Mixed Race Studies

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.”

Stephanie Nolen, “Black or white?,” The Globe and Mail, December 12, 2016. http://www.theglobeandmail.com/news/world/black-or-white-in-brazil-a-panel-will-decide-foryou/article33295036/.

A Conversation With Natalie Scenters-Zapico

The American Literary Review
2016-03-27

Sebastian Hasani Paramo, Poetry Contest Coordinator
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Natalie Scenters-Zapico is from the sister cities of El Paso, Texas, U.S.A. and Ciudad Juárez, Chihuahua, México. She is the author of The Verging Cities, which won the 2016 Great Lakes Colleges Association’s New Writers Award, the National Association for Chicana and Chicano Studies Tejas FOCO Award, was featured as a top ten debut of 2015 by Poets and Writers, and named a Must-Read Debut by LitHub (Center For Literary Publishing, 2015). A CantoMundo fellow, her poems have appeared in American Poets, The Believer, Prairie Schooner, West Branch, Best American Poetry 2015, and more. She lives with her husband, border rhetorics scholar José Ángel Maldonado, in Salt Lake City.

Scenters-Zapico’s debut collection was recently named a top ten debut by Poets and Writers. Before that, her poetry was featured in American Poets, a publication by The Academy of American Poets, and was introduced by Dana Levin. That issue was my first introduction to her work and I eagerly anticipated her book. Many others have since applauded her aforementioned collection, The Verging Cities. Dana Levin writes that Scenters-Zapico “engages politically and personally charged material…with signature intimacy and fairy-tale strangeness.” In 2015, her book was featured on several top lists and included in Best American Poetry 2015. When I read her collection, I read it eagerly. Her poems in this collection are dark, visceral, haunting, and will echo for days in your mind. Here’s one of the most thought provoking lines in the collection:

I write of the boy I love gone missing, his father found with no teeth
In an abandoned car. Some say you have no right to talk about the dead.
So I talk of them as living, their bodies standing in the street’s bend.

Throughout, she builds and breaks down the boundaries of love, place, identity, and memory in ways that are unexpected, and uses them to great effect to write the political and engage us in the surreal violence of our time. I was fortunate to be able to interview her via email.

Sebastian Hasani Paramo: In reading The Verging Cities, I loved this idea of “verging” and the many forms it took. Your use of the Oxford English Dictionary as a guide for exploring this idea was very incredible. The relationship you created between the speaker and borders seemed to create much tension and conflict. Can you talk about this idea and how it culminates into the title poem?

Natalie Scenters-Zapico: When I started writing about El Paso–Cd. Juárez just about everyone had a reading list for me to take home. There are so many wonderful writers who have come before me who share the same love affair with the border. And yet, the more I read the more I felt that I had a very different relationship with the border than the ones I saw being described. So, I started talking about the border as verging—the beginning of one thing and the end of another in constant cycle. When I looked up the term “verge” in the OED I was fascinated by its long history and deeply masculine roots. So I set out to write poems that addressed the verging cities—being beaten by them, escaping them, returning to them. By the time we get to the title poem, “The Verging Cities,” I wanted the reader to get a sense that they are in fact one place, only to turn to that poem and hear two distinct voices, one from each city, in an abusive, violent, incestuous relationship. In it I turn to the history of border crossing into El Paso and the use of Zyklon-B, strip searches, etc. I wanted to point to how the use of these things continues. The past and the present are in constant cycle, there is no beginning or end…

…SHP: What influences were important for you in writing about identity and what things do you say to young writers about feeling more comfortable writing about themselves? As a younger writer, I felt sometimes I didn’t always see myself in the writers I read, but when I started to–I saw many more possibilities for my writing.

NSZ: As a young writer I often made the mistake of looking for myself in the writing of others. As though, only if they mirrored my identity or experience in some way could I learn something from them. This is a huge, embarrassing mistake on my part. Because how could I, with my hybrid, messy, one could argue “pocha” identity see myself in a piece of literature as a complete mirror reflection? This is impossible. I understand that some people have this “mirror” experience in reading the work of others, but I don’t think I ever will. However, when I stopped looking for a reflection and instead looked for refracted moments, or places where I could feel deep empathy, or ways of dealing with and examining trauma that I could apply to myself that is when I felt I could truly learn.

I also have to give a huge shout out to people who are doing great work when it comes to hybrid identity in our field. I’ll never forget when I was nineteen I went to a reading at the University of Texas at El Paso by Rosa Alcalá in which she read from her amazing collection Undocumentaries. Here was this woman who looked like me, who was bilingual like me, who was willing to call herself Latina, and was questioning our traditional notions of that word. I left that reading nearly in tears, because it felt like she was talking to me, it felt like she was making me see the world in a way that both empowered me and made me question my pain. I don’t think I’ve ever thanked Rosa for that moment, but it changed me deeply.

I also love the work that Rosebud Ben-Oni is doing in advocating for people who don’t fit the mold perfectly, people who question the use of strategic essentialism, whose very existence won’t allow for it because it’s just so damn complicated. And of course, I personally am very interested in liminal spaces, and the art that can come from existing in that space. I wrote more about that in my introduction to the liminal spaces interview series I did for The Best American Poetry blog. I think it’s important to recognize that to be Latinx is to be hybrid. There is no such thing as purity in Latinidad, if you even buy into this very American idea of Latinidad…

Read the entire interview here.

Afro-Palestinians’ forge a unique identity in Israel

The Associated Press
2017-01-12

Isma’il Kushkush

In this Dec. 31, 2016 photo, Arab families of African descent attend a wedding in the West Bank city of Ramallah. In the shadow of the Al-Aqsa Mosque in Jerusalem’s Old City lies the “African Quarter” — home to a little-known community of nearly 50 Arab families of African descent, who call themselves, “Afro-Palestinians.” Descended from Muslim pilgrims from a variety of African countries, they now consider themselves proud Palestinians, despite widespread poverty and occasional discrimination from both Palestinians and Israelis. Several have even participated in violent attacks against Israel. (AP Photo/Nasser Shiyoukhi).

JERUSALEM (AP) — In the shadow of the Al-Aqsa Mosque in Jerusalem’s Old City lies the “African Quarter” — home to a little-known community of nearly 50 Arab families of African descent.

Descended from Muslim pilgrims from a variety of African countries, they now consider themselves proud Palestinians, despite widespread poverty and occasional discrimination from both Palestinians and Israelis. Several have even participated in violent attacks against Israel.

Afro-Palestinian“We regard ourselves to be Afro-Palestinian,” said community leader Ali Jiddah…

Read the entire article here.

In stark farewell, Obama warns of threat to U. S. democracy

The Washington Post
2017-01-10

Juliet Eilperin, White House Bureau Chief

Greg Jaffe, Reporter

CHICAGO — President Obama used his farewell speech here on Tuesday to outline the gathering threats to American democracy and press a more optimistic vision for a country that seems more politically divided than ever.

Obama said goodbye to the nation against the backdrop of one of the most corrosive elections in U.S. history and a deep sense that the poisonous political environment has pitted Americans against each other.

“America, we weaken those ties when we allow our political dialogue to become so corrosive that people of good character aren’t even willing to enter public service; so coarse with rancor that Americans with whom we disagree are not just misguided, but malevolent,” Obama said. “We weaken those ties when we define some of us as more American than others; when we write off the whole system as inevitably corrupt, and blame the leaders we elect without examining our own role in electing them.”

Obama fretted about anti-immigrant sentiment, racism and economic inequality.

“If every economic issue is framed as a struggle between a hard-working white middle class and an undeserving minority, then workers of all shades will be left fighting for scraps while the wealthy withdraw further into their private enclaves,” Obama warned in an not-so-subtle jab at his successor, President-elect Donald Trump.

Obama, the first African American president, acknowledged the continuing difficulty of race relations in America.

“After my election, there was talk of a post-racial America. Such a vision, however well-intended, was never realistic,” he said. “For race remains a potent and often divisive force in our society. Now, I’ve lived long enough to know that race relations are better than they were 10, or 20, or 30 years ago — you can see it not just in statistics, but in the attitudes of young Americans across the political spectrum. But we’re not where we need to be.”…

Read the entire article here.

Race, Identity and the Making of Hashim Amla

Africa Is A Country
2013-07-20

Niren Tolsi

Hashim Amla has arrived. His back-lift to gully now appears the sort of lazy flourish that bored twelve-year-olds develop because they are staggeringly superior to their opposition, rather than the defect that presumed he wouldn’t cut it at international level early on in his career. That twirl of a back-lift is now brought down to defend, flick, drive and reduce Test bowlers into looking like schoolboys. He is silky and elegant in a manner that compelled Richie Benaud, the former Australian captain–and one of the most knowledgeable, and least myopic, of that country’s commentators–-to describe him as “an artist in a team of artisans” during a solid first tour Down Under in 2008.

At the time of writing (after the Wanderers Test match against Pakistan in early February) he was the International Cricket Council’s world number one ranked Test batsman. En-route to overtaking Australian captain Michael Clarke to assume that apex he had struck an unbeaten 311 against England at The Oval–becoming the first South African to score a triple-ton and the 22nd person in the history of Test cricket to do so.

His batting is eye-catching. As is the shaggy square beard that marks him out as a devout Muslim in a team that has traditionally traded on what Jesus would do, Castle Lager, jock-of-the-establishment-school-tie posturing and a gritty approach to the game that melded the conservative, dour and tragic elements that reside inside the Afrikaner and the Rooi-neck. If Jacques Kallis, the darling of the South African (white) cricketing media corps, represents the establishment with his hair implants, demeanor as wooden as his “big bat” and tweets calling for the return of the death penalty, then Amla, all leg-side flicks as luxurious as his beard, imperious punches off the back-foot and mere physical manifestation represents its anathema–almost. In the chaotic, overlapping and contradictory world of South African identity politics even that would be too reductionist. Too simple…

Read the entire article here.