Mixed Race Studies

Pulitzer-Winning Poet Dove Gives Rall Cultural Lecture

nih record
Volume LVX, Number 8 (2013-04-12)

Carla Garnett

Any ‘Discovery…a Little Bit of Poetry’

A mixed-race violin prodigy, a self-proclaimed “African prince” and Beethoven (yes, the Beethoven). That unlikely trio provides much of the fascinating storyline in poet Rita Dove’s latest book, Sonata Mulattica. The Pulitzer-winning former U.S. poet laureate offered NIH’ers tantalizing tidbits from her work on Mar. 13 at the 2013 J. Edward Rall Cultural Lecture.

“We need—all of us—to be pushed out of our comfort zones every once in a while,” said Dove, beginning her talk after having lunch with postdocs and touring the Children’s Inn and a pediatric unit of the Clinical Center. “That’s why I send my poetry students to science and math—kicking and screaming—and they come back enriched. I think we’re all perpetual students. It’s when our minds are open to something new—and sometimes a little frightening—that the old-and-familiar gets refreshed and energized.”

‘If was at the beginning…’

Dove’s Sonata Mulattica, which tells the “story of someone who has been forgotten,” is not easily pigeonholed in the literary world. Reviewers, she said, have alternately called the work a poetic sequence (although it has a play in the middle), a verse novel (although all the people and facts in it are true) or a long poem (although the book contains 84 separate poems).

The main character, George Augustus Bridgetower, was born in 1780 to a white Polish mom and a black African dad, a lothario who claimed to have royal blood. In early childhood, young Bridgetower’s extraordinary talent as a violinist was discovered (by Austrian composer Joseph Haydn, no less), leading his father to take him on the road for performances.

“‘If was at the beginning,’” said Dove, reading from The Bridgetower, the book’s first poem. In that one word, “if,” she seemed to impart all the possibilities of the young phenom’s improbable life. In that one poem she offered all the facts of his life while still leaving the audience hungry for more. Masur Auditorium was silent, spellbound…

Read the entire article here.

Lecturer points to racism in Harry Potter

The Daily Campus
The Independent News Source for the University of Connecticut
2013-02-22

Christopher Kelly, Campus Correspondent

Nature of science fiction discusses race in unseen ways

Eric Hamako from the University of Massachusetts-Amherst came to speak to UConn students and faculty Wednesday about the increasing popularity of racist movies. Racism in this case is referring to stereotypes or what “Psychology Today” calls “empirical generalizations.” These generalizations stem from what may be or may have been true for a number of people, but do not extend to every member of a group.

Following this understanding of stereotypes, Dictionary.com defines racism as, “a belief or doctrine that inherent differences among the various human races determine cultural or individual achievement, usually involving the idea that one’s own race is superior and has the right to rule others.”

Hamako, who has a master’s degree in mass communication from Stanford and is half-Japanese and half-Jewish, lectures on the position of multiracial Americans in society. His lecture, “Harry Potter and the Mistaken Myth of the Mixed-Race Messiah,” addresses the polar opposite of the overt racism that was so prevalent in pre-Civil Rights Movement America: mass media subtle projections of stereotypes.

“Sci-fi, fantasy movies talk in code so that you can talk about mixed-ethnics without realizing you’re talking about it” he said…

Read the entire article here.

Belle [World Premiere]

Toronto International Film Festival 2013
TIFF Bell Lightbox
Reitman Square
350 King Street West
Toronto, Ontario, Canada
2013-09-05 through 2013-09-15

Film Information:

Directed by Amma Asante
2013
105 minutes

Gugu Mbatha-Raw takes the title role alongside Tom Wilkinson, Miranda Richardson, Emily Watson and Canada’s Sarah Gadon in the true story of Dido Elizabeth Belle, the illegitimate, bi-racial daughter of a Royal Navy admiral in 18th-century Britain.

Fans of English period drama are accustomed to its gorgeous settings, social graces, and sophisticated language. But what’s often missing from those adaptations of Jane Austen or the Brontës is the institution at the foundation of that refined life: slavery. Austen wrote about how the slave trade made British gentry wealthy, but until now no film has brought both the glory and the contradictions of that life to the screen in such a powerful fashion.

In late eighteenth century England, Dido Elizabeth Belle is born to a white British admiral and a black Caribbean slave. The admiral’s well-bred family is appalled, but when he returns to sea, custom dictates that they raise his child as an aristocrat. Britain’s imposing Lord Mansfield (Tom Wilkinson) is both Dido’s uncle and the family patriarch, and instructs this biracial young woman (Gugu Mbatha Raw) to respect both the law and the social codes of her station. She is a lady, but an embarrassment. How is she ever to marry?…

For more information, click here.

The president’s words, perhaps consigned to a long-ago news cycle now, remain powerful: they validate experiences that blacks have undergone in their everyday lives. Obama’s voice resonates with those philosophical voices (Frantz Fanon, for example) that have long attempted to describe the lived interiority of racial experiences. He has also deployed the power of narrative autobiography, which is a significant conceptual tool used insightfully by critical race theorists to discern the clarity and existential and social gravity of what it means to experience white racism. As a black president, he has given voice to the epistemic violence that blacks often face as they are stereotyped and profiled within the context of quotidian social spaces.

George Yancy, “Walking While Black in the ‘White Gaze’,” The New York Times, (September 1, 2013). http://opinionator.blogs.nytimes.com/2013/09/01/walking-while-black-in-the-white-gaze.

Are There Human Races? The Evolutionary Biology—Or Not—Of Race

The Subversive Archaeologist
2013-05-19

Robert H. Gargett, Research Scholar of Archaeology / Human Origins
Ronin Institute

Foreword: I ran a series on “race” and racism that began on October 7, 2011, which was the SA’s third day in cyberspace. I’ll be putting it up again in its several parts, beginning today [revised and expanded, as the publishers say]. If you’ve seen it before, please forgive my publishing “re-runs.” Fighting bigotry should be our full-time job, and bigotry is nowhere as insidious as it is in the concept of “race.” So, it won’t hurt to air these thoughts again, in the hope of reaching a different audience this time around.

From the Age of Exploration—beginning at the end of the Middle Ages—Europeans and their descendants legitimated their imperialist expansion ideologically by seeing non-European people through the lens of a racial worldview. Wherever Europeans colonized, and for differing lengths of time, you saw the usurpation of power and territory at the expense of indigenous people who were inevitably deemed to be a different race. In many cases the oppressed were seen as not just non-European, but non-human. Today, wherever Europeans are still in power, indigenous people suffer existence at the margins of society, bereft of any real power, and often bereft of any connection with their past other than through the memories of degradation they experienced during and after the European invasion.

Where indigenous people have retaken control of former colonies, they live with the heritage of divisive and authoritarian colonialism: inefficient and inadequate infrastructure, and the legacy of old hatreds generated by colonial governments that pitted one group against another. In some cases those same Europeans enslaved the indigenous people, and the descendants of those slaves exist as a permanent underclass in the United States, Brazil, and elsewhere. And let’s not forget that this might never have taken place without the complicity, and greed, of powerful, indigenous African groups.

Race matters, today, because we all live with its twin—racism (itself the bastard offspring of a more broad-ranging bigotry). Anthropology (and through it, archaeology) has much to contribute to the race debate in the present, even if it has a somewhat uneven record, historically, on the matter of race. As much as anthropologists have made substantial additions to knowledge of the human species, they have also—implicitly and explicitly—added much fuel to the social conflagration that is racism.

It’s long since time to make amends…

Read the entire article here.

The Ethnic Project: Transforming Racial Fiction into Ethnic Factions

Stanford University Press
2013
240 pages
7 illustrations
Cloth ISBN: 9780804757713
Paper ISBN: 9780804757720
E-bok ISBN: 9780804787284

Vilna Bashi Treitler, Professor of Sociology and Black and Hispanic Studies
Baruch College, City University of New York

Race is a known fiction—there is no genetic marker that indicates someone’s race—yet the social stigma of race endures. In the United States, ethnicity is often positioned as a counterweight to race, and we celebrate our various hyphenated-American identities. But Vilna Bashi Treitler argues that we do so at a high cost: ethnic thinking simply perpetuates an underlying racism.

In The Ethnic Project, Bashi Treitler considers the ethnic history of the United States from the arrival of the English in North America through to the present day. Tracing the histories of immigrant and indigenous groups—Irish, Chinese, Italians, Jews, Native Americans, Mexicans, Afro-Caribbeans, and African Americans—she shows how each negotiates America’s racial hierarchy, aiming to distance themselves from the bottom and align with the groups already at the top. But in pursuing these “ethnic projects” these groups implicitly accept and perpetuate a racial hierarchy, shoring up rather than dismantling race and racism. Ultimately, The Ethnic Project shows how dangerous ethnic thinking can be in a society that has not let go of racial thinking.

Contents

• Acknowledgments
• 1. Racism and Ethnic Myths
• 2. How Ethnic and Racial Structures Operate
• 3. Ethnic Winners and Losers
• 4. The Irish, Chinese, Italians, and Jews: Successful Ethnic Projects
• 5. The Native Americans, Mexicans, and Afro-Caribbeans: Struggling Ethnic Projects
• 6. African Americans and the Failed Ethnic Project
• 7. The Future of U.S. Ethnoracism
• Notes
• Index

Quadroons for Beginners: Discussing the Suppressed and Sexualized History of Free Women of Color with Author Emily Clark

The Huffington Post
2013-09-04

Stacy Parker Le Melle

“As a historian, I knew that mixed race women and interracial families were everywhere in America from its earliest days. And I knew that most of the free women of color in antebellum New Orleans bore no resemblance to the quadroons of myth.” —Dr. Emily Clark

As an American, I follow my roots like trails across the globe. My mother is from Kansas and is of German descent, and my deceased father was black with roots in North Carolina, and before then, Africa. Arguably you can trace all of us back to Africa. But my parents’ union created me: a black American woman, a woman of color, a mixed kid, a mulatta, maybe an Oreo, definitely a myriad of identities and categories to embrace or resist.

Living in Harlem, I see so many mixed marriages, mixed kids everyday all the time. Traveling the South, I see so many kids with the telltale curly locks. Growing up in Metro Detroit in the 80s, I knew there were other black & white mixes like me. I just didn’t know them. Only at college in Washington, DC, did I meet mixed girls and have them as friends. And not until my English, women’s studies, and African-American history courses did I learn any American history about women like me.

Before college, maybe I’d encounter a definition of “miscegenation” – that very special crime of racemixing in segregated America. And maybe an explanation of the “one drop rule” that went on to create the classifications of “mulatto” and “quadroon” and “octaroon“—your label dependent upon which fraction of African was in your genealogy. But that was it. In my high school American History texts, I don’t remember any acknowledgement of centuries of rape and consensual relationships between whites and blacks. None of my suburban history teachers lingered on the taboo. Maybe I didn’t either. When I think of the mania around racemixing, and of the cultural trope of the “tragic mulatta“—the woman doomed because she is too white for the blacks, too black for the whites—it was easy to assume that the history of mixed-race women in America was simple in its sadness and injustice.

Yet there is nothing simple about the American Quadroon. Once she was the picture of irresistible beauty, the symbol of a city thought of as irredeemably “other”, an earthbound goddess who conjured so much desire that white men made her concubines, and slavetraders scoured the states for enslaved girls that fit her description to fulfill buyer demand. That was the myth, the dominant story. But as Tulane historian Emily Clark writes in her richly-researched and compelling The Strange History of the American Quadroon: Free Women of Color in the Revolutionary Atlantic World (UNC Press), she was also a family-woman, marrying men of color, living the propriety dream in her New Orleans society. If her myth was simple in its power, her reality was rich and complicated—by no means a single story…

…How do you define an “American Quadroon”?

Dr. Clark: There are really two versions. One is the virtually unknown historical reality, the married free women of color of New Orleans who were paragons of piety and respectability. The other is the more familiar mythic figure who took shape in the antebellum American imagination. If you asked a white nineteenth-century American what a quadroon was, they would answer that she was a light-skinned free woman of color who preferred being the mistress of a white man to marriage with a man who shared her racial ancestry. In order to ensnare white lovers who would provide for them, quadroons were supposedly schooled from girlhood by their mothers to be virtuosos in the erotic arts. When they came of age, their mothers put them on display at quadroon balls and negotiated a contract with a white lover to set the young woman up in a house and provide enough money to support her and any children born of the liaison. The arrangement usually ended in heartbreak for the quadroon when the lover left her to marry a white woman. If this sounds like a white male rape fantasy, that is exactly what it was. There is one other key characteristic of the mythic American Quadroon: she was to be found only in New Orleans…

Read the entire interview here.