Mixed Race Studies

Mulata Nation: Visualizing Race and Gender in Cuba

University Press of Mississippi
2018-08-15
248 pages (approx.)
58 color illustrations
6 x 9 inches
Hardcover ISBN: 9781496814432

Alison Fraunhar, Associate Professor of Art and Design
Saint Xavier University, Chicago, Illinois

A vivid exploration of the key role played by multi-racial women in visualizing and performing Cuban identity

Repeatedly and powerfully throughout Cuban history, the mulata, a woman of mixed racial identity, features prominently in Cuban visual and performative culture. Tracing the figure, Alison Fraunhar looks at the representation and performance in both elite and popular culture. She also tracks how characteristics associated with these women have accrued across the Atlantic world. Widely understood to embody the bridge between European subject and African other, the mulata contains the sensuality attributed to Africans in a body more closely resembling the European ideal of beauty.

This symbol bears far-reaching implications, with shifting, contradictory cultural meanings in Cuba. Fraunhar explores these complex paradigms, how, why, and for whom the image was useful, and how it was both subverted and asserted from the colonial period to the present. From the early seventeenth century through Cuban independence in 1899 up to the late revolutionary era, Fraunhar illustrates the ambiguous figure’s role in nationhood, citizenship, and commercialism. She analyzes images including key examples of nineteenth-century graphic arts, avant-garde painting and magazine covers of the Republican era, cabaret and film performance, and contemporary iterations of gender.

Fraunhar’s study stands out for attending to the phenomenon of mulataje not only in elite production such as painting, but also in popular forms: popular theater, print culture, later films, and other media where stereotypes take hold. Indeed, in contemporary Cuba, mulataje remains a popular theme with Cubans as well as foreigners in drag shows, reflecting queerness in visual culture.

Black and biracial Americans wouldn’t need to code-switch if we lived in a post-racial society

The Conversation
2018-08-17

Chandra D. L. Waring, ​Assistant Professor of Sociology and Race and Ethnic Studies
University of Wisconsin, Whitewater

For black and biracial Americans, the pressures to adapt to a dominant white culture – and surrender their unique sense of self – can be suffocating. Gumenyuk Dmitriy/Shutterstock.com

Boots Riley’s new film “Sorry to Bother You” does anything but apologize.

In telling the story of Cassius, a young black man who becomes an extraordinarily successful telemarketer after he starts using his “white voice,” it showcases the magnitude of racial and class oppression.

Colloquially, Cassius’ use of a “white voice” is known as code-switching, and the film highlights something that most African-Americans could probably tell you: The ability to code-switch is often a prerequisite to becoming a successful black person in America.

As a race scholar and sociologist, I’ve studied biracial Americans who engage in code-switching. I found that the ability to deftly code-switch has some real advantages. But it also has its fair share of pitfalls.

More broadly, it has led me to wonder what the persistence of code-switching tells us about race, opportunities and making connections in America today…

Read the entire article here.