Mixed Race Studies

‘I don’t believe in Negro symphony conductors’

On An Overgrown Path
2011-07-25

John McLaughlin Williams

‘Oh, come in, young man. I’m reading these reviews. They are out of this world. You really have something. But I might as well tell you, right now, I don’t believe in Negro symphony conductors. No, you may play solo with our symphonies, all over this country. You can dance with them, sing with them. But a Negro, standing in front of a white symphony group? No. I’m sorry.’

That is the impresario Arthur Judson discussing career opportunities with African American conductor Everett Lee, seen above, [also here (1948)] in the early 1950s. Judson headed Columbia Artists Management Inc and for twenty-five years was the power broker of musical America with a stable of artists that included Eugene Ormandy, Jascha Heifetz and African American contralto Marian Anderson, and at the time of the discussion he also managed the New York Philharmonic Orchestra.

In 1940, together with fellow African American Dean Dixon and Canadian Benjamin Steinberg, Everett Lee attempted to circumvent the institutionalised racism in American classical music by forming an orchestra of black musicians. But the project failed for financial reasons and both Lee and Dixon went on to pursue their careers outside America, although Steinberg succeeded in establishing an orchestra of predominantly black players when he formed the New World Symphony in 1964…

…History was made in 1953 when Lee became the first black musician to conduct a white symphony orchestra in the south of the States, this happened at the concert in Louisville, Kentucky see in the photo below. There was another milestone in April 1955 when he became the first musician of colour to conduct a major opera company in the US with a performance of La Traviata at the New York City Opera in April 1955…

Read the entire article here.

Mosley Wotta releases new album

The Bulletin
Bend, Oregon
2012-09-14

Ben Salmon

Bend hip-hop artist performs in Bend tonight

Anyone who knows local artist, musician and educator Jason Graham—aka MOsley WOtta, leader of the hip-hop band of the same name—knows that his relocation to Bend at age 9 from Chicago’s north side has had a profound and longstanding effect on his worldview, and thus, his art.

Get Graham, 29, talking (not a difficult task at all), and you’re likely to eventually hear about his experience as a mixed-race kid moving from an ultra-urban environment to the lily-white Bend of a decade ago. And he won’t hesitate to point out that his own stereotypes about “the country” were as deeply entrenched as those he encountered in others.

The collision of race and culture is a subject Graham has always touched on in his music, going back to his time in the local rap collective Person People, up through his first solo album, 2010’s “Wake.”

But tonight, Graham will celebrate the release of the second Mosley Wotta album, “KinKonK,” at the old PoetHouse Art space in Bend (see “If you go”), and at the same time, he’ll unveil a more direct, more forceful and more thoughtful set of songs on the subject than he ever has before. It’s also material that may surprise some of the folks who’ve come to love the Mosley Wotta band that, since winning Bend’s inaugural Last Band Standing competition two years ago, has dominated local festival stages with its upbeat funk-hop and positive message of unity through music…

Read the entire article here.

Cole Porter Scores An Interracial Couple’s Highs And Lows

National Public Radio
All Things Considered
Music: Mom and Dad’s Record Collection
2012-08-30

NPR Staff

As summer winds down, All Things Considered is winding down its series “Music: Mom and Dad’s Record Collection.”

For the past few months, the show has asked listeners to tell their stories about a particular piece of music they associate with their parents. Listener Melanie Cowart of San Antonio, Texas, wrote in to explain how Cole Porter’s “Begin the Beguine” — a song that’s been interpreted by Artie Shaw, Ella Fitzgerald and many others — became a running soundtrack for her parents’ relationship.

“My father was African-American; my mother was white,” Cowart tells NPR’s Melissa Block. “They met in 1929, at a time when that type of a relationship was not something that was acceptable in society. In fact, in many states, including in Missouri where they met, it was against the law. But they fell in love and formed a very strong bond.”…

Read the entire transcript here. Download the audio here (00:05:42).

Blackness in Argentina: Jazz, Tango and Race Before Perón*

Past and Present
Volume 216, Issue 1 (August 2012)
pages 215-245
DOI: 10.1093/pastj/gts008

Matthew B. Karush, Associate Professor of History
George Mason University

On the question of race and nation, the dominant Latin American paradigm has never applied to Argentina. In Mexico, Brazil and elsewhere, twentieth-century nationalists crafted ideologies of mestizaje that broke with European and North American models by celebrating the indigenous or African as crucial elements in a new racial mixture. Yet most Argentine intellectuals rejected this sort of hybridity and instead constructed national identities that were at least as exclusionary as those produced by their North American counterparts. The only mixtures they countenanced were those that followed from European immigration. Just as the United States was a ‘melting pot’, Argentina was a crisol de razas (crucible of races), in which Spaniards, Italians and other immigrant groups were fused into a new nation. This ideology, visible in the well-known aphorism that ‘Argentines descend from ships’, marginalized Argentines of indigenous and African descent and eventually erased them from national consciousness. As George Reid Andrews showed over thirty years ago, the alleged disappearance of the once-substantial Afro-Argentine population of Buenos Aires was at least as much the product of this ideological manoeuvre as it was the result of miscegenation, war and disease. Only recently has Argentina’s status as a white nation begun to be openly contested.

Nevertheless, even if non-whites have been pushed off the historical stage, race remains a pervasive category in Argentine society. The word ‘negro’ is a commonplace in everyday speech, functioning both as a hateful insult and, paradoxically, as a term of endearment. Equally mysteriously, the insult usually alludes to indigenous rather than African ancestry. Typically, these usages are traced to the Peronist era. During his first two terms in office (1946–55), Juan Perón built a powerful working-class movement that challenged the nation’s hierarchies. Perón’s opponents attacked his followers in racial terms, labelling them cabecitas negras (little blackheads)…

Read or purchase the article here.

Parading Respectability: An Ethnography of the Christmas Bands movement in the Western Cape, South Africa

University of Illinois, Urbana-Champaign
May 2012
238 pages

Sylvia R. Bruinders

The Christmas Bands march through Adderley Street late at night during the “festive season” in Cape Town, 2001.
Picture by Henry Trotter. The author releases it to the public domain.

A Dissertation Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Musicology

In this dissertation I investigate the Christmas Bands Movement of the Western Cape of South Africa. I document this centuries-old expressive practice of ushering in the joy of Christmas through music by way of a social history of the colored communities. The term colored is a local racialized designation for people of mixed descent–often perceived as of mixed-race by the segregationist and apartheid ideologues. In the complexity of race relations in South Africa these communities have emerged largely within the black/white interstices and remained marginal to the socio-cultural and political landscape. Their ancestral area is the Western Cape where most still live and where several of their expressive practices can be witnessed over the festive season in the summer months from December through March. The Christmas Bands Movement is one of three parading practices that are active during this period.

Drawing on Foucault’s notion of “embodied subjectivity” and Butler’s work on gender and performativity, I explore three main themes, two of which are overlapping, throughout this dissertation. First, I investigate how the bands constitute themselves as respectable members of society through disciplinary routines, uniform dress, and military gestures. Second, I show how the band members constitute their subjectivity both individually as a member and collectively as a band; each has a mutual impact on the other. Even though the notion of subjectivity is more concerned with the inner thoughts and experiences and their concern with respectability is an outward manifestation of a social ideal, these two themes overlap as both relate to how the members constitute themselves. Third, I explore how the emergent gender politics, given renewed emphasis in the new South African constitution (1995) has played out in local expressive practices through the women’s insistence on being an integral part of the performance activities of the Christmas Bands Movement. Their acceptance into the Christmas Bands has transformed the historically gendered perception of the bands as male-only expressive forms. Furthermore, I will illustrate how this cultural practice has gained in popularity during the last seventeen years of democratic rule in South Africa, which may suggest that the historical marginality of the communities is still very present.

Read the entire dissertation here.

Interview with Brazilian Journalist and Activist Daniela Gomes

The Husslington Post
2011-12-04

Amil Cook, Correspondent

In this interview, Husslington Post correspondent, Amil Cook, goes in depth with journal/scholar/activist Daniela Gomes about her fight against racism in Brazil. This is the first installment in what we hope will become a series of interviews by Amil.

How influential is Hip-Hop and African American culture in Brazil?

For a long time Afro Brazilians didn’t have access to information about the black leaders in our history. The myth of the racial democracy created an important issue in our country, where a lighter skin person didn’t consider him/herself as black. So for many years for mixed people in Brazil to be black was a shame. In some cases this still happens. So after a long time we were without any understanding about black consciousness but during the 1970s some cultural and political movements started to be inspired by Afro American movements and heroes such as: the Civil Rights Movement, the Black Panther Party, Martin Luther King, Malcolm X and others. And Hip Hop is a part of this because of its cultural influence.

What is racial democracy for those who may not be familiar with this term?

Racial democracy was a theory created in the early 1900s. The main creator was Gilberto Freyre, who used to affirm that Brazilian society was totally different from other countries because it was a racially mixed country and as a mixed country there wasn’t racism here. He taught that we should value our three races [indigenous (native), African and European] that formed our society because it made us better, made our slavery less painful and things like that. It is important to explain that before Freyre the theory that used to be adopted in Brazil, was the ‘whitening theory’, it was used to affirm that if we started to mix the country we could clean our race and it was believed that in little time black people would be extinct in Brazil. The main thinker of this theory was Nina Rodrigues, a doctor who used to see the black population as a shame. Gilberto Freyre was Rodrigues’ student, and “improved” Rodrigues’ racist theories when he decided to hide the racial issue in Brazil. These two theories are fundamental to understand racial thought in Brazil. The first one [Rodrigues], made Brazilians believe that if they are mixed they aren’t black and the second one [Freyre] made them believe that we are special because we are mixed; there isn’t racism in our country so we don’t need to fight against it. And although the black struggle in my country never stopped, ideas like that made our mission harder…

Read the entire interview here.

Film Review: Marley

Film Journal International
2012-04-18

Marsha McCreadie

Marley, the documentary by Oscar-winning Kevin Macdonald about the legendary musician and national and international symbol for individual rights, should sparkle and sing—OK, there’s some of that—but it just sort of hums along. Maybe you can’t catch this particular lightning in a bottle, but there might be another way than this respectful, straightforward, admiring approach.

 If anyone could display the spectacular yet contradictory parts of Bob Marley—a multi-talented half-black/half-white womanizer who loved spiritually and pan-nationally; a mesmerizing performer who was a quiet guy; a pride-instiller for his dirt-poor country and religious proselytizer who lived by his own rules—it should be Macdonald. The Oscar-winning British director made the tyrant Idi Amin likeable and the charming James McAvoy despicable in The Last King of Scotland; he set our hearts to pounding with the jarring edit of massacred Israeli Olympians in One Day in September. Marley is thorough, revelatory and completely fair-minded. It’s just not very exciting. Wrong for Bob Marley…

…The Marley family-approved doc includes rare, candid interviews with his children (well, two of the eleven), and three—wait, four—of his seven women. Marley comes across as introspective, also extremely competitive (one too many shots of him at soccer), emphasizing the psychoanalytic angle that he was so driven because he never really knew his white father, married to his mother Cedella but mainly absent until he died when Bob was 10. We see a photo of Norval Marley, learn what little there is to know about this British Marine captain, and find that Bob always saw himself as an outsider: never part of the white community nor of the black, as he was considered a half-caste, not black enough. In the black Jamaican community, it was rumored his white half caused his melanoma, from which he died at 36…

Read the entire review here.

The Legend of Marley: Kevin Macdonald considers reggae, Rasta and politics in new documentary

Film Journal International
2012-04-19

Doris Toumarkine

It’s taken several decades and faced many frustrating setbacks, but a richly documented and worthy film about the late reggae superstar Bob Marley has at last been realized.

Previously attached to Martin Scorsese and Jonathan Demme, Marley has been brought to life by Oscar-winning Scottish director Kevin Macdonald (One Day in September), who was persuaded to board the project by executive producer Chris Blackwell, the man who signed Marley to his influential Island Records label.

Just as important, Hollywood producer/financier Steve Bing’s money kicked in (through his Shangri-La Entertainment) and Marley’s family finally acceded to full cooperation and access after much dissension. Marley’s son Ziggy is an exec producer and Bing is a producer.

Expectations are no doubt soaring high for this first full-blown documentary, not just for hard-core Marley and reggae fans but for all those who value pop music and its evolution as integral to Western culture.

Providing a wealth of visual material, music and testimony from talking heads close to Marley, the Magnolia release initially conveys the artist’s extreme poverty in his native Jamaica, where he grew up the mixed-race son of a teenage black mother and older, largely absent white British father, a military man who sailed the seas or just plain drifted…

…Maybe not everything was captured. Marley had a reputation for the wandering eye (he had 11 children) and smoked a lot of weed, aka ganja, but Marley mostly stays clear of those topics.

 More to the point, the doc provides a wealth of music and suggests why the Marley reggae sound caught on so big. Music abounds, including hits from the album Exodus and the reggae smash “No Woman, No Cry,” whose rhythms were unique because, as the doc shows, Marley shifted the traditional beats…

…So what was the most surprising thing Macdonald learned about Marley?

 “I discovered how Marley was such an outcast, such an outsider even in his native country,” he replies. “As a mixed-race man, he was never really respected and he was even looked down upon because he was a Rastafarian. Yet he found his identity as a Rasta and when he became successful, everything changed.”…

Read the entire review here.

Eurasian Women as Tawa’if Singers and Recording Artists: Entertainment and Identity-making in Colonial India

African and Asian Studies
Volume 8, Issue 3 (2009)
pages 268-287
DOI: 10.1163/156921009X458118

Shweta Sachdeva Jha, Assistant Professor of English
Miranda House, University College for Women, University of Delhi

Scholarship on Eurasians has often addressed issues of migration, collective identity and debates around home. Women performers however do not find themselves discussed in these histories of Eurasian peoples in India. This paper aims to account for individual agency in shaping one’s identity within the meta-narratives of collective identity of migrant peoples. I focus on two Eurasian women entertainers in the colonial cities of Benares and Calcutta who chose to forget their mixed-race past to fashion successful careers using new identities as tawa’if singers and actors in the late nineteenth and early twentieth centuries. This, I shall argue, was possible within the wider context of emergent colonial modernities in colonial India. By choosing micro-level case histories of these celebrity entertainers, I want to argue for including popular culture as an arena of identity-making within histories of migration and gender. To engage with popular culture, I shall extend our perception of historical ‘archive’ to include a varied set of materials such as biographical anecdotes, discographies, songbooks, and address the fields of poetry, music and history. Through this project I hope to rethink ideas of gender, culture and agency within wider debates of migration and identity-making.

Bob Marley: the regret that haunted his life

The Guardian
2012-04-07

Tim Adams, Staff Writer

Director Kevin Macdonald explains how he pieced together his new film about reggae legend Bob Marley, from troubled early years in Jamaica to worldwide adulation – even after death

In 2005, the director Kevin Macdonald was working in Uganda on his film The Last King of Scotland. In the slums of Kampala he was struck by a curious fact. There seemed to be images of Bob Marley and “Get up, stand up” slogans and dreadlocks wherever he went.

Marley had been on Macdonald’s mind anyway: he had been asked by Chris Blackwell, founder of Island Records, if he would be interested in getting involved in a film project about the Jamaican musician’s enduring legacy.

The original plan had been to follow a group of rastafarians on their journey from Kingston to their spiritual homeland of Ethiopia, to attend a celebration of the 60th anniversary of Marley’s birth. As it worked out, that film was never made, but, when the opportunity arose for Macdonald to make a more ambitious documentary about Marley, he jumped at the chance…

Read the entire article here.