scholars have argued that rather than build racially egalitarian societies, Latin American elites simply created a more hegemonic and durable form of racial domination than their counterparts had in the United States or South Africa

Posted in Excerpts/Quotes on 2016-06-20 22:02Z by Steven
Given these many contradictions, scholars have argued that rather than build racially egalitarian societies, Latin American elites simply created a more hegemonic and durable form of racial domination than their counterparts had in the United States or South Africa (Hanchard 1994; Marx 1998; Winddance Twine 1998; Winant 2001; Goldberg 2002; Sawyer 2006). According to these accounts, nationalist discourses of race mixture—insomuch as they relied on the logic of colorblindness and the silencing of racial critique—have often served to mask the reality of continued racism and structural inequality. It comes as something of a surprise then that nearly every Latin American country would change course so dramatically with respect to ethno- racial questions beginning in the late 1980s. In some cases, this shift also meant that state officials would recognize the persistence of racism within their societies for the first time in their histories.

Tianna S. Paschel, Becoming Black Political Subjects: Movements and Ethno-Racial Rights in Colombia and Brazil, (Princeton: Princeton University Press, 2016). 7.

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Beauty and the Bleach: This Issue is More than Skin Deep

Posted in Articles, Health/Medicine/Genetics, Media Archive, Social Science on 2016-06-20 21:30Z by Steven

Beauty and the Bleach: This Issue is More than Skin Deep

Ebony
2016-06-20

Yaba Blay, Dan Blue Endowed Chair in Political Science
North Carolina Central University

Skin bleaching is a billion-dollar industry. Considering its global reach, Dr. Yaba Blay says we have to stop treating bleaching as just a matter of self-hate.

Over the past few years, social media has been abuzz with discussions of skin bleaching. In recent weeks, we’ve lamented Lil Kim’s ghostly shadow of her former self, ridiculed Ghanaian boxer Bukom Banku for denouncing his black skin, and dragged Azaelia Banks for becoming a virtual spokesmodel for Whitenicious by Dencia. While we talk amongst ourselves, a segment of a 2012 video investigating “unusual beauty trends” in Jamaica has resurfaced on Facebook. Viewed over two million times in less than one week, in that segment we see a soft-spoken blonde-haired European reporter “in the trenches” as she talks to a number of Jamaicans about their bleaching and offers requisite warnings about the dangers of the practice.

Whether from the perspectives of Black folks or from those of Whites, our communal voyeurism into skin bleaching tends to focus almost solely on the individuals who bleach their skin, and not the global institutions that make skin bleaching a viable option. And it’s a problem…

Read the entire article here.

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Michelle Cliff, Who Wrote of Colonialism and Racism, Dies at 69

Posted in Articles, Biography, Caribbean/Latin America, Gay & Lesbian, Media Archive, United States, Women on 2016-06-20 20:33Z by Steven

Michelle Cliff, Who Wrote of Colonialism and Racism, Dies at 69

The New York Times
2016-06-18

William Grimes


Michelle Cliff sometime in the 1980s. In 1975, she met the poet Adrienne Rich, who became her partner and died in 2012.

Michelle Cliff, a Jamaican-American writer whose novels, stories and nonfiction essays drew on her multicultural identity to probe the psychic disruptions and historical distortions wrought by colonialism and racism, died on June 12 at her home in Santa Cruz, Calif. She was 69.

The cause was liver failure, according to the Adrienne Rich Literary Trust. Ms. Cliff and Ms. Rich, the poet, were longtime partners.

Ms. Cliff’s entire creative life was a quest to give voice to suppressed histories, starting with her own. Her first essay, “Notes on Speechlessness,” written for a women’s writing group in 1978, can be read as the keynote for her subsequent work, which navigated the complexities of her life situation — she was a light-skinned black lesbian raised partly in Jamaica and partly in New York, and educated in Britain — against the broader background of the Caribbean experience…

…In her first novel, “Abeng” (1984), she introduced Clare Savage, a light-skinned 12-year-old Jamaican girl who befriends the dark-skinned Zoe, whose family squats on Clare’s grandmother’s farm. It is an idyllic relationship that cannot survive the harsh realities of race and class.

“Emotionally, the book is an autobiography,” Ms. Cliff told the reference work Contemporary Authors in 1986. “I was a girl similar to Clare and have spent most of my life and most of my work exploring my identity as a light-skinned Jamaican, the privilege and the damage that comes from that identity.”

Clare returns to Jamaica as an adult in the novel “No Telephone to Heaven” (1987), which, in a series of flashbacks, tells of her life in New York and London and her struggles to come to terms with who she is…

Read the entire obituary here.

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New Yale award to honor high school juniors for community engagement

Posted in Articles, Campus Life, Media Archive, Native Americans/First Nation, United States on 2016-06-20 19:32Z by Steven

New Yale award to honor high school juniors for community engagement

Yale News
New Haven, Connecticut
2016-06-15


This photograph of Ebenezer Bassett is part of the collection in the Yale Library’s Department of Manuscripts and Archives.

Select high school juniors across the nation will be honored for their public service through the Yale Bassett Award for Community Engagement, established by Yale’s Center for the Study of Race, Indigeneity, and Transnational Migration (RITM). The first awards will be presented in the spring of 2017 to high school students in the Class of 2018.

The new award honors the legacy of influential educator, abolitionist, and public servant Ebenezer Bassett (1833-1908), the United States’ first African American diplomat.

“Ebenezer Bassett is an exemplar of so many qualities we seek to foster in all Yale students,” said Yale President Peter Salovey. “He was a superb intellectual who used the fruits of his education to serve his fellow global citizens and contribute to a more unified world. We are proud to bring heightened awareness of his name and legacy to those who follow in his footsteps today — and particularly to do so by recognizing outstanding young people who are tomorrow’s college students.”.

Professor Stephen Pitti, director of the RITM Center, added: “The faculty in the Center for the Study of Race, Indigeneity, and Transnational Migration established this award to honor emerging leaders who, like Ebenezer Bassett in the 19th century, bring under-recognized perspectives to the public sphere, think hard about our collective futures, work on behalf of others, and exemplify intelligence and courage.”

Born into a Native American (Schaghticoke) and African American family nearly 200 years ago, Bassett was the first black student admitted to the Connecticut Normal School (now Central Connecticut State University). He excelled there and at Yale, where he pursued courses in mathematics and classics in the 1850s. Bassett was a friend and supporter of abolitionist Frederick Douglass and served as principal of the Philadelphia Institute for Colored Youth (now Cheney University). He was named consul general to Haiti (becoming the first African American ambassador) and as chargé d’affaires to the Dominican Republic, gaining a hemispheric understanding of racial politics. He also served as Haiti’s consul in New York City

Read the entire article here.

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How Pat Cleveland Conquered Racism to Become the World’s First Black Supermodel

Posted in Articles, Arts, Media Archive, United States, Women on 2016-06-20 19:01Z by Steven

How Pat Cleveland Conquered Racism to Become the World’s First Black Supermodel

Harper’s Bazaar
2016-06-15

Kate Storey, News Edtor


Photograph: Kathryn Wirsing

Pat Cleveland was 16 years old when she was told she would never make it as a model.

It was the late Sixties, and Cleveland, who had just signed with Ford Models, was sitting nervously in a large leather chair in the agency’s intimidating Manhattan office. Co-founder Eileen Ford had requested to see the lanky teenager for some “real” talk.

“Patricia, we have very few colored girls in our agency. And do you know why?” Cleveland remembers Ford saying. “Because there is no work for colored girls. The only reason I took you is because [photographer] Oleg Cassini recommended you. But I really think you will never make it in the modeling business.”…

Read the entire article here.

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“I am as Portuguese as I am Indian as I am black. I believe in building a mestizo identity, which means to have everything together with balance.”

Posted in Excerpts/Quotes on 2016-06-20 18:36Z by Steven

“I am as Portuguese as I am Indian as I am black. I believe in building a mestizo identity, which means to have everything together with balance. When people come to Brazil, they forget their ancestral identity. They tend to. So Brazilians become Brazilians very quick. People don’t say here, “I’m Afro-this and this.” Or, “I’m Portuguese this and this.” No, they say, “I’m Brazilian.” This is a good point about us.” —Adriana Varejão

Laura C. Mallonee, “Considering Brazil’s Racial Heritage,” Hyperallergic, December 15, 2014. http://hyperallergic.com/168901/considering-brazils-racial-heritage/.

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Part-Latinos and Racial Reporting in the Census: An Issue of Question Format?

Posted in Articles, Census/Demographics, Latino Studies, Media Archive, Social Science, United States on 2016-06-20 18:20Z by Steven

Part-Latinos and Racial Reporting in the Census: An Issue of Question Format?

Sociology of Race and Ethnicity
July 2016, Volume 2, Number 3
pages 289-306
DOI: 10.1177/2332649215613531

Michael Hajime Miyawaki, Assistant Professor of Sociology
Hendrix College, Conway, Arkansas

In this study, the author examines the racial reporting decisions of the offspring of Latino/non-Latino white, black, and Asian intermarriages, focusing on the meanings associated with their racial responses in the 2010 census and their thoughts on the separate race and Hispanic origin question format. Through interviews with 50 part-Latinos from New York, the findings demonstrated that their racial responses were shaped largely by question design, often due to the lack of Hispanic origins in the race question. Many added that their responses did not reflect their racial identity as “mixed” or as “both” Latino and white, black, or Asian. Most preferred “Latino” racial categories, and when given the option in a combined race and Hispanic origin question format, they overwhelmingly marked Latino in combination with white, black, or Asian. Part-Latinos’ preference for “Latino” racial options may stem from the racialization of Latinos as nonwhite and their desire to express all aspects of their mixed heritage identity. Moreover, the contrast in racial reporting in the 2010 census and the Census Bureau’s recently proposed “race or origin” question for the 2020 census could result in different population counts and interpretations of racial statistics.

Read or purchase the article here.

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Brazil, Mixture Or Massacre? Essays in the Genocide of a Black People

Posted in Anthropology, Books, Brazil, Caribbean/Latin America, History, Media Archive, Monographs, Politics/Public Policy, Social Science on 2016-06-19 23:41Z by Steven

Brazil, Mixture Or Massacre? Essays in the Genocide of a Black People

The Majority Press
1989
214 pages
5.5 x 0.4 x 8.5 inches
Paperback ISBN: 978-0912469263

Abdias do Nascimento (1914-2014)

Translated by Elisa Larkin Nascimento

Nascimento explodes the myth of a “racial democracy” in Brazil. The author is a major figure in Afro-Brazilian arts, politics and scholarship. He founded the Black Experimental Theatre in Rio de Janeiro in 1944 and was an elected member of the Brazilian Congress from 1982 to 1986.

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Theatre Review: ‘An Octoroon’ at Woolly Mammoth Theatre Company

Posted in Articles, Literary/Artistic Criticism, Media Archive, Passing, Slavery, United States on 2016-06-19 18:16Z by Steven

Theatre Review: ‘An Octoroon’ at Woolly Mammoth Theatre Company

Maryland Theatre Guide
2016-06-05

Jennifer Minich

We need to talk about An Octoroon: a razor-sharp, thought-provoking, radical, comical blast from the past. Playwright and DC native (bonus points) Branden Jacobs-Jenkins returns to Woolly Mammoth for the DC premiere of An Octoroon, an adaption of the 1859 melodrama, The Octoroon, by Anglo-Irish playwright Dion Boucicault.

The Octoroon is set at Terrebonne, a Louisiana plantation on the brink of financial ruin. When the new owner, George Peyton (Jon Hudson Odom), takes ownership of Terrebonne, he falls in love with his uncle’s illegitimate, one-eighth black daughter, Zoe (Kathryn Tkel). When the flailing plantation goes up for auction, and Zoe along with it, violence and chaos ensue…

Read the entire review here.

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Considering Brazil’s Racial Heritage

Posted in Articles, Arts, Brazil, Caribbean/Latin America, Interviews, Media Archive on 2016-06-19 17:30Z by Steven

Considering Brazil’s Racial Heritage

Hyperallergic
2014-12-15

Laura C. Mallonee

The 18th-century Brazilian sculptor Aleijadinho was the mixed-race son of a black slave and one of his country’s most legendary artists. In the gold-rich state of Minas Gerais, where millions lost their lives in the mines, tourists still pay to visit the immaculate baroque churches he embellished. Though leprosy took his fingers, rumor has it he continued chiseling away with tools tied to the stumps of his hands.

Aleijadinho’s enigmatic life married two contrasting subjects that have preoccupied Adriana Varejão for the past 20 years: the oft-forgotten history of Brazil’s mestizo identity, and the dramatic baroque art of the colonial period. These underpin series like Tongues and Incisions (1997–2003) and more recently Polvo (2013–2014), both which are currently featured in Adriana Varejão at the Institute of Contemporary Art in Boston — the artist’s first U.S. solo museum show.

Varejão spoke with us recently from her studio in Rio de Janeiro about her childhood in Brasilia, why she is drawn to painting meat, and how she feels about being a “Latin American artist.”

Laura C. Mallonee: Your family lived in Brasilia when you were very young, because your father was a pilot in the air force. That would have been less than a decade after the city was completed in 1960. What was it like?

Adriana Varejão: Just emptiness. No history. Very red, because the earth is red, and there was a lot of earth around because there was not much vegetation. They’d just built everything. This crazy president had decided to build a capital in the middle of nowhere. They called many people from all over Brazil to build Brasilia, so there was a huge amount of immigrants. Black people, Indian people, very mixed race. Very, very poor people. And they built these satellite cities where these people used to live. They were miserable cities. My mother used to work with child malnutrition in a hospital in one of them. I remember the kids with those huge bellies…

LCM: How do you view yourself racially?

AV: I am as Portuguese as I am Indian as I am black. I believe in building a mestizo identity, which means to have everything together with balance. When people come to Brazil, they forget their ancestral identity. They tend to. So Brazilians become Brazilians very quick. People don’t say here, “I’m Afro-this and this.” Or, “I’m Portuguese this and this.” No, they say, “I’m Brazilian.” This is a good point about us…

Read the entire interview here.

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