Mixed Race Studies

Guest Post: A View from the Past: The Contingencies of Racialization in 15th- and 16th-Century Iberia

The Junto: A Group Blog on Early American History
2016-12-12

Marley-Vincent Lindsey
Brown University, Providence, Rhode Island

When Paul Gilroy wrote his now-classic critique of cultural nationalism in 1995, he conceived a Black Atlantic that was a geo-political amalgamation of Africa, America, the Caribbean, and Europe. Gilroy was particularly interested in the construction of a modern, post-colonial cultural space in which slavery remained a part of modern black consciousness. His book is particularly noted for the introduction of race as a critical consideration in exploring the Black Atlantic.

It is fitting then, that we kick off our week-long discussion of the Black Atlantic with a post by Marley-Vincent Lindsey, which explores considerations of race in the Iberian Atlantic. Subsequent posts will consider Black responses to freedom (and unfreedom), historical narrative, race, and of course, power.

Juan Garrido was a typical conquistador: arriving in Hispaniola by 1508, Garrido accompanied Juan Ponce de León in his invasion of Puerto Rico, and was later found with Hernan Cortés in Mexico City. Yet his proofs of service, a portion of which was printed by Francisco Icaza in a collection of autobiographies by the conquistadors and settlers of New Spain, made a unique note: de color negro, or “of Black color.”¹

What significance was the color of his skin? From our crystal ball of future development, the answer is obvious: Spain had developed a particularly unique concern for racializing individuals, and the Iberian excursions throughout the western and southern coasts of Africa added fuel for “hardening identities” of what was significant about being Black or White. This unique historical contingency, argued James Sweet, was the genesis for American conceptions of race.²

Supporting this construction is the intuitive power of 1492, when Columbus invaded the ocean blue. Iberia’s box score for the year also included the seizure of Granada and the expulsion of Jews who refused conversion. For the century prior, there existed a rich vocabulary through which differences of religion were literally racialized: by 1611, Corrubias’ Spanish dictionary defined raza in reference to humans as being bad lineage, like Jewish or Muslim ancestry. Medievalists like David Nirenberg have traced these discourses through which raza gained biological potency through Castilian and Aragonese experiences with Jews and Moors.³…

Read the entire article here.

And this is where it gets personal, because for a lot of us lightskinned black people, there is no conflict. While many have asked which one of my parents is white or what I’m “mixed with,” I’m not mixed at all. Both of my parents are black, but a few generations ago, whiteness was forced onto my family. Unlike Bow [Tracee Ellis Ross], my light skin doesn’t come from a place of love or consent, but is instead a constant reminder of the violent transgressions my ancestors faced. I never had a kind, white family member to turn to with my questions, I only had skin that allowed me some privileges over my dark-skinned family members and, unlike Bow, I hated being a living reminder of white privilege and colorism within my own community. It’s an important distinction because even though Bow and I came to our color differently, we still share the same experiences and sense of alienation.

Ashley Ray-Harris, “Colorism and interracial dating bring the “ish” in Black-ish into focus,” A.V. Club, December 1, 2016. http://www.avclub.com/tvclub/colorism-and-interracial-dating-bring-ish-black-is-246705.

And so he [a Chinese businessman] develops this scheme to bring his sons to Mozambique – teenage sons, one of them about 17, one of them a few years younger. And his idea that he comes up with is that if he marries off or at least has his sons procreate with local women, that the children of these couplings will become part of his clan. And as Mozambican citizens, they will be able to own the land legally in perpetuity. And his hold on this rich valley then can’t be challenged. —Howard French

Terry Gross, “China Turns To Africa For Resources, Jobs And Future Customers,” Fresh Air, WHYY-FM Philadelphia, National Public Radio, May 27, 2014. http://www.npr.org/2014/05/27/316299135/china-turns-to-africa-for-resources-jobs-and-future-customers.

Uganda is worried about the number of Chinese men marrying their women

Quartz Africa
2016-12-09

Lily Kuo

Contractors, petty traders, investors, and entrepreneurs from China have been pouring into Uganda for the past decade. China is a top investor in the east African country, accounting for as much as half of total foreign investment between 2014 and 2015, according to the Uganda Investment Authority.

But according to Ugandan immigration officials, there’s one major downside: an increasing number of Chinese men are marrying Ugandan women to gain residency and continue their business interests in the country.

Officials told a parliamentary committee in late November that they are seeing more and more Chinese-Ugandan couples, often in sham unions. Couples are normally interviewed before spousal status is granted and Chinese men involved in sham marriages are deported.

“But we have many who are marrying and even producing… Even our Ugandan women are accepting to [reproduce] with these men,”an official from Uganda’s directorate of citizenship and immigration control told the committee.

Read the entire article here.

‘Whatever Happened to Interracial Love?’: Fiction by an Author Who Died Young

Book Review
The New York Times
2016-12-09

Morgan Jerkins

WHATEVER HAPPENED TO INTERRACIAL LOVE?
Stories
By Kathleen Collins
175 pp. Ecco/HarperCollins Publishers. Paper, $15.99.

Kathleen Collins
Credit Douglas Collins

Kathleen Collins’s short story collection, “Whatever Happened to Interracial Love?” opens with a monologue. An unnamed director is giving instructions to someone — a stagehand? a cinematographer? — on how to light a room in which two lovers are suffering the demise of their relationship. The last line is this: “Leave her in the shadow while she looks for the feelings that lit up the room.” This three-page section, titled “Exteriors,” can hardly be considered a story; it is more like a voyeuristic passage through which the reader can oscillate between being emotionally invested in and distant from matters of love. Collins toys with human beings as shadows, who fade in and out of one another’s lives, and she carefully depicts how abandonment and attachment can be two sides of the same experience…

Read the entire review here.

Word of Honour: Reclaiming Mandela’s Promise

Chace Studios
South Africa
2016
Color
Running Time: 01:13:00

Kiersten Dunbar Chace, Producer, Director, Editor

David Grant, Consultant/Writer

In 1997, just prior to his departure from politics, President Nelson Mandela delivered an informal speech to a predominately mixed-race Coloured community in the Western Cape. He reassured them they had nothing to fear from the ANC government once he left office… that his dream of a free and equal society for all South Africa’s citizens would continue in the hearts and minds of his successors. Now, twenty years later, with discriminatory practices affecting their economic, social and cultural rights, Word of Honour: Reclaiming Mandela’s Promise, illuminates the story of a people questioning the fate of their Coloured identity in the new South Africa.

From the Director of the award winning historical documentary, I’m Not Black, I’m Coloured: Identity Crisis at the Cape of Good Hope, Kiersten Dunbar Chace blends poetry, landscape imagery, and rare archive footage with a collection of powerful, indigenous voices who share their insight and experience regarding the issues facing their respective communities. Presented as regional vignettes, Word of Honour is an introspective look into South Africa’s young democracy as well as a meditation on what may be looming on the horizon. In order to weave this rich tapestry of post-apartheid conversations, Chace traveled 5,000 miles across South Africa with an all-South African crew to the townships of Cape Town, Durban, Port Elizabeth, Johannesburg and the rural desert village of Riemvasmaak. Cast members include retired High Court Judge Chris Greenland, photojournalist and HipHop promoter Rushay Booysen, former ANC freedom fighter Danny Brown, poet Khadijah Heeger, comedian and founder of Bruin-Ou.com Charles Ash, elder Anna Davids, community activist Jerome Lottering, and Elsie’s River resident Chantay Haynes.

How Kathleen Collins’s Daughter Kept Her Late Mother’s Career Alive

Vogue
2016-09-05

Nina Lorez Collins

Nina Collins in a Karen Walker dress. Photographed by Ryan Pfluger, Vogue, September 2016

A struggling filmmaker whose life was cut short by illness, Kathleen Collins has a soaring career since her daughter reopened her archive.

Ten years ago, in the middle of an ugly divorce, the most banal of realizations came upon me: In order to find a path out of the mess I’d made, I needed to wrestle with the history that had shaped me. My mother, the late African-American writer, filmmaker, and activist Kathleen Collins, died of breast cancer in 1988 at age 46, when I was still a teenager, leaving me to care for my younger brother. Our parents had split when we were toddlers, and we had been raised by a single, black artist mother, vibrant yet frequently depressed, and unwavering in her commitment to her work. She had kept her illness a secret until two weeks before she died.

In those first few weeks after we buried her, I filled an old steamer trunk with every scrap of paper I could find among my mother’s things: copies of her many plays, short stories, screenplays, journals, letters; and VHS tapes of her two films, The Cruz Brothers and Miss Malloy and Losing Ground, neither of which had been released theatrically. Along with her work and personal correspondence, there were photographs of her ancestors dating back to 1700s New Jersey farmland, snapshots of her singing with Freedom Riders in Albany, Georgia, in 1962, and a handful of high-quality artistic images of her taken by my father when they were still in love. Over the next two decades, that heavy trunk moved with me everywhere I lived. It was a coffee table in my first studio, spent some time at the foot of my bed in my 20s, and eventually, when I had a house, was relegated to my basement. I often wanted to look inside, and a few times I made tentative forays, but the sight of my mother’s familiar scrawl on the pages made me feel shaky. It was simply, for a very long time, too sad for me to hear her voice again…

…Eighteen years later, on a still midsummer day, I turned to the trunk in earnest. I was upstate, in the home I’d made for myself and my four children in the wake of my divorce. Surrounded by optimistic colors, I lifted the handle in hope of understanding so many things. Reaching inside, I pulled out yellowed reams of paper, some handwritten, others typed. There were short stories I never knew existed, about growing up black bourgeoise in Jersey City; others that fictionalized the intense civil rights work she did with SNCC in her 20s (she worked on voter registration and speechwriting). I found accounts of her difficult relationships with men, from my white father to the playwrights, actors, and writers who followed. I discovered plays and screenplays about the loss of her own mother—my grandmother died when my mother was five months old—and her stern father. After years of being afraid to delve in, I now couldn’t stop reading. The stories were like a portal to her inner life, the themes and characters both strange and familiar, in that way that everything about our parents somehow already exists within us…

Read the entire article here.

Black or white?

The Globe and Mail
2016-12-12

Stephanie Nolen, Latin America Bureau Chief
Rio De Janiero, Brazil

Jacqueline Suellen Chaves poses for a photo on Belm Docs. She’s a black woman rejected as too white for a job as a social worker by a panel. Daniel Ramalho/For The Globe and Mail

It was a policy was born of good intentions but has stirred up perplexing, often painful, questions: What makes a person black, or white? Is it facial features? Hair? Family? Or an experience of racism? And who gets to decide?

Jacqueline Chaves checked the Internet every day, waiting to see test results posted – a pass would be the last step in her long road to a job as a social worker.

Ms. Chaves, 23, had worked hard to get through a degree program at the competitive federal university in Belem do Para, a port city on the Amazon forest’s Atlantic coast. There were many tough tests along the way but she wasn’t a bit worried about this final one. It was an exam to assess whether she qualified for a position being reserved for an affirmative-action candidate. Ms. Chaves knew she would sail through, because she is black.

Or thought she was…

…Commissions are vital to ensure that limited affirmative-action spaces are not used by cheating white students, said Iuri Nascimento, an activist with a racial-equality advocacy organization called Negrex. Any argument that it’s impossible to tell who is eligible in a country with a lot of mixed-raced people is simply aimed at undermining the system, he added.

There is no “purely objective scale” of blackness, he said, but it’s also not that hard to tell who is black and who isn’t: Police officers identify who is black just fine, argued Mr. Nascimento. (Black Brazilian men are killed by police three times more often than white.)…

…Yet there are many Brazilians – including other black activists – who think that the tribunals are a terrible idea. Petronio Domingues, a historian with the Federal University of Sergipe who studies the fight for racial equality in Brazil, said it’s absurd to think that there are characteristics that can be evaluated objectively to determine race.

“They’re looking only at a person’s appearance, and that doesn’t define race,” he said. “Any definition of what it is to be black cannot be external to the individual. … Race is a social construction, without scientific basis.” Nor is there any evidence that proves that black people with very dark skin suffer more prejudice than those who are called pardo, or brown, he added, so it makes no sense to give more “points” to someone whose skin is darker or hair curlier…

Read the entire article here.

Black-ish Recap: The Bunny Magnet

Vulture
2016-12-01

Nichole Perkins

It’s been a while since we’ve had such a perfect episode of Black-ish, but “Being Bow-racial” was worth the wait. Junior’s [Marcus Scribner]white girlfriend sends Bow [Tracee Ellis Ross] on the sort of identity crisis she hasn’t had since college. She narrates, giving us a much-needed break from Dre’s [Anthony Anderson] sensitive ego. Johan [Daveed Diggs] even returns, with a growing attraction to Ruby [Jenifer Lewis]. Yes, that’s right. It’s an incredible episode.

Bow meets Junior’s white girlfriend, Megan [Annelise Grace], who had saved him from a bunch of bullies, and Bow instantly hates her. Dre figures out Bow dislikes Megan because she’s white and it fills him with glee. Their mistrust of white people is something they can use to bond as they grow old together. He’s surprised because Bow claims not to see color, and she reminds him that’s not who she is. Johan thinks they should overlook all the race stuff and celebrate the fact that Junior has a girlfriend. After all, Junior is a tough sell. He wears a cape.

Although Dre is enjoying Bow’s anti-Megan feelings, Ruby is confused by them. Ruby knows it’s natural to hate the women your son brings home to date, but Bow has a white father. She tells Bow that she’s white, which Bow denies. Ruby tells her a black woman would be able to tell if someone was sneaking in in the middle of the night to cut off inches of her hair. Not that Ruby has been doing that to Bow. Of course not. Ruby tells Bow that if she knew who she was, she wouldn’t have any issues with Junior bringing home a white girl…

Read the entire article here.

Kathleen Collins’s ‘Whatever Happened to Interracial Love?’

Books of The Times
The New York Times
2016-11-29

Dwight Garner

Kathleen Collins, Elizabeth Alexander (fore.), Whatever Happened to Interracial Love? (New York: Ecco, 2016)

When the filmmaker, playwright and fiction writer Kathleen Collins died of breast cancer in 1988, at 46, she left behind a wide body of work that’s only beginning to see the light of day.

She was among the first black women to direct a feature-length film. That movie, “Losing Ground” (1982), parsed black intellectual life in New York City; it was about a female philosophy professor and her wayward husband, a painter. It never had a theatrical release. Just last year its premiere was held at Lincoln Center, where it played to sold-out crowds.

She was a feverish artist, working on many fronts. In an essay in the September issue of Vogue, her daughter, Nina Lorez Collins, recalls, “When I think back, the dominant sounds of my childhood are of my mother’s IBM Selectric II clattering away behind her bedroom door; film swishing through the Steenbeck editing machine that sat in our dining room; and, occasionally, Tina Turner blaring from the stereo while she danced like a madwoman in the living room.”…

…This collection’s title story gives us Ms. Collins in full flower. It is about two roommates in an Upper West Side apartment. It’s 1963 or, as Ms. Collins declares, “the year of racial, religious, and ethnic mildew.”

One roommate is a white community organizer in Harlem, fresh out of Sarah Lawrence and dating a black poet. The other is a young black woman who was jailed during civil rights protests in Georgia; she’s in love with a white Freedom Rider.

When the young black woman went South, she shed some of her proper bourgeois upbringing and began to feel the shaggy earth beneath her feet. Her father is apoplectic. What’s happened to his perfect strait-laced daughter?…

Read the entire review here.