Mixed Race Studies

A True History Full of Romance: Mixed marriages and ethnic identity in Dutch art, news media, and popular culture (1883–1955) by Marga Altena (review)

Journal of Colonialism and Colonial History
Volume 15, Number 3, Winter 2014
DOI: 10.1353/cch.2014.0039

Eveline Buchheim, Researcher
NIOD Institute for War, Holocaust and Genocide Studies, Amsterdam, The Netherlands

Altena, Marga, A True History Full of Romance: Mixed Marriages and Ethnic Identity in Dutch Art, News Media, and Popular Culture (1883-1955) (Amsterdam: Amsterdam University Press, 2012).

Even before the Second World War, cases of interracial unions had been recorded in the Netherlands, but the greater part of the Dutch public in the late nineteenth and early twentieth centuries still considered these bonds extraordinary. If the possibility of such unions crossed the minds of common Dutch citizens at all, they were mainly associated with colonial life in the Dutch East Indies. Although certainly not unambiguous aspects of colonial life, mixed unions were part and parcel of the Dutch colonial experience. Even in this colonial context, however, unions of White women with Indigenous men were extremely unusual. A European woman who entered such a marriage excluded herself from the community of Europeans. In the Netherlands itself, the term “mixed marriages” was used during this period primarily to refer to unions either outside the individual’s social class or with spouses of a different religious background, an important distinguishing feature in strongly “pillarized” Dutch society. In her book, Altena presents three cases of Dutch White women who, against all odds, married men of color. They did so in a period when it was still quite unusual and—perhaps as a result of this uniqueness—all three of the analyzed marriages figured prominently in the news. The unions were also represented in other cultural media expressions such as fiction. This gives Altena the opportunity to analyze how ethnic identity was constructed in Dutch media from various angles.

Altena’s first case concerns the marriage of Frederick Taen, the son of a Chinese father and an English mother, to the Dutch woman Mia Cuypers. It is interesting to note that Taen’s partial European roots were apparently completely lost in the public representation. Was this something Taen did on purpose? He might have deemed Chinese roots favorable for his business trade. Cuypers was the daughter of a famous Dutch architect, P.J.H. Cuypers, known among other works for building the Rijksmuseum. The artistic background of the bride and the affluence of the groom made the union interesting enough to be represented in several instances of cultural expression. Mia Cuypers was a special woman in other respects as well; she went against the grain multiple times, first by marrying Frederick Taen, then by divorcing him, and, later, by not totally denying the misalliance.

The second case is the marriage of Johanna van Dommelen and Angus Montour (Twanietanekan), also known as American Horse, in 1906, the bride an unmarried mother from The Hague, the groom a Mohawk widower from eastern Canada. Altena analyzes the press coverage in both countries. She makes it very clear that for both the bride and the groom their union had several advantages, and shows how they used the media attention to improve their lives.

The last case that Altena describes is that of the marriage between Marie Borchert and Joseph Sylvester in 1928, in the town of Hengelo. Borchert was the daughter of a well-to-do local family, Sylvester a salesman and entertainer. This couple clearly orchestrated their public performance. This is understandable partly because of how Sylvester earned a living. The case gets really interesting when Altena recalls how the couple used press coverage to raise awareness among their fellow citizens about the use of Black stereotypes.

By analyzing the three marriages on the basis of how they figured in the public domain, Altena wanted to investigate the representation of ethnic identity in Dutch culture between 1883 and 1955. Altena’s period of research seems rather arbitrary, and primarily relates to events in the personal lives of the three couples. Taen and Cuypers met in 1883 at the International Colonial and Export Trade Exhibition in Amsterdam. The year 1955 marks Joseph Sylvester’s death. In her analysis, Altena focuses on the micro-histories and does not pay much attention to the influence of the spirit of the age under investigation. Her paragraph on the historical and sociocultural context provides a broad outline, but does not really elaborate on the appraisal or disapproval of foreigners in relation to larger historical events. There is no special attention paid to the changing colonial relationship between the Dutch East Indies and the Netherlands of the late nineteenth and early…

Poet Natasha Trethewey Explores Public and Personal Histories of Race in America

The Aspen Institute
2015-01-13

Caroline Tory, Program Coordinator
Aspen Words, Aspen Colorado

On a recent winter night, Pulitzer Prize-winning poet Natasha Trethewey addressed an Aspen Words audience in Aspen, CO, on the intersection between art and activism. “[I am] a poet interested not only in the sounds of language and in its beauty, but in its ability to help us deal with our most difficult knowledge and help us move towards justice.”

Trethewey is the author of four collections of poetry: “Domestic Work,” “Bellocq’s Ophelia,” “Native Guard,” and “Thrall,” as well as a work of nonfiction, “Beyond Katrina: A Meditation on the Mississippi Gulf Coast.” She served two terms as the 19th US poet laureate from 2012 to 2014, and is currently poet laureate of the state of Mississippi. Trethewey also directs the creative writing program at Emory University in Atlanta, where she is Robert W. Woodruff professor of English and creative writing…

…Trethewey was born in Gulfport, Mississippi, the daughter of parents whose mixed-race marriage was illegal in the state at the time. Her writing includes many references to her father, a poet, professor, and Canadian immigrant, as well as her mother, who was a social worker. Trethewey’s poems weave together the story of her own interracial roots with the history of race in America, while also balancing this narrative with lyricism.

“It is where the poems shade toward the lyrical that I’m able to get closer to the emotional truth of a poem,” said Trethewey in her talk. As an example, she referenced the poem “Incident” from her Pulitzer Prize-winning collection “Native Guard.” In it she tells the story of the Ku Klux Klan burning a cross on her family’s yard after her grandmother hosted a voter registration drive for disenfranchised African Americans in the 1960s. Reworking an initial draft of the poem, Trethewey restructured it to capture the entire story of the incident in the first four lines. This freed her to use the rest of the poem to highlight other emotional truths, such as the need to remember, which are at least as important as the particular facts of what happened.

Trethewey read a number of poems that use art as a reference point, including a series from her most recent book “Thrall.” Titled “Taxonomy”, this series of poems is based on a group of Casta paintings from 18th century colonial Mexico, which portrayed mixed blood unions in the colony…

Read the entire article here.

Christmas without Ramadan

Mixed Roots Stories
2015-01-09

Zena F. Itani

I’ve never really liked Christmas. It was the most forced family event of the year, defined by spectacular displays of anxiety from my mother and bad temper served up by my father, always in time for guests. While that doesn’t sound much different from others’ fun family holidays, there was another layer of dysfunction in it for me. My Dad is Muslim, a fact that we ignored for the entire year, not just on big Christian holidays. December 25th highlighted particularly well the lack of Muslim traditions in my immediate family, despite the fact that Lebanese Muslims outnumbered my English mother’s kin and me and my American siblings.

Let me walk you through a typical Itani Christmas (you Arabic speakers know how ridiculous the pairing of a large Lebanese Muslim family name and the word “Christmas” is). In the morning, my siblings and I woke up way too early and tore into our presents like obnoxious kids the world over. The gifts broke along gender and culture lines. As the one with the Arabic name and the insatiable curiosity for all things Middle Eastern, I would get the “cultural” gift (a subscription to Foreign Affairs was popular). “You’re so…Oriental,” my mother would often say, perplexed, in her British accent. Um, yeah Mom, did you see the Lebanese guy you married? Just saying…

Read the entire article here.

Young Artists: Saya Woolfalk

W
November 2008

Timothy McCahill

For the last two years Saya Woolfalk has practically lived in No Place, the futuristic work she is creating through painting, sculpture and video. So it’s not surprising that when she talks about it, the line between fact and fiction seems a little fuzzy. More than just a plain old multimedia installation, No Place has its own inhabitants and culture. The bubbly 29-year-old delights in describing every nook and cranny. “I talk about it as if it could be real,” admits Woolfalk, who is completing a yearlong stint as an artist-in-residence at the Studio Museum in Harlem, where No Place was recently shown. “But I never forget that it’s another place.”

Woolfalk’s world is inhabited by half-human, half-plant figures called No Placeans, who in her paintings are portrayed roaming a psychedelic landscape reminiscent of Yellow Submarine. In one piece, they appear in front of a blue and yellow building surrounded by pink phalluses. As part of the project, Woolfalk filmed the No Placeans—played by the artist, her friends and colleagues—in the style of a documentary…

…Though the piece grew partly out of Woolfalk’s reflections on utopia, her influences also originate closer to home. Born in Japan to a Japanese mother and an African-American and white father, Woolfalk draws on Japanese anime and traditional African garments for many of her characters and costumes, blending cultures so that her work feels at once foreign and familiar. “Because I’m mixed race, I have this idea that to leave the conversation ambiguous is interesting,” she says…

Read the entire interview here.

Al Madrigal’s New Special ‘Half Like Me’ Is What Latinos Have Been Waiting For

The Huffington Post
2015-01-13

Ana Maria Benedetti

Al Madrigal goes on a journey of self-discovery… starting with how to pronounce his own name.

In his new one-hour special “Half Like Me,” premiering on Fusion on January 22, The Daily Show’s senior Latino correspondent travels across the U.S. to discover what it means to be half Mexican and half white.

“Being half has always been confusing,” Madrigal says in the preview for the special. “White people think you’re Mexican and Latinos give me shit about not being Latino enough.”…

Read the entire article here.

Machado de Assis: The Brazilian Master and His Novels

University of California Press
1970
270 pages
ISBN: 9780520016088

Helen Caldwell

Machado de Assis is among the most original creative minds in Brazils rich, four-century-long literary tradition. Miss Caldwell’s critical and biographical study explores Machado’s purpose, meaning, and artistic method in each of his nine novels, published between 1872 and 1908. She traces the ideas and recurrent themes, and identifies his affinities with other authors.

In tracing Machado’s experimentation with narrative techniques, Miss Caldwell reveals the increasingly subtle use he made of point of view, sometimes indirect or reflected, sometimes multiple and “nested” like Chinese boxes.

Miss Caldwell shows the increasing sureness with which he individualized his characters, and how. in advance of his time, he developed action, not by realistic detail, but by the boldest use of allusion and symbol. Each novel is shown to be an artistic venture, and not in any sense a regurgitation from a sick soul as some critics have argued.

In searching out the unity of his novels. Miss Caldwell explores the other aspects of Machado’s intellectual life—as poet, journalist, playwright, conversationalist, and academician. Of particular interest is her attention to his shift away from the social criticism of his early novels into the labyrinth of individual psychology in the last five—all of which rank among world literature. But this perceptive account never loses sight of the one element present in every piece of Machado’s fiction, in every one of his personages; that is, superlative comedy, in its whole range: wit, irony, satire, parody, burlesque, humor.

Altogether, Miss Caldwell reveals to us a writer, in essence a poet, who is still the altus prosator of Brazilian letters.

Read the entire book here or here.

Don’t put race in a box

The Eastern Echo
Ypsilanti, Michigan
2015-01-11

C.A. Joseph Peters

One ought to talk about race like one talks about their mother’s age: very rarely and very discreetly. Given the Census Bureau’s outdated categories, I say it’s time for one of those rare and discreet conversations.

In January 2013, Haya El Nasser of USA Today reported that “many [Hispanics] feel boxed in by the current race categories . . . 95 percent of those who selected ‘some other race’ are Hispanic.” Last July, Fox News Latino reported that Detroit’s Mexico town not only withstood the brunt of Detroit’s most recent downturns but was spearheading Detroit’s economic recovery. But Detroit’s growing Hispanic community gets whitewashed by the Census.

By attempting to define race with neat little boxes, the Census Bureau is forcing an increasing number of Americans to check “other,” doing a disservice to Detroit’s growing Hispanic community and to Dearborn’s already sizable Middle Eastern community. In 2010, the Census categorized Dearborn, a city where one third of the residents speak Arabic, as over 89 percent white. But with a term nebulous enough to include everyone from Morocco to Murmansk and from Riyadh to Reykjavik, it should be no great surprise that the Census categorizes Dearborn as whiter than Montana. Race is difficult enough without the government trying to define it too…

Read the entire article here.

Critical Mixed-Race In Transnational Perspective: The US, China, And Hong Kong, 1842-1943

Center for East Asian Studies
Lathrop East Asia Library, Room 224
Stanford University
518 Memorial Way, Stanford, California
Thursday, 2015-01-15, 16:15-17:30 PST (Local Time)

Emma Teng, T.T. and Wei Fong Chao Professor of Asian Civilizations
Massachusetts Institute of Technology

This paper will examine the intersection of Sinophone Studies and Critical Mixed-Race Studies (CMRS) – two new and critical paradigms of inquiry – as productive forces in reshaping Chinese Studies beyond the old Area Studies model. My work analyzes the evolving discourses on mixed-race as well as the lived experiences of Eurasians in China, Hong Kong, and the US during the era between 1842 and 1943, and thus lies at the intersection of these two emergent and dynamic fields. Through my research on transnational Chinese-Western mixed families I aim to expand the horizons of Critical Mixed-Race Studies, which has been dominated by the study of black-white interracialism. I ask how a transpacific comparative approach might shift the theoretical frameworks for critical race and ethnic studies by challenging the presumed universality of US-centric models. At the same time, I aim to expand the horizons of “Chinese” studies, asking how mixed-race or transracial hybrid identities contest racially bounded, Han Chinese-centric definitions of Chineseness.

For more information and to RSVP, click here.

California Attorney General Announces Run for Senate

The New York Times
2015-01-13

Adam Nagourney, Los Angeles Bureau Chief

Kamala Harris Makes Bid for Barbara Boxer’s Old Seat

LOS ANGELES — No exploratory committees here: Kamala D. Harris, the California attorney general, announced on Tuesday she was running for the Senate seat that is opening up with Barbara Boxer’s retirement at the end of the year.

Ms. Harris’ announcement, posted on a new campaign website, came a day after the California lieutenant governor, Gavin Newsom, who was widely viewed here as the other major contender for the seat, announced that he was not going to run. Friends say that Mr. Newsom is more interested in running for governor when Jerry Brown retires in four years.

Democrats here have long suggested that Ms. Harris and Mr. Newsom would avoid running against each other, because they are both such strong candidates, with their own fund-raising bases and they both come from Northern California.

Ms. Harris, who is 50, is the daughter of a Jamaican-American father and an Indian-American mother.

She was re-elected to a second term as attorney general last year…

Read the entire article here.

Caught In-between

Mixed Humans ~ Reflections on occupying a space of inbetweenness. Persistently grappling with identity.
2015-01-13

Brian Kamanzi
Cape Town, South Africa

Caught In-between.

So for the longest time. I had grown up thinking of myself as an “almost” Indian. A half-Indian. Half caste. Whatever the hell sort of awful approximation of an authentic identity I desired. Loathed. Loved. And pursued.

I had dealt with a lot of people who felt at complete ease telling me what it “is” that I am.

My Dad is black you see. And many attempts I’ve made to connect with my mother’s heritage sending me packing. As if somehow invoking the dominance of the influence of “the father” is going to resolve the annoyance of having to decide which “box” I’m allowed to be in. It was always a tricky thing to even communicate to my own mother, who was not a cultural woman herself and could not understand what I was looking for. She could not understand why their rejection of me mattered to me – and I couldn’t understand why it was I was being denied my authenticity…

Read the entire article here.