Mixed Race Studies

Miscegenation in the Marvelous: Race and Hybridity in the Fantasy Novels of Neil Gaiman and China Miéville

University of Western Ontario
2012
120 pages

Nikolai Rodrigues

A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in English

Fantasy literature in the twentieth and twenty-first centuries uses the construction of new races as a mirror through which to see the human race more clearly. Categorizations of fantasy have tended to avoid discussions of race, in part because it is an uncomfortable gray area since fantasy literature does not yet have a clear taxonomy. Nevertheless, race is often an unavoidable component of fantasy literature. This thesis considers J.R.R. Tolkien’s The Lord of the Rings as a taproot text for fantasy literature before moving on to Neil Gaiman’s American Gods and China Miéville’s Perdido Street Station, both newer fantasy novels which include interesting constructions of race and raise issues of miscegenation and hybridity. This thesis moves towards an understanding of what purpose creating and utilizing races serves, and how fantasy literature allows for the identification and potential resolution of a number of human anxieties regarding race.

Read the entire thesis here.

Living Portraits: Carl Van Vechten’s Color Photographs of African Americans, 1939-1964

Beinecke Rare Book & Manuscript Library
Yale University, New Haven, Connecticut

Carl Van Vechten (1880-1964), photographer, promotor of literary talent, and critic of dance, theater, and opera, had an artistic vision rooted in the centrality of the talented person. He cherished accomplishment, whether in music, dance, theater, fine art, literature, sport, or advocacy. He began to make photographic portraits in 1932; in 1939 he discovered newly available color film. For a quarter century, he invited friends and acquaintances, well-known artists, fledgling entertainers, and public intellectuals to sit for him, often against backdrops reminiscent of the vivid colors and patterns of a Matisse painting. Among his subjects are a very young Diahann Carroll, Billie Holiday in tears, Paul Robeson as Othello, Althea Gibson swinging a tennis racquet, and a procession of opera stars, composers, authors, musicians, activists, educators, and journalists who made notable contributions to the cultural and intellectual life of the country. Also included are brilliant color images of notable and everyday places: Fisk University in Nashville, Tennessee; the wedding of friends; pushcarts and street scenes of Harlem; children at play in a housing project’s yard.

The Collection

Color slides of Blacks.
1,884 color Kodachrome slides, 2 x 2 inches each

[Note from Steven F. Riley] Also includes photographs of: Peter Abrahams, Prince Etuka Okala Abutu, Armenta Adams, Adele Addison, Alvin Ailey, Betty Allen, Sanford Allen, Martina Arroyo, William Attaway, Ethel Ayler, Pearl Bailey, James Baldwin, Harry Belafonte, Roy Thompson Beresford, Mary McLeod Bethune, Charles Blackwell, McHenry Boatwright, Margaret Allison Bonds, Paul Bontemps, William Stanley Braithwaite, Carol Brice, Jonathan Brice, Maurice Brooks, Anne Wiggins Brown, Debria Brown, Roscoe Lee Browne, Joyce Bryant, Ralph J. Bunche, Dan Burley, Miriam Burton, John Carlis, Thelma Carpenter, Diahann Carroll, John Carter, Shirley Verrett Carter, Horace Cayton, Omar Clay, Ladybird Cleveland, Leo Coleman, Durward B. Collins, Janet Collins, Zebedee Collins, Clayton Corbin, Edna Cordoza, Eldzier Corter, Robert Curtis, Jimmy Daniels, Ossie Davis, Gloria Davy, Ruby Dee, William Demby, Beauford Delaney, Inez Dickerson, Hugh Dilworth, Mattiwilda Dobbs, Owen Dodson, W. E. B. DuBois, Todd Duncan, Roy Eaton, Bobby Evans, Martha Flowers, Benny Garland, Althea Gibson, Richard Gibson, John Birks “Dizzie” Gillespie, Shirley Graham, Reri Grist, Nicolas Guillen, Juanita Hall, Bertha “Chippie” Hill, Ramon Blancos Habana, Frank Harriott, Afrika Hayes, Marion Hayes, Roland Hayes, Chester Eugene Haynes, Godfrey Headley, Bomar Himes, Geoffrey Holder, Leo Holder, Charlotte Holloman, Nora Holt, Marilyn Horne, Langston Hughes, Phillipa Husley, Earle Hyman, Ivie Jackman, Annette Jackson, Mahalia Jackson, Raymond Jackson, Louise E. Jefferson, Charles Johnson, Hal Johnson, Hylan “Dots” Johnson, Marie Johnson, (Everett) LeRoi Jones , James Earl Jones, Laurence Clifton Jones, Ulysses Kay, William Melvin Kelly, Eartha (Mae) Kitt, George Lamming, Carmen De Lavallade, Everett Lee, Henry Lewis, Powell Lindsay, James Lowe, Robert Keith McFerrin, Claudia McNeil, Geraldyn (Gerri) Hodges Major, Claude Marchant, William Marshall, Mabel Mercer, Lizzie Miles, Arthur Mitchell, Edgar Mittelholzer, Mollie Moon, Linwood Morris, Willard Motley, Lorenzo Newby, Maidie Norman, Godfrey Nurse, Frederick O’Neal, Leonard de Paur, Louise Parker, Louis Peterson, Julius Perkins Jr., Mildred Perkins, Charles Perry, Ann Petry, Evelyn La Rue Pittman, Leontyne Price, Bertice Reading, Guy Rodgers, Percy Rodriguez, Pearl Showers, Edith Spurlock Sampson, Diana Sands, Harold Scott, George Shirley, Bobby (Robert Waltrip) Short, Merton Simpson, Noble Sissle, Clarence Smith Jr., William Gardner Smith, Rawn Spearman, Melvin Stewart, William Grant Still, Billy Strayhorn, Howard Swanson, Archie Savage, Wesley Tann, Ellen Tarry, Dorothy Taylor, Claude Thompson, Veronica Tyler, Margaret Tynes, Henry Van Dyke, Elaine Vance, William Warfield, Dorothy West, Moran Weston, Clarence Cameron White, Josh White, Lindsay H. White, Roy Wilkins, Billy Dee Williams, Camilla Williams, John Alfred Williams, Maurice Williford, Ellis Wilson, John W. Work, and Dale Wright.

To view the collection, click here.

Poet Laureate Inaugural Reading

Library of Congress
Coolidge Auditorium, Thomas Jefferson Building (ground floor) (view map)
10 First Street, SE
Washington, D.C.
2012-09-13, 19:00 EDT (Local Time)

Natasha Trethewey, the 19th Poet Laureate Consultant in Poetry of the Library of Congress, will kick off the Library’s literary season with a reading. The event is free and open to the public. A reception and book signing will follow.

For more information, click here.  Also, a list of 2012/2013 public readings by Poet Laureate Trethewey are here.

View the inaugural reading here.

By virtue of being African-American, I’m attuned to how throughout this country’s history there have been times when folks have been locked out of opportunity, and because of the hard work of people of all races, slowly those doors opened to more and more people. —President Barack Obama

Lynn Sherr and Maggie Murphy,“PARADE Exclusive: A Conversation With the Obamas,” Parade Magazine, September 12, 2012. http://parade.com/124838/lynnsherrmaggiemurphy/02-conversation-with-the-obamas/.

“We tough girls tough it out,” she [Anne Wiggins Brown] said with a wry grin. “I’ve lived a strange kind of life—half black, half white, half isolated, half in the spotlight. Many things that I wanted as a young person for my career were denied to me because of my color.”

“On the other hand, many black folks have said, ‘Well, she’s not really black.’ Except for Todd Duncan, our original Porgy, who died last month at the age of 95 and with whom I was very close, the ‘Porgy’ cast didn’t associate with me very much, though it wasn’t because I didn’t want to. Only when I went on a train or into a theater did I think about passing, and even then I didn’t consider it passing. I figured if I simply asked for a ticket it was their problem. Onstage, though, if they couldn’t take me as I was—the hell with them.”

Barry Singer, “Theater; On Hearing Her Sing, Gershwin Made ‘Porgy’ ‘Porgy and Bess’,” The New York Times, March 29, 1998. http://nytimes.com/1998/03/29/theater/theater-on-hearing-her-sing-gershwin-made-porgy-porgy-and-bess.html?pagewanted=all.

Theater; On Hearing Her Sing, Gershwin Made ‘Porgy’ ‘Porgy and Bess’

The New York Times
1998-03-29

Barry Singer

In his tragically short life, George Gershwin knew only one Bess, and this bittersweet fact has framed Anne Wiggins Brown’s life. She was that Bess in the original production of Gershwin’s operatic masterwork based on Dorothy and DuBose Heyward’s theatrical adaptation of Heyward’s novel “Porgy.”

More than 60 years have passed since Gershwin’s death in 1937 from a brain tumor. Though singers of every race and nationality have by now assayed the role, Ms. Brown will always be the first, the Bess Gershwin himself chose in 1934.

“Bess is slender but sinewy; very black,” wrote the Heywards. “She flaunts a typical but debased Negro beauty.”

At 85, Ms. Brown still possesses the vibrancy and unaffected elegance that must have first inspired Gershwin. She is not, however, “very black.” For Gershwin that was never a problem. “I don’t see why my Bess shouldn’t be cafe au lait,” he told Ms. Brown before offering her the role.

Yet color has haunted Ms. Brown’s career. In the segregated America of the 1930’s and 40’s, where could a classically trained African-American soprano hope to have a career? The only answer was abroad…

…She was born Annie Wiggins Brown in Baltimore in 1912. Her father, a doctor, was the grandson of a slave; her mother’s parents were of Scottish-Irish, black and Cherokee Indian descent. At 23, Ms. Brown was introduced to the world as an opera singer and an African-American in “Porgy and Bess.” Thirteen years later, in 1948, after more than a decade of concertizing and frustrated ambitions, she left America for Norway…

…”To put it bluntly, I was fed up with racial prejudice,” she explained, her English accented with Scandinavian inflections. “Though there is no place on earth without prejudice. In fact, a French journalist wrote an article during one of my tours there asking: ‘Why does she say she is colored? She’s as white as any singer. It’s just a trick to get people interested.’ Can you imagine? Of course I was advertised as ‘a Negro soprano.’ What is ‘a Negro soprano’?”…

…When the show’s closing notice was posted after 124 performances, the producers announced a tour with stints in Philadelphia, Pittsburgh and Chicago, to be followed by a week at the National Theater in Washington. Ms. Brown was livid. The National Theater, she knew, was a segregated house.

“I told them: ‘I will not sing at the National. If my mother, my father, my friends, if black people cannot come hear me sing, then count me out.’ I remember Gershwin saying to me, ‘You’re not going to sing?’ And I said to him, ‘I can’t sing!’ ”

After protracted negotiations, the National, for one week only, became an integrated house. When the curtain came down on the final performance of “Porgy and Bess,” segregation was reinstated…

Read the entire article here.

Jemmy Jock Bird: Marginal Man on the Blackfoot Frontier

University of Calgary Press
2004
205 pages
16 b/w illustrations, 1 b/w photo, index
Paperback ISBN: 978-1-55238-111-3

John C. Jackson

Jemmy Jock Bird, the son of a Cree woman and a mixed-blood trader employed by the Hudson’s Bay Company, has become part of the mythology of the mountain man era. In this creative non-fiction account, Jackson meticulously reconstructs the life of this intriguing individual who was caught between opposing sides of a dual Métis heritage. Closely identified with the Cree and the Peigan, Bird’s trading activities and undercover work as a “confidential servant” of the Hudson’s Bay Company during the competitive period of the fur trade are explored using materials from the Hudson’s Bay Company Archives, the Montana Historical Society, and Bird’s descendants living on the American Blackfeet Reserve in Browning. As an interpreter, Bird was later instrumental in negotiating the 1855 Blackfoot peace treaty and the 1877 Canadian Treaty 7. Jackson steeps himself in the sparse documentation of the fur trade era to shed some much-needed light on Jemmy Jock Bird’s adventurous career – one that straddled the international borders of the northern plains and mountain west and touched upon many aspects of western development.

Indian Lords, Hispanic Gentlemen: The Salazars of Colonial Tlaxcala

The Americas
Volume 69, Number 1, July 2012
pages 1-36
DOI: 10.1353/tam.2012.0060

Peter B. Villella, Assistant Professor of History
University of North Carolina, Greensboro

In 1773, a Mexico City expert in gold embroidery named don José Mariano Sánchez de Salazar Zitlalpopoca petitioned for a license to operate his own shop and take on apprentices. As handling precious metals was politically and economically sensitive, such professions were by law exclusive, open only to those of proven character, standing, and reputation—qualities understood to be inherited by blood. Thus, to establish his sufficiency for the license don José called forth witnesses to his family’s honor, reputation, and good lineage.

Genealogical and character investigations were common in the early modern Spanish world, part of the required process for those seeking access to elite institutions and associations. Among other indicators of high social status, aspirants often cited noble ancestors in Spain, both real and invented, as proof of their blood quality. Yet don José was not Spanish and could not credibly establish such a pedigree. Instead, he hired a scribe in the primarily Nahuatl-speaking city of Tlaxcala, east of Mexico City, to consult its noble registry (becerro) and confirm that he was descended from don Bartolomé Citlalpopoca, a Tlaxcalan leader at the time of the Spaniards’ arrival two and a half centuries earlier (Figure 1).

The scribe also reported that subsequent generations of Salazars, up to and including don José’s own brother, had served honorably with the Tlaxcalan cabildo, or municipal governing council. Finally, lest his indigenous origins raise suspicions among Spanish officials, the petitioner also submitted copies of royal decrees explicitly equating the legal status and rights of caciques, the hereditary lords in America’s native communities, with those of Spain’s hidalgos, gentlemen who enjoyed the privileges of minor nobility. “I am a cacique,” don José concluded, and “caciques are . . . eligible for all the ecclesiastical and secular employments and dignities customarily conferred upon the hidalgos of Castile, and can participate in any communities that require nobility.” Satisfied, the overseer confirmed that don José was indeed “a cacique Indian of the Tlaxcaltecos,” and, following a successful practical examination, the viceroy certified him as a master goldworker. Ironically, upon conferring his new rights, they required him to swear that he would never accept non-Spanish apprentices.

Don José was not the first of his family to find success in a social and professional realm normally reserved for Spaniards and creoles (American-born Spaniards). Nor was he the first cacique to gain access to the privileges of Spanish hidalgos, which was not entirely unusual by the end of the eighteenth century. Yet the Salazars of Tlaxcala stand out, inasmuch as their participation in the elite institutions of New Spain did not entirely replace the political offices they held and the historical identities they proclaimed as Tlaxcalan aristocrats. That is, they were not creoles boasting (as some did) of distant and mostly abstract cacica great-grandmothers. Rather, they were both caciques and hidalgos, performing each role simultaneously: Nahua nobles living as Novohispanic gentlemen, Tlaxcalan aristocrats wielding intellectual, political, and legal authority within the Spanish empire.

The Salazars belonged to a handful of families in central Mexico that had managed to escape the general decline of the Mesoamerican hereditary elite by the eighteenth century. The late-colonial plight of the indigenous nobility was such that in…

“I’m a product of two biracial parents—so actually, I’m not biracial, but I’m a product of it,” he [Brendon Ayanbadejo] said, laughing. “My dad is Nigerian. My mom is Irish-American. So I kind of never really fit in. From the black community, I was considered white. From the white community, I was considered black. And then from my own Nigerian community, I wasn’t considered Nigerian. I was considered a black American. I kind of never fit in, kind of had to find my own niche and find my own way. So I’ve experienced discrimination at a young age, and it’s made me the person who I am today.”

Michelangelo Signorile, “Brendon Ayanbadejo, Baltimore Ravens Linebacker, Talks Gay Marriage And LGBT Rights,” The Huffington Post, September 12, 2012. http://www.huffingtonpost.com/2012/09/12/brendon-ayanbadejo-baltimore-ravens-gay-marriage-homophobia-jamie-kuntz_n_1877048.html.

Anne Brown, Soprano Who Was Gershwin’s Bess, Is Dead at 96

The New York Times
2009-03-16

Douglas Martin

Anne Brown, a penetratingly pure soprano who literally put the Bess in “Porgy and Bess” by inspiring George Gershwin to expand the character’s part in a folk opera that was originally to be called “Porgy,” died Friday in Oslo. She was 96.

Her daughter Paula Schjelderup announced the death.

“Porgy and Bess” burst onto the American scene in 1935 as a sophisticated musical treatment of poor blacks. Critics could not make out whether it was a musical comedy, a jazz drama, a folk opera or something quite different. Time told: it became part of the standard operatic repertory, including that of the Metropolitan Opera.

Drawing from the gritty experiences of South Carolina blacks, “Porgy and Bess” introduced songs that came to be lodged in American culture. Ms. Brown was the first person Gershwin heard singing the part of Bess, a morally challenged but achingly human character who was relatively minor in the original 1925 DuBose Heyward novel and the 1927 hit stage play by DuBose and Dorothy Heyward.

As he composed the opera, often with Ms. Brown at his side, Gershwin added more and more music for her. Her voice was also the first he heard singing several other parts in the opera…

Read the entire obituary here.