Mixed Race Studies

Possessions of Whiteness: Settler Colonialism and Anti-Blackness in the Pacific

Decolonization: Indigeneity, Education & Society
June 2014 (2014-06-02)

Maile Arvin, Assistant Professor of Ethnic Studies
University of California, Riverside

I confess: I avoided watching the 2011 Oscar award-winning movie The Descendants (directed by the acclaimed Alexander Payne of Sideways and Nebraska, starring George Clooney) for a long time. I had read the book of the same name, by Kaui Hart Hemmings, on which the movie is based. I have complicated feelings about the book—a witty and often wrenching portrayal of a rich Native Hawaiian family that doesn’t seem to feel, look, or know much about being Native Hawaiian. Though I recognize such struggles, about feeling or being disconnected from your own culture and nation, as a very Native story (or perhaps, more precisely, as the story of settler colonialism), I don’t recognize the ending of Hemmings’ story. After much turmoil, the protagonist of her novel decides not to sell the land he has inherited from his family. It is hard to connect with the rich protagonists of Hemmings’ novel because I don’t know any Native Hawaiians who have land to be inherited. I don’t know any Native Hawaiians who frequent yacht clubs. And I don’t know any Native Hawaiians who seem so completely unaware of the truly amazing achievements of recent cultural revitalization efforts in the Native Hawaiian community—from language revitalization to traditional seafaring (our beloved Hōkūleʻa has set sail on a round-the-world voyage this past week). But, to each her own, I thought.

When I did finally watch the movie, despite the fact that I knew the story, despite the fact that I spend most of my time writing, researching and thinking about whiteness and settler colonialism in the Pacific, and despite the fact that I attended (for a time) the very same, very white-dominated private high school in Honolulu that Hemmings (and, incidentally, President Obama) attended, I was stunned. In the film, the residents of Hawaiʻi are shown to be, almost entirely, white people…

…Another way that settler colonialism and white supremacy buttress each other, but are not exactly the same, is that “racial mixture” is encouraged under settler colonialism, in order to make Indigenous peoples, and their particular claims to land, less distinct from settlers. Any kind of “mixture” allows Indigenous peoples to be seen as less “authentic,” as “dying out.” However, the goal of settler colonialism is to mix the population in such a way that it is closer in proximity to whiteness. These ideologies filter down into Indigenous communities in subtle and sometimes surprising ways. For example, many Native Hawaiians are multiracial, and are widely accepted within Native Hawaiian communities if their “racial mix” includes white or Asian. Being Native Hawaiian and black, however, is often less embraced, less recognizable, and less valorized…

Read the entire article here.

Was the Cat in the Hat Black?: Exploring Dr. Seuss’s Racial Imagination

Children’s Literature
Volume 42, 2014
pages 71-98
DOI: 10.1353/chl.2014.0019

Philip Nel, Distinguished Professor of English
Kansas State University

In 1955, Dr. Seuss and William Spaulding—director of Houghton Mifflin’s educational division—stepped into the publisher’s elevator at 2 Park Street in Boston. As Seuss’s biographers tell us, the elevator operator was an elegant, petite woman who wore white gloves and a secret smile (Morgan and Morgan 154). They don’t mention that she was Annie Williams, nor do they say that she was African American (Silvey). Seuss was on that elevator because Spaulding thought he could solve the Why Johnny Can’t Read crisis by writing a better reading primer. When Seuss sketched this book’s feline protagonist, he gave him Mrs. Williams’s white gloves, her sly smile, and her color. However, she is but one African American influence on Seuss’s most famous character. One source for that red bow tie is Krazy Kat, the black, ambiguously gendered creation of biracial cartoonist George Herriman (Cohen 325). Seuss, who admired what he called “the beautifully insane sanities” of Krazy Kat (qtd. in Nel, Dr. Seuss 70), also draws upon the traditions of minstrelsy—an influence that emerges first in a minstrel show he wrote for his high school. The Cat in the Hat is racially complicated, inspired by blackface performance, racist images in popular culture, and actual African Americans. The Cat’s influences help us to track the evolution of the African American cultural imaginary in Seuss’s work, but also, more importantly, to exemplify how children’s literature conceals its own racialized origins. Considering the Cat’s racial complexity both serves as an act of desegregation, acknowledging the “mixed bloodlines” (to borrow Shelley Fisher Fishkin’s phrase) of canonical children’s literature, and highlights how during the 1950s—a turning point for African Americans in children’s literature—picture books were a site where race, representation, and power were actively being contested.

Decades before the birth of his Cat in the Hat, racial caricature was an accepted part of Theodor Seuss Geisel’s childhood. D. W. Griffith’s acclaimed Birth of a Nation (1915), released the month Geisel turned eleven, offered a popular and racist depiction of the Civil War and Reconstruction. The Jazz Singer (1927), the first feature-length “talking picture,” starred Al Jolson in blackface. One of Geisel’s favorite childhood books, Peter Newell’s The Hole Book (1908), follows a bullet’s comically disruptive journey through its pages, including one where a black mammy points to the hole in the watermelon, and addresses, in dialect, a group of wide-eyed black children: “‘Who plugged dat melon?’ mammy cried, / As through the door she came. / ‘I’d spank de chile dat done dat trick / Ef I could learn his name’” (fig. 1). Seuss remembered this book so well that sixty years after reading it, he could still quote its opening verse by heart (Nel, Dr. Seuss 18). If, as Tony Watkins has argued, “books tells stories that contribute to children’s unconscious sense of the ‘homeland’” (193), then these stories may have embedded racist caricature in Geisel’s unconscious, as an ordinary part of his visual imagination…

New Man in the Tropics: The Nietzschean Roots of Gilberto Freyre’s Multiracial Identity Concept

Luso-Brazilian Review
Volume 51, Number 1, 2014
pages 93-111
DOI: 10.1353/lbr.2014.0005

Jeroen Dewulf, Associate Professor of German
University of California, Berkeley

Casa-grande & Senzala (1933), a obra secular de Gilberto Freyre, foi traditionalmente interpretado de um ponto de vista sociólogo e histórico. Esta interpretação deixou duas questões essenciais em aberto: 1) Como se pode explicar que Freyre interpretou a noção de miscegenação de uma forma (muito) mais positiva do que sociólogos anteriores e 2) Como se pode explicar as tendências elitistas e aristocráticas na sua obra? Este artigo explore estas duas perguntas analisando a influência em Freyre da filosofia de Friedrich Nietzsche através da interpretação de Henry L. Mencken. Argumenta que a influência de Mencken foi maior do que tradicionalmente tem sido admitido e que na obra de Mencken sobre Nietzsche se pode encontrar a mesma interpretação de miscigenação que Freyre mais tarde explorou em Casa-grande & Senzala. Argumenta também que Mencken profundamente influenciou Freyre com as suas ideias aristocráticas e elitistas.

The Masters & Slaves (1933), the secular work of Gilberto Freyre, has been traditionally interpreted from the point of view of history and sociologist. This interpretation left two key questions unanswered: 1) How can one explain that Freyre interpreted the notion of miscegenation in a way (much) more positive than previous sociologists and 2) How was the elitist and aristocratic tendencies in his work? This article explores these questions by analyzing the influence Freyre in the philosophy of Friedrich Nietzsche by interpreting Henry L. Mencken. I Argue that the influence of Mencken was greater than has traditionally been accepted and that the work of Mencken on Nietzsche can find the same interpretation of miscegenation that Freyre later explored in The Masters & Slaves. Mencken also argues that profoundly influenced Freyre with their aristocratic and elitist ideas.

Seeking Roots in Shifting Ground–Dr. Laura Tugman’s topic for 18th Union, June 28

Melungeon Heritage Association: One People, All Colors
2014-05-20

18th Melungeon Union
Vardy, Tennessee and Big Stone Gap, Virginia
2014-06-27 through 2014-06-28

Dr. Laura Tugman will discuss her doctoral dissertation, entitled Seeking Roots in Shifting Ground: Ethnic Identity Development and the Melungeons of Southern Appalachia. Her research examined the experience of Melungeon ethnic identity development through ethnographic interviews with Melungeon individuals in Southern Appalachia. Her study concluded that the identity development process and group dynamics occurring within the Melungeons present challenges to the current multicultural psychology literature regarding ethnic identity development. As recently as the early 1990s, many believed that the Melungeons would soon be completely assimilated into mainstream white America. More recently, the formation of the Melungeon Heritage Association has renewed ethnic pride for many Melungeons who have either previously concealed their heritage—or were not even aware of it—due to a long-standing generational practice of concealing Melungeon heritage. Dr. Tugman examined the ethnic identity development process and life experiences of Melungeons, particularly the impact of social dynamics, both within and outside the group, on self-identification.

For more information, click here.

Skin Tone Stratification among Black Americans, 2001–2003

Social Forces
Volume 92, Number 4, June 2014
pages 1313-1337

Ellis P. Monk Jr., Provost’s Postdoctoral Scholar in Sociology
University of Chicago

In the past few decades, a dedicated collection of scholars have examined the matter of skin tone stratification within the black American population and found that complexion has significant net effects on a variety of stratification outcomes. These analyses relied heavily on data collected between 1950 and 1980. In particular, many scholars have utilized the National Survey of Black Americans (1979–1980). This leaves the question of whether or not the effect of skin tone on stratification outcomes remains decades later. Newly available data from the National Survey of American Life (2001–2003) are used to examine this question. I find that skin tone is significantly associated with black Americans’ educational attainment, household income, occupational status, and even the skin tone and educational attainment of their spouses. Consequently, this study demonstrates that skin tone stratification among black Americans persists into the 21st century. I conclude by discussing the implications of these findings for the study of ethnoracial inequality in the United States and beyond.