Mixed Race Studies

A Racial Paradise? Race and Race Mixture in Henry Louis Gates’ Brazil

Latin American and Caribbean Ethnic Studies
Volume 8,  Issue 1, 2013
pages 88-91
DOI: 10.1080/17442222.2013.768464

Chinyere Osuji, Assistant Professor of Sociology
Rutgers, The State University of New Jersey, Camden

In this documentary, Henry Louis Gates explores the extent to which the notion of being a racial paradise applies to Brazil. He introduces Brazil’s contradictions of being the last country to abolish slavery’ in the New World in 1888, yet the first to declare that it was free of racism. He explores a variety of cities in Brazil in order to understand the history of early race mixture, contemporary valorization of Blackness, and attempts to address racial inequality. As a viewer, we watch how Gates’ fascination with the Brazil’s African heritage and race mixture at the beginning of the film turns into a questioning of the myth of racial democracy.

The film is useful in terms of providing a primer on race in Brazil for novices on race in Latin America. Geared towards the general public, this is a film that could be used in an introductory course for undergraduates about race in Brazil or Latin America more broadly. Its strengths are in illuminating the nature of slavery and race mixture in Brazil’s history while introducing the racial ideologies of whitening and racial democracy. Gates introduces scholars such as Manoel Querino and the more renowned Gilberto Freyre to discuss their scholarship on black contributions to Brazilian society. Gates’ film also has vibrant images of Carnaval, capoeira, and a Candomblé ceremony, providing opportunities for students to gain exposure to these African-influenced cultural practices.

This film is somewhat problematic in terms of illuminating racial and color categories in contemporary Brazil. Gates indirectly cites a 1976 Brazilian National Household Survey study that found people used over 100 terms to describe their color. Gates says: ‘In the U.S., a person with any African ancestry is legally defined as black. In Brazil, racial categories are on steroids.’ However, this perspective has been discredited by scholars who argue that most Brazilians only use a handful of terms to describe themselves. In fact, re-examinations of the same 1976 survey found that 95 percent of Brazilians used only six terms to describe themselves: branco, moreno, pardo, moreno-claro, preto and negro (Silva, 1987; Telles, 2004). The 10 most common terms were the aforementioned as well as amarela, mulata, clara, and morena-escura. All together, these 10 terms account for how 99 percent of all Brazilians think of their race/color. These findings have been replicated using more national survey data (Petruccelli, 2001; Telles, 2004). However, the myth of the hundreds of racial and color terms that Brazilians use to identify themselves will not die, and now Gates aids in perpetuating it…

Read or purchase the article here.

(1)ne Drop: Shifting the Lens on Race: A Review and Reflection

Andrew Joseph Pegoda, A.B.D.
2013-11-23

Andrew Joseph Pegoda
Department of History
University of Houston, Houston, Texas

Yaba Blay and Noelle Théard (dir. of photography), (1)ne Drop: Shifting the Lens on Race (Philadelphia: BLACKprint Press, 2013)

Yaba Blay’s (1)ne Drop: Shifting the Lens on Race (2014) is a beautiful, first-hand look at the true complexities surrounding the ways in which societies and peoples racialize one another and the ways in which these are institutionalized. Due to an ambiguous and vastly tangled web of psychological, historical, and countless other reasons, everyday life tends to be highly racialized.

The United States was built on a foundation of “White” being good and “Black” being bad. Of “White” meaning liberty and freedom and “Black” meaning enslavement. These assumptions and corresponding racism are so interwoven into every aspect of society (similar to a cake – the sugar, for example, is everywhere in the cake but not at all directly detectable) that they go largely unnoticed and unquestioned…

…These essays also show a rare sense of raw honesty, so to speak. Some of the writers, for example, discuss how they used society’s stereotypes or expectations of what White or Black meant to the exclusion of others. Essays strongly convey why and how people have a fear of Blackness, as some respond to someone saying “I’m Black” with “no, you’re not Black,” and essays also show how complicated manifestations of Whiteness and White Privilege really are. Some of the accounts explain how “race” changes according to how people fixes their hair, what country they are in, or by who they are specifically around at a given moment…

…The personal accounts answer much more than what it means to be Black. Indeed, the individuals in this book show how unsatisfactory the term Black really is. In the United States, all too often we consider in a highly subjective process anyone with skin of a certain hue to be an African American. This pattern of thinking is far too simple, and it is inaccurate…

…Scholars are sometimes (inappropriately) criticized for being activist at the same time they are scholars. More and more often it is accepted and embraced they not only can we be both but that we should be both: that being passionate about what we write about makes for better scholarship. Blay’s work is also an excellent example of how one can be both a scholar and an activists at the same time and be successful at both…

Read the entire review here.

All in the Family: Interracial Intimacy, Racial Fictions, and the Law

California Law Review Circuit
Volume 4 (November 2013)
pages 179-186

D. Wendy Greene, Professor of Law
Cumberland School of Law, Samford University, Birmingham, Alabama

Professor Wendy Greene highlights the continued importance of analyzing interracial relationships in the framework of the law in her review of Professor Angela Onwuachi-Willig’s book, According to Our Hearts: Rhinelander v. Rhinelander and the Law of the Multiracial Family. Professor Greene comments that given the Supreme Court’s continued interest in cases involving marital and racial equality, a study of the legal history of interracial marriage in America, like that done by Professor Onwuachi-Willig, is both relevant and essential for understanding fundamental rights jurisprudence.

Read the entire article here.

African Slavery: The New Hollywood Renaissance

Our Weekly: Los Angeles
2013-11-14

William Covington, Contributor

With the recent release of “12 Years A Slave” and “Django Unchained” and numerous slave genre movies awaiting release, it appears the slavery motif is possibly generating a new African American Renaissance in Hollywood.

According to Pasadena screenwriter Herman James, “Hollywood doesn’t care about educating the nation on the institution that built this country. They are taking the pulse and following the money.

Movies about slavery have become a niche genre that has a strong possibility of making money, and James says this has nothing to do with a Black president in the White House or the fact that the Civil War took place 150 years ago. Instead, he thinks the proliferation may be attributed to the fact that recently Hollywood discovered that movies about slavery and plantations are profitable. “They are the new race movies. However, if they flop they will vanish as easy as they have become big-screen entertainment.”…

The race movies that James refers to are early movies produced between 1915 and 1950 for Black audiences…

…In “The North Star,” the character Big Ben escapes a southern plantation and makes his way north to freedom by following the North Star. He ends up in Bucks County, Pennsylvania, where he is helped by local Quakers who are part of the Underground Railroad, a system of hiding places and trails for those escaping the horrors of slavery. This movie is currently in post production.

“Belle” is inspired by the true story of Dido Elizabeth Belle (Gugu Mabatha-Raw), the illegitimate mixed-race daughter of a Royal Navy Admiral. Raised by her aristocratic great-uncle Lord Mansfield (Tom Wilkinson) and his wife (Emily Watson), Belle’s lineage affords her certain privileges, yet the color of her skin prevents her from fully participating in the traditions of her social standing. Expected to be released in 2014.

In “The Keeping Room,” three Southern women—two sisters and one African American slave—left without men in the dying days of the Civil War, are forced to defend their home from the onslaught of a band of soldiers who have broken off from the fast-approaching Union Army. It is scheduled for release in 2014…

Read the entire article here.

Beyond Our Hearts: The Ecology of Couple Relationships

California Law Review Circuit
Volume 4, October 2013
pages 155-164

Holning Lau, Professor of Law
University of North Carolina School of Law

In his review of Professor Angela Onwuachi-Willig’s book, According to Our Hearts: Rhinelander v. Rhinelander and the Law of the Multiracial Family, Professor Holning Lau extends Professor Onwuachi-Willig’s analysis of how external support is instrumental to the success of relationships beyond multiracial couples. Arguing that ecological factors should play a larger role in policy discussions about marital relations, Professor Lau examines the debates surrounding same-sex marriage and the Healthy Marriage Initiative and concludes that policymakers should more carefully consider how exogenous circumstances affect the success of intimate relationships.   

Read the entire article here.

The Souls of Mixed Folk: Race, Politics, and Aesthetics in the New Millennium [Ibrahim Review]

Modern Language Quarterly
Volume 74, Number 4, December 2013
page 566
DOI: 10.1215/00267929-2153679

Habiba Ibrahim, Associate Professor of English
University of Washington

The Souls of Mixed Folk: Race, Politics, and Aesthetics in the New Millennium. By Elam Michele. Stanford, CA: Stanford University Press, 2011. viii + 277 pp.

Read or purchase the review here.

Review of Brazilian Telenovelas and the Myth of Racial Democracy by Samantha Nogueira Joyce

TriQuarterly: a journal of writing, art, and cultural inquiry from Northwestern University
Northwestern University, Chicago, Illinois
2013-10-01

Reighan Gillam, Postdoctoral Research Fellow
Department of Afroamerican and African Studies
University of Michigan

Telenovelas, or soap operas, are the main staple of television entertainment throughout Brazil and in many other Latin American countries. Unlike in the United States, where soap operas can run for decades, in Brazil telenovelas end after presenting their storyline over a six- to eight-month period. They are designed to attract men, women, and children as viewers and have dominated in television’s primetime slots for the last thirty years. Although the plotlines, characters, and settings are fleeting, telenovelas have remained Brazilians’ favorite form of primetime entertainment.

Often Latin American telenovelas have served as vehicles to introduce social issues by depicting a common problem, such as gender inequality or limited access for the disabled, in order to raise awareness and stimulate discussion. In Brazilian Telenovelas and the Myth of Racial Democracy, Samantha Nogueira Joyce takes one particular telenovela, Duas Caras (Two Faces), as her subject of study. Running for eight months in 2007–8, this telenovela deserves particular scrutiny because it was the first to include an Afro-Brazilian actor as the lead character and the first to make race relations and racism a constant theme. Joyce uses this telenovela as an opportunity to examine the role of television in contemporary currents of social change in Brazil. Through her analysis of Duas Caras, Joyce aims to demonstrate how “telenovelas are a powerful tool for introducing topics for debate and pro-social change, such as the instances where the dialogues openly challenge previously ingrained racist ideas in Brazilian society.”

The myth of racial democracy to which Joyce’s title refers is the Brazilian national narrative that defines the country’s citizens and identity as racially mixed. Put simply, it is generally thought that the Brazilian populace and culture emerged from a mixing of European, indigenous, and African people. Many believe that because there are no rigid racial lines that delineate black from white in Brazil, racism and racial discrimination do not exist there. In contrast to the “one-drop rule” of the United States, where “one drop of black blood” renders a person black, in Brazil, Joyce explains, “the racial blending has been validated not into a binary, but a ternary racial classification that differentiates the population into brancos (whites), pardos (multiracial individuals, also popularly known as mulatos), and pretos (blacks).”…

Read the entire review here.

Unbecoming blackness: the diaspora cultures of Afro-Cuban America [Review]

Ethnic and Racial Studies
Volume 37, Issue 5, 2014
pages 889-890
DOI: 10.1080/01419870.2013.847200

Nora Gámez Torres, Visiting scholar
Cuban Research Institute
Florida International University, Miami

Unbecoming Blackness: The Diaspora cultures of Afro-Cuban America, by Antonio López, New York, New York University Press, 2012, xi + 272 pp., (paperback), ISBN 978-0-8147-6547-0.

Unbecoming Blackness poses directly the question of an underdiscussed afrolatinidad in Cuban American Studies. The book opens up by analysing the lives and performances of key figures in the Afro-Cuban diaspora in the USA during the first half of the twentieth century: Alberto O’Farrill, a writer and blackface actor in the teatro bufo a theatrical Cuban genre he helped to export to New York: and Eusebia Cosme, a renowned performer of poesía negra (black poetry) and actress. This is the first significant accomplishment of the book, since these histories had to be carefully recovered and reconstructed by collecting disperse information, the ‘fragments attaches’ (14) common to black diasporas in the Americas.

The third chapter, examining the afrolatinidad and specific Puerto Rican identifications in the work of Cuban-born anthropologist Rómulo Lachatañeré and Cuban-descendent writer Piri Thomas, continues building the main theme of the book: how Afro-Cubans actively negotiate their racialization in the USA, by cither asserting or concealing their ‘Hispanic’ heritage through linguistic choices, or by forging alliances with black Americans and other Latin/o groups. In so doing, they enact an afrolatinidad that is malleable and transnational, and thus, unsettling for hegemonic Cuban and Cuban American identities, rooted in nationalism and whiteness. That performers such as Cosme and O’Farrill and scholars such as Lachatañeré travelled to the USA looking for better professional opportunities and decided to associate to ‘subaltern’ subjects such as black Americans and other Latino groups, generated an anxiety among Cuban writers and intellectuals of the time who defended the idea of mestizaje, as López shows in these chapters. The point of conflict is brilliantly captured in the following passage by Lopez: (the implication) ‘that Afro-Cubans are somehow ‘better off’ being in and belonging to an explicitly racist US nation rather than, it turns out, Cuba. This being and belonging is asserted against ‘the best interests’ of a postracial, mestizo, even negro island-Cuban nation—indeed, against the ‘best interests’ of Afro-Cubans themselves’ (9). To speak of an afrolatinidad in this context disrupts both Cuban American and Cuban fictions of national identity. Precisely due to the implications of the book for a critical debate on Cuban racial identities on and off the island, it would have been very useful for the leader to have a contextual analysis of what was happening in Cuba in different moments and in the different fields the author explores.

Less accomplished is the following chapter, in which López lacks the clarity to successfully connect ‘texts around 1979 in Miami and the overlapping histories of the illicit drug trade. African American uprising, Mariel migration‘ (16), to Cuban American reactions to the ‘blackening’ of their community after Mariel and the African Americans…

Read or purchase the article here.

Interracial Encounters: Reciprocal Representations in African and Asian American Literatures, 1896–1937 by Julia H. Lee (review)

Journal of Asian American Studies
Volume 16, Number 3, October 2013
pages 340-342
DOI: 10.1353/jaas.2013.0025

Caroline H. Yang, Assistant Professor of Asian American Studies, English
University of Illinois, Chicago

Interracial Encounters: Reciprocal Representations in African and Asian American Literatures, 1896-1937, by Julia H. Lee. New York: New York University Press, 2011. xi + 219 pp. ISBN: 9780814752555.

That 1896 is a defining year in the history of segregation and unequal citizenship in the United States is obviously common knowledge in critical race studies. What Julia Lee teaches us about the moment in Interracial Encounters is probably not: that the Chinese figured significantly in Plessy v. Ferguson as a crucial component in both the majority and dissenting opinions on whether or not segregation based on race—specifically, blackness—was constitutional. According to Lee, the discourse of what it meant to be Chinese was influential to the definition of what it meant to be black, as both opinions adjudicated the placement of black bodies on a black–white racial binary through the figure of the Chinese. Naming the Plessy case as “the document that most dramatically reveals the ways that the figure of the Negro and the Asiatic were intertwined in this period” (42), Lee suggests in the rest of her book that 1896 was significant in not only instituting segregation but also inaugurating a particular brand of misreading. And this common misreading about the Plessy case has glossed over and continues to make invisible what she calls “encounters” between African Americans and Asians during this time, encounters wrought by the complexities of the historical moment following black emancipation and enfranchisement, as well as labor migrations from Asia.

Interracial Encounters demonstrates that not accounting for the significance of Chineseness in how blackness was defined in the Plessy case had a critical role in how race was understood in the United States for much of the twentieth century. In this way, Lee’s close reading of the Plessy case speaks to her book’s methodological interventions. It shows the importance of literary studies in not just historical analyses of texts that have been read heretofore as concerning only blacks and whites but also Afro-Asian critique. As part of a vibrant and rising field of study that teases out Afro-Asian connections and disconnections, Lee’s book makes clear why many of its proponents are Asian Americanists whose approach to critical race studies is shaped by their understanding of the vicissitudes and contradictions of the Asian racial form in the United States. Quite simply, the reading practice developed in Lee’s book is original and insightful, and it brings to light figures and forms in late-nineteenth and early-twentieth-century literatures that have often been rendered as insignificant nonpresence unrelated to other racialized figures.

With a deep interest in writing a “historicizing project” (9), Lee points to a wide-ranging archive of minstrel show sheet music, political cartoons, and films, as well as literature, to explain that African Americans and Asians were the most rampantly compared minority groups in the late nineteenth and early twentieth centuries. She also writes that the process of racializing the two groups was mutually constitutive and essential in the creation of the “fantasy of modern American identity” (21). Despite this, Lee argues that if and when they are remembered together in this period, they are seen as either antagonistic opposites or natural allies bonded together in solidarity based on shared experience of discrimination, violence, and exclusion. Against this way of thinking, Lee argues that we need to study not just the hegemonic ways in which blackness and Asianness became meaningful but also the ways in which African American and Asian American literatures contributed to and challenged the process of racial meaning making.

As such, save for one substantive chapter that explores the representations of African Americans and Asians in dominant popular culture from the Reconstruction period to the early twentieth century, all of the book’s chapters call attention to the formal strategies of literary texts by wide-ranging authors of color such as Charles Chesnutt, Wu Tingfang, Nella Larsen, Edith Eaton, Winnifred Eaton, W.E.B. Du Bois, and Younghill Kang. Lee’s focus on these texts and authors decenters whiteness as ostensibly the a priori authentic embodiment of citizenship into which minority groups were trying to assimilate. In turn, the texts decenter the nation as a privileged site of identification as they underscore the “multilateral nature of racial encounters” (43).

Certain parts of the book illustrate just how complex and ambitious Lee…

Show Boat: Performing Race in an American Musical by Todd Decker (review)

Theatre Journal
Volume 65, Number 3, October 2013
pages 447-448
DOI: 10.1353/tj.2013.0077

Bethany Wood

Show Boat: Performing Race in an American Musical. By Todd Decker. Broadway Legacy series. New York: Oxford University Press, 2013, pp. 238.

Todd Decker’s Show Boat: Performing Race in an American Musical examines representations of race in the creation and evolution of Jerome Kern and Oscar Hammerstein II’s iconic musical by tracing the impact of particular performers on numerous stage, sound, and film productions. Using the “dynamic of the color line” as his “vantage point” (4), Decker places the original musical in conversation with subsequent interpretations in order to analyze the enduring influence of Show Boat on representations of race in American musical theatre. Through his systematic examination, Decker addresses the broader issue of “the performed distinction between black and white [that serves] as an essential and constructive element of the American musical in its totality” and argues for interracial histories of musical theatre, a field “largely written along divided racial lines” (5).

He presents his analysis in two parts: “Making,” which focuses on Show Boat’s 1927 debut; and “Remaking,” which examines the versions created from 1928 to 1998. Each section employs extensive archival research in its account of how race has been staged in key productions. Chapter 1 centers on the major themes established by the musical’s source material, Edna Ferber’s 1926 novel. This chapter, along with chapter 2, situates Show Boat’s central focus on race and music within 1920s popular culture. The analysis in this chapter follows the pattern in Show Boat theatre scholarship of faulting Ferber for failing to approach the narrative’s themes in the same manner that Hammerstein would later employ for the musical. Decker criticizes Ferber’s cursory attention to the issues of music and race, and, in the following chapters, demonstrates Hammerstein’s efforts to foreground these themes by making Show Boat “an object lesson in the power of black music and a celebration of a moment in popular culture history when black music and musicians were breaking into mainstream white culture with undeniable force” (52).

Chapters 2 and 3 address the influence of Paul Robeson and Helen Morgan on Hammerstein’s interpretive vision and provide detailed context concerning their careers. Chapter 2 details Kern and Hammerstein’s initial plan to cast Robeson as Joe in order to highlight the themes of race and music in the initial script, as well as the complications that resulted when Robeson decided not to join the original Broadway cast. Chapter 3 considers Morgan’s influence on the creation of Show Boat , as Hammer-stein adapted act 2 to showcase her talents as a torch singer and exploit her reputation for dissipation. Hammerstein’s efforts and Morgan’s performance worked to establish Julie as a tragic figure, expressing herself through Morgan’s “thoroughly white” (65) singing style.

In chapter 4, Decker argues that the musical choices for the characters of Ravenal and Magnolia “whitened” Show Boat’s central couple by making Ravenal an operatic tenor, a style associated with white singers, and aligning Magnolia’s voice with white culture through her performance of “After the Ball,” a Victorian parlor waltz. Show Boat was one of the first Broadway musicals to use both black and white performers in large numbers, and chapter 5 explores the musical’s use of both a black and a white chorus. Along with chapter 2, this section adds a much-needed look at contemporary responses to Show Boat in the black press.

Part 2 investigates the reworking of racial representations in productions of Show Boat that followed its premiere. Chapter 6 looks at several “remakings” between 1928 and 1940 that featured Robeson, who eventually accepted and became associated with the role of Joe in several landmark productions. Decker discusses how Robeson’s powerful performances and offstage persona enhanced Joe’s role, which Hammerstein expanded for the 1936 film in order to capitalize on Robeson’s talents and appeal. As in his examination of the 1927 production, Decker analyzes several deleted scenes in order to illustrate Hammerstein’s continued, yet unrealized plan to use Show Boat as a history lesson of black influence on popular music. Chapter 7 centers on several productions during and shortly after World War II, including the 1946 Broadway revival and the 1951 film starring Ava Gardner as Julie. Decker’s analysis of the impact that…