse Rifkin

He boarded a whites-only train car in New Orleans with the hope of getting the attention of the Supreme Court. But it would be a long time before he got justice.

Since 1851, many remarkable black men and women did not receive obituaries in The New York Times. This month, with Overlooked, we’re adding their stories to our archives.

When Homer Plessy boarded the East Louisiana Railway’s No. 8 train in New Orleans on June 7, 1892, he knew his journey to Covington, La., would be brief.

He also knew it could have historic implications.

Plessy was a racially mixed shoemaker who had agreed to take part in an act of civil disobedience orchestrated by a New Orleans civil rights organization.

On that hot, sticky afternoon he walked into the Press Street Depot, purchased a first-class ticket and took a seat in the whites-only car…

Read the entire article here.

A Painter Resurrects Louisiana’s Vanished Creole Culture

The New York Times
2020-01-16

Elizabeth Pochoda, Editor-in-Chief
The Magazine ANTIQUES

Andrew LaMar Hopkins portrays the significant role Creoles played in the civic life of New Orleans. “Edmond Dédé Piano Recital” (2019) shows the freeborn Creole musician and composer in his elegant salon. Andrew LaMar Hopkins

Andrew LaMar Hopkins celebrates the rich contributions of 19th-Century New Orleans in his folk art style (and drag).

NEW ORLEANS — Dressed as his alter ego, the modish matron Désirée Joséphine Duplantier, the artist Andrew LaMar Hopkins is a familiar presence on this city’s arts scene. His paintings, faux naïf renderings of 19th-century life in the city — particularly the vanished culture of New Orleans’s free Creoles of color — also keep good company. You can see these works in Nadine Blake’s gallery on Royal Street in the French Quarter, on the art-filled walls of Dooky Chase’s Restaurant in Treme, and in the rooms of collectors like the designer Thomas Jayne and the food stylist Rick Ellis.

When a dozen of Mr. Hopkins’s paintings appear at the Winter Show at the Park Avenue Armory on Jan. 24 they will be making their first foray north. Placed alongside 18th- and 19th -century portrait miniatures in the booth of Elle Shushan near the entrance of the show, these small works portraying daily life in New Orleans, circa 1830, will enact their own sly magic, inserting themselves into the stream of art history as if the visual record of people and places in antebellum Creole culture had not been lost. “This is what these lives looked like, and no one else was doing it,” Mr. Hopkins, 42, says of both white Creoles and Creoles of color in his work. “I wanted to do them justice.”

Creole is a long-embattled term, perhaps best defined now as a person whose background and identity is traceable to colonial French Louisiana and/or its Franco-African culture. William Rudolph, the chief curator at the San Antonio Museum of Art and an early enthusiast about the work of Mr. Hopkins, says this artist “has used his work to interrogate Creole history.” He added, “He has deconstructed the past.”…

Read the entire article here.

Genealogy & Racial Passing; Author Mary Doria Russell

The Sound of Ideas
ideastream
Cleveland, Ohio
2019-11-11

Rachel Rood, Producer

Credit: MeganBrady/shutterstock

Parma native and award winning author, Gail Lukasik discovered in 1995 that her mother had kept a deep family secret from her. Her mother was half-black, but was passing as a white woman, and begged Gail not to reveal her true identity. Lukasik will be speaking about her family’s story, which she turned into a book in 2017, this week in Lakewood, and we’ll discuss the complicated waters of genealogy and race, on The Sound of Ideas. Later, Lyndhurst author, Mary Doria Russell, talks about her new historical novel: The Women of the Copper Country.

Listen to the episode (00:49:56) here.

Creoles of South Louisiana: Three Centuries Strong

University of Louisiana at Lafayette Press
2018-05-08
342 pages
Softcover ISBN: 978-1-946160-19-5

Elista Istre
Lafayette, Louisiana

Creoles established themselves in South Louisiana long before Acadian exiles reached the shores of the Bayou State. Boasting a mélange of African, European, and North American roots, Creoles converged on Louisiana’s prairies and created their own distinct cuisine, language, and musical style.

In Creoles of South Louisiana: Three Centuries Strong, Dr. Elista Istre invites her readers to enter the Creole world—a place where cooks tempt taste buds with gumbo and crawfish, storytellers mesmerize young and old with tales tied to three continents, and musicians and dancers pulsate to the rhythms of accordions and rubboards.

Despite inside pressure to isolate and outside pressure to assimilate, Creoles from all walks of life continue to forge new identities while preserving and celebrating traditional elements of their rich heritage. They are adaptable. They are resilient. They are strong.

Band of Angels, A Novel

Louisiana State University Press
August 1994 (originally published in 1955)
375 pages
5.50 x 8.50 inches
no illustrations
Paperback ISBN: 9780807119464

Robert Penn Warren (1905-1989)

Amantha Starr, born and raised by a doting father on a Kentucky plantation in the years before the Civil War, is the heroine of this powerfully dramatic novel. At her father’s death Amantha learns that her mother was a slave and that she, too, is to be sold into servitude. What follows is a vast panorama of one of the most turbulent periods of American History as seen through the eyes of star-crossed young woman. Amantha soon finds herself in New Orleans, where she spends the war years with Hamish Bond, a slave trader. At war’s end, she marries Tobias Sears, a Union officer and Emersonian idealist. Despite sporadic periods of contentment, Amantha finds life with Tobias trying, and she is haunted still by her tangled past. “Oh, who am I?” she asks at the beginning of the novel. Only after many years, after achieving a hard-won wisdom and maturity, does she begin to understand that question.

Band of Angels puts on ready display Robert Penn Warren’s prodigious gifts. First published in 1955, it is one of the most searing and vivid fictional accounts of the Civil War era ever written.

Becoming Free, Becoming Black: Race, Freedom, and Law in Cuba, Virginia, and Louisiana

Cambridge University Press
January 2020
320 pages
17 b/w illus. 6 maps 2 tables
228 x 152 mm
Hardcover ISBN: 978-1108480642

Alejandro de la Fuente, Robert Woods Bliss Professor of Latin American History and Economics; Professor of African and African American Studies
Harvard University

Ariela J. Gross, John B. and Alice R. Sharp Professor of Law and History
University of Southern California

Highlights

• Examines the development of the legal regimes of slavery and race in Cuba, Virginia, and Louisiana from the sixteenth century to the dawn of the Civil War
• Demonstrates that the law of freedom, not slavery, determined the way race developed over time
• Draws on a variety of primary sources, including local court records, original trial records of freedom suits, legislative case, and petition

How did Africans become ‘blacks’ in the Americas? Becoming Free, Becoming Black tells the story of enslaved and free people of color who used the law to claim freedom and citizenship for themselves and their loved ones. Their communities challenged slaveholders’ efforts to make blackness synonymous with slavery. Looking closely at three slave societies—Cuba, Virginia, and Louisiana—Alejandro de la Fuente and Ariela J. Gross demonstrate that the law of freedom—not slavery—established the meaning of blackness in law. Contests over freedom determined whether and how it was possible to move from slave to free status, and whether claims to citizenship would be tied to racial identity. Laws regulating the lives and institutions of free people of color created the boundaries between black and white, the rights reserved to white people, and the degradations imposed only on black people.

Table of Contents

• Introduction
• 1. ‘A Negro and by consequence an alien’: local regulations and the making of race, 1500s–1700s
• 2. The ‘inconvenience” of black freedom: manumission, 1500s–1700s
• 3. ‘The natural right of all mankind’: claiming freedom in the age of revolution, 1760s–1830
• 4. ‘Rules … for their expulsion’: foreclosing freedom, 1830s–1860
• 5. ‘Not of the same blood’: policing racial boundaries, 1830s–1860
• Conclusion: ‘Home-born citizens: the significance of free people of color.

The Legible Citizen: Race Making and Classification in Jim Crow Louisiana, 1955-1965

Vanderbilt University, Nashville, Tennessee
May 2013
34 pages

Michell Chresfield

Thesis Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of MASTER OF ARTS in History

This study examines three legal contests during the high tide of black freedom agitation, 1955-1965, in which citizens of Louisiana challenged the state Bureau of Health’s authority to make racial classifications. Through these cases, I argue that state bureaucrats rather than the judiciary and legislature emerged as a new arbiter of race by the mid-twentieth century; by making racial categorization part of vital information recording, Bureau administrators could gain a better understand of citizens while also helping to shape the very meaning of citizenship in a racialized sense; and that this latter development was obscured by the ubiquitous and seemingly race neutral methods of vital statistic collection. Together these cases enrich general narratives of the Jim Crow era which have tended to focus on the role of the judiciary and the legislature exclusively. Through the inclusion of state bureaucrats, this study illustrates how racial categorization has persisted in a climate that is both more fluid and more obscure than generally acknowledged.

Read the entire thesis here.

In Search of Julien Hudson: Free Artist of Color in Pre–Civil War New Orleans

Historic New Orleans Collection
2010
128 pages
70 color images, 7 b/w images
8″ × 9½”
Hardcover ISBN: 978-0-917860-57-7

Edited and with an introduction by Erin M. Greenwald, with essays by William Keyse Rudolph and Patricia Brady

Julien Hudson, born in 1811 in New Orleans, was the son of a property-owning free woman of color and a white English merchant, ironmonger, and ship chandler. Hudson began painting in the mid-1820s, training first in New Orleans and later in Paris. Little is known about his personal life, outside of scattered details found in a handful of public documents and a pair of early-twentieth-century reminiscences by former student George Coulon and prominent Creole of color Rodolphe Desdunes. This carefully researched volume is the most thorough examination to date of Julien Hudson and his world.

The Other Room

Crown Publishers
1947
274 pages
ISBN 13: 9780000100184

Worth Tuttle Hedden (1896-1985)

Winner of the Southern Authors Award

A Southern White Girl Gets The Shock Of Her Life

The iron grillwork of the gate stood between them…..and so did years of tradition and social custom. It was a barrier, built by hate and fear, between one color and another. He might have crossed that line, and lived on her side–but he was too proud to pass for white.

This prize-winning novel is about a young woman who unknowingly signs up to teach classes at an all-black college in New Orleans in 1920. It is one of the best—and earliest—views of breaking the color line as well as a touching love story of a man and woman of different races.

In the evening she was on a train, rushing towards New Orleans. Her first job waited for her; she was counting off the miles to adventure, romance, and independence. In the morning, shamed and horrified, she was fighting the necessity to quit, to go home to a scornful family and admit failure.

Nina Latham was a southern girl, trained in a rigid code of black and white. She wanted to get away from home, but when she signed for her new job she didn’t know she would be working with Negroes, eating with them, living among them. And certainly she didn’t know that she would meet handsome young Leon who could have passed for white—but wouldn’t.