Mixed Race Studies

Escaping Blackness

New York Review of Books
2020-03-26

Darryl Pinckney

Thomas Chatterton Williams, New York City, 2019 Dominique Nabokov

Self-Portrait in Black and White: Unlearning Race
by Thomas Chatterton Williams
Norton, 174 pp., $25.95

The black individual passing for white in nineteenth- and twentieth-century American fiction by white writers is usually a woman, and usually when the truth emerges, the purity of the white race is saved. However, in An Imperative Duty (1891) by William Dean Howells, a Boston girl is ashamed to find out that legally she is colored, but her white suitor marries her anyway and takes her off to a life in Italy. In the beginning of Charles Chesnutt’s The House Behind the Cedars (1900), a “high-bred” black man in North Carolina returns to his hometown to ask his sister to take his dead white wife’s place and bring up his son. A young aristocrat she meets in her new white life proposes marriage, but soon learns the truth of her origins. Literary convention, in the form of a fever, kills her. The white suitor realizes too late that love conquers all. He promises to keep the brother’s secret.

The secret was as radical as Chesnutt could get. From a North Carolina family of “free issue” blacks—meaning emancipated since colonial times—Chesnutt had blond hair and blue eyes. He wouldn’t pass for white, because if he became famous then he chanced someone appearing from his past. He preferred to pursue reputation as a black man. Chesnutt had cousins who crossed the color line and he never told on them, viewing passing as an act of “self-preservation,” a private solution to the race problem. The big escape from being black was an American tradition. Three of Sally Hemings’s six children ended up living as white people.

The nameless narrator of James Weldon Johnson’s novel The Autobiography of an Ex-Colored Man (1912), a widower and a father, says little about his life as a white man. He is interested instead in his past as a black person, his life with different classes of black people, his wanderings around Europe as a young musician. When he returned to the United States and went on a folk song–collecting tour of the South, he witnessed a lynching—a black man being burned alive. Terrified, he got himself across the color line. He didn’t want to belong to a racial group so utterly without power…

…Thomas Chatterton Williams, who belongs to the hip-hop generation of multiculturalism and diversity, is willing to risk being a throwback in his memoir/essay Self-Portrait in Black and White: Unlearning Race. To speculate on the racial future, he goes back to the days when the black individual who could do so took the side exit from segregated life to personal freedom. He deals with passing for white, class privilege, and his hopes for the possibilities of race transcendence, knowing perfectly well that because he is light-skinned he can contemplate racial identity as being provisional, voluntary, situational, and fluid…

Read the entire review here.

The Palgrave International Handbook of Mixed Racial and Ethnic Classification

Palgrave Macmillan
2020-01-21
817 pages
16 b/w illustrations, 17 illustrations in colour
Hardcover ISBN: 978-3-030-22873-6
eBook ISBN: 978-3-030-22874-3
DOI: 10.1007/978-3-030-22874-3

Edited by:

Zarine L. Rocha, Managing Editor
Current Sociology and Asian Journal of Social Science

Peter J. Aspinall, Emeritus Reader in Population Health
University of Kent, United Kingdom

Highlights

• Shows how classification and collection processes around mixedness differ between countries and how measurement has been changing over time
• Provides a window into the radical global changes in the trend towards multiple racial/ethnic self-identification that has been a feature of the recent past
• The first and only handbook to directly address the classification of mixed race/ethnicity on a global scale
• Pays specific attention to both the standard classifications and the range of uses these are put to – including social surveys and administrative data – rather than just census forms and data

This handbook provides a global study of the classification of mixed race and ethnicity at the state level, bringing together a diverse range of country case studies from around the world.

The classification of race and ethnicity by the state is a common way to organize and make sense of populations in many countries, from the national census and birth and death records, to identity cards and household surveys. As populations have grown, diversified, and become increasingly transnational and mobile, single and mutually exclusive categories struggle to adequately capture the complexity of identities and heritages in multicultural societies. State motivations for classification vary widely, and have shifted over time, ranging from subjugation and exclusion to remediation and addressing inequalities. The chapters in this handbook illustrate how differing histories and contemporary realities have led states to count and classify mixedness in different ways, for different reasons.

This collection will serve as a key reference point on the international classification of mixed race and ethnicity for students and scholars across sociology, ethnic and racial studies, and public policy, as well as policy makers and practitioners.

Table of Contents

• Front Matter
• Introduction: Measuring Mixedness Around the World / Zarine L. Rocha, Peter J. Aspinall
• Race and Ethnicity Classification in British Colonial and Early Commonwealth Censuses / Anthony J. Christopher
• The Americas
  • Front Matter
  • Introduction: North and South America / Peter J. Aspinall, Zarine L. Rocha
  • The Canadian Census and Mixed Race: Tracking Mixed Race Through Ancestry, Visible Minority Status, and Métis Population Groups in Canada / Danielle Kwan-Lafond, Shannon Winterstein
  • Methods of Measuring Multiracial Americans / Melissa R. Herman
  • Mixed Race in Brazil: Classification, Quantification, and Identification / G. Reginald Daniel, Rafael J. Hernández
  • Mexico: Creating Mixed Ethnicity Citizens for the Mestizo Nation / Pablo Mateos
  • Boundless Heterogeneity: ‘Callaloo’ Complexity and the Measurement of Mixedness in Trinidad and Tobago / Sue Ann Barratt
  • Mixed race in Argentina: Concealing Mixture in the ‘White’ Nation / Lea Natalia Geler, Mariela Eva Rodríguez
  • Colombia: The Meaning and Measuring of Mixedness / Peter Wade
• Europe and the UK
  • Front Matter
  • Introduction: Europe and the United Kingdom / Peter J. Aspinall, Zarine L. Rocha
  • The Path to Official Recognition of ‘Mixedness’ in the United Kingdom / Peter J. Aspinall
  • Measuring Mixedness in Ireland: Constructing Sameness and Difference / Elaine Moriarty
  • The Identification of Mixed People in France: National Myth and Recognition of Family Migration Paths / Anne Unterreiner
  • Controversial Approaches to Measuring Mixed-Race in Belgium: The (In)Visibility of the Mixed-Race Population / Laura Odasso
  • The Weight of German History: Racial Blindness and Identification of People with a Migration Background / Anne Unterreiner
  • Mixed, Merged, and Split Ethnic Identities in the Russian Federation / Sergei V. Sokolovskiy
  • Mixedness as a Non-Existent Category in Slovenia / Mateja Sedmak
  • Mixed Identities in Italy: A Country in Denial / Angelica Pesarini, Guido Tintori
  • (Not) Measuring Mixedness in the Netherlands / Guno Jones, Betty de Hart
  • Mixed Race and Ethnicity in Sweden: A Sociological Analysis / Ioanna Blasko, Nikolay Zakharov
• Africa, the Middle East, and Central Asia and the Caucasus
  • Front Matter
  • Introduction: Africa, the Middle East, and Central Asia and the Caucasus / Zarine L. Rocha, Peter J. Aspinall
  • The Classification of South Africa’s Mixed-Heritage Peoples 1910–2011: A Century of Conflation, Contradiction, Containment, and Contention / George T. H. Ellison, Thea de Wet
  • The Immeasurability of Racial and Mixed Identity in Mauritius / Rosabelle Boswell
  • Neither/Nor: The Complex Attachments of Zimbabwe’s Coloureds / Kelly M. Nims
  • Measuring Mixedness in Zambia: Creating and Erasing Coloureds in Zambia’s Colonial and Post-colonial Census, 1921 to 2010 / Juliette Milner-Thornton
  • Racial and Ethnic Mobilization and Classification in Kenya / Babere Kerata Chacha, Wanjiku Chiuri, Kenneth O. Nyangena
  • Making the Invisible Visible: Experiences of Mixedness for Binational People in Morocco / Gwendolyn Gilliéron
  • Measuring Mixedness: A Case Study of the Kyrgyz Republic / Asel Myrzabekova
• Asia and the Pacific
  • Front Matter
  • Introduction: The Asia Pacific Region / Zarine L. Rocha, Peter J. Aspinall
  • Where You Feel You Belong: Classifying Ethnicity and Mixedness in New Zealand / Robert Didham, Zarine L. Rocha
  • Measuring Mixedness in Australia / Farida Fozdar, Catriona Stevens
  • Measuring Race, Mixed Race, and Multiracialism in Singapore / Zarine L. Rocha, Brenda S. A. Yeoh
  • Multiracial in Malaysia: Categories, Classification, and Campur in Contemporary Everyday Life / Geetha Reddy, Hema Preya Selvanathan
  • Anglo-Indians in Colonial India: Historical Demography, Categorization, and Identity / Uther Charlton-Stevens
  • Mixed Racial and Ethnic Classification in the Philippines / Megumi Hara, Jocelyn O. Celero
  • Vaevaeina o le toloa (Counting the Toloa): Counting Mixed Ethnicity in the Pacific, 1975–2014 / Patrick Broman, Polly Atatoa Carr, Byron Malaela Sotiata Seiuli
  • Measuring Mixed Race: ‘We the Half-Castes of Papua and New Guinea’ / Kirsten McGavin
  • Measuring Mixedness in China: A Study in Four Parts / Cathryn H. Clayton
  • Belonging Across Religion, Race, and Nation in Burma-Myanmar / Chie Ikeya
  • Recognition of Multiracial and Multiethnic Japanese: Historical Trends, Classification, and Ways Forward / Sayaka Osanami Törngren, Hyoue Okamura
• Back Matter

Latin Blackness in Parisian Visual Culture, 1852-1932

Bloomsbury
2019-02-21
232 pages
9 colour and 37 bw illus
229 x 152 mm
Hardback 9781501332357

Lyneise E. Williams, Associate Professor of Art History
University of North Carolina

Latin Blackness in Parisian Visual Culture, 1852-1932 examines an understudied visual language used to portray Latin Americans in mid-19th to early 20th-century Parisian popular visual media. The term ‘Latinize’ is introduced to connect France’s early 19th-century endeavors to create “Latin America,” an expansion of the French empire into the Latin-language based Spanish and Portuguese Americas, to its perception of this population.

Latin-American elites traveler to Paris in the 1840s from their newly independent nations were denigrated in representations rather than depicted as equals in a developing global economy. Darkened skin, etched onto images of Latin Americans of European descent mitigated their ability to claim the privileges of their ancestral heritage. Whitened skin, among other codes, imposed on turn-of-the-20th-century Black Latin Americans in Paris tempered their Blackness and rendered them relatively assimilatable compared to colonial Africans, Blacks from the Caribbean, and African Americans.

After identifying mid-to-late 19th-century Latinizing codes, the study focuses on shifts in latinizing visuality between 1890-1933 in three case studies: the depictions of popular Cuban circus entertainer Chocolat; representations of Panamanian World Bantamweight Champion boxer Alfonso Teofilo Brown; and paintings of Black Uruguayans executed by Pedro Figari, a Uruguayan artist, during his residence in Paris between 1925-1933.

Table of contents

• List of Illustrations
• Acknowledgements
• Introduction
  • The Term “Latin American”
  • Why Paris?
  • Much More Than Primitivism
  • Reduced to Latin Americans
  • Parisian Figurations of Blackness from the Mid-Nineteenth to the Early Twentieth Century
  • Overview of the Study
• Chapter 1: Playing Up Blackness and Indianness; Downplaying Europeanness
  • Editing Francisco Laso: Racializing Spanish and Portuguese Americans
  • Performing Rastaquerismo
  • Justified by Anthropology: Quatrefages, Hamy, and the Casta Paintings
  • Latin American Self-Representation
  • The Shifting Rastaquouère
  • Maintaining Anthropological Interpretations in the Early Twentieth Century
  • Conclusion
• Chapter 2: Chocolat the Clown: Not Just Black
  • Chocolat and Footit: Partners in Contrast
  • The Auguste Chocolat
  • The Give and Take of Chocolat and Footit
  • Chocolat and Footit at the Nouveau Cirque
  • Chocolat as Brand Image
  • Beneath the Surface
  • Chocolat as Mixed Animal
  • Chocolat the Contaminant
  • Impure Chocolat(e)
  • Chocolat, That Special Ingredient: The Racially Mixed Object of Desire
  • Complicating Notions of Minstrelsy
  • Lip Interventions
  • Representations Through Clothing
  • Sexualizing Black Dandies
  • Assimilating the Latin
  • Beyond the Circus
  • Chocolat, Object of Gay Desire
  • Chocolat and the Elite and the Virile
  • Conclusion
• Chapter 3: Alfonso Teofilo Brown: Agency and Impositions of Blackness and Europeanness
  • Sport and the Imagined Ideal Male Body
  • Black Boxers in Turn-of-the-Century France
  • Gangly Brown
  • The Purity and Hybridity of Gangly Brown
  • Brown the Gentleman
  • Images of Black Difference
  • Brown the Philanthropist
  • Conclusion
• Chapter 4: Figari’s Blacks: Negotiating French and Southern Cone Blackness
  • Figari and Paris
  • Contested Whiteness and the Black Body
  • Conceptualizing Regional Identity
  • Through the Anthropological Gaze
  • Candombe as Framing Device
  • Gender and Race in Candombe
  • Objects as Markers
  • Figari as “Naïf” Painter
  • Increasing Latin American Presence in Paris
  • Perceptions of Black Uruguayans
  • Figari’s Evolution in Paris
  • Contradictions and Contrasts between Figari’s Paintings and Written Work
  • Conclusion
• Coda
• Select Bibliography

How Moving to France and Having Children Led a Black American to Rethink Race

The New York Times
2019-10-14

Andrew Solomon

Eiko Ojala

SELF-PORTRAIT IN BLACK AND WHITE: Unlearning Race
By Thomas Chatterton Williams

Thomas Chatterton Williams is the son of a black father and a white mother, but grew up identifying as black on the basis that even one drop of black blood defines a person as belonging to that often besieged minority. His father claimed that his mother was a black woman at heart, and brought up his son to oppose the implicit racism of passing, though Williams has a complexion more tanned than sub-Saharan, and is often mistaken for an Arab in France, where he lives. Williams married a white woman and both their children were born with blond hair and blue eyes. Are they, too, black by the one-drop rule? In questioning their determinative race, he has plumbed not only his own but also the complexity of racial identity for people outside the prevalent white/nonwhite binary.

Williams, a contributing writer at The New York Times Magazine, is well educated, intellectually sophisticated and prosperous, and he tries to limn the complex relationship between race and class, to figure out where racism is classism and where classism is racism, an almost Escher-like maze as snobbery casts a thin veil over racial hatred and vice versa. Williams can say, “I do not feel myself to be a victim — not in any collectively accessible way.” He is unabashedly the product of a society that champions diversity and encourages people of color to think in terms of identity politics, but he opposes racial essentialism and is an exponent of compromise on some of the niceties of political correctness. He fears the integration that will be available to his blond daughter, Marlow, enabling her to erase aspects of her identity, but he also decries the segregating intolerances that come from both the majority and the minorities…

Read the entire review here.

Book Reviews: Self-Portrait in Black and White

Tablet
2019-09-24

Daniel Oppenheimer

The rewards of subordinating racial or ethnic identity, in the new memoiristic essay by the author of ‘Losing My Cool’

Thomas Chatterton Williams’ new book, Self-Portrait in Black and White: Unlearning Race, is a few things. It’a memoiristic follow-up to his first book, Losing My Cool: Love, Literature, and a Black Man’s Escape from the Crowd; a meditation on what it means for a black man to discover that he’s fathered white children; and an impassioned argument for rejecting the whole modern paradigm of black and white.

It’s also, I think, an effort to answer for himself one of the essential questions that many older liberals, who were formed before the rise of identity politics, simply can’t answer or even adequately ask. What does one get in return for subordinating one’s racial or ethnic identity? Folks like Mark Lilla, Francis Fukuyama, Sam Harris, Laura Kipnis, Andrew Sullivan, Jonathan Chait, and Jonathan Haidt are on the front lines of the present culture war making compelling arguments that our society needs shared values and narratives to sustain itself, that collectively it is in our best interests to privilege our commonalities over our differences. They’re not, however, providing interesting or persuasive psychological answers to why any given individual would be moved to let his or her racial or ethnic identity attenuate when it is actively providing strength and solace. Or why young people, not yet fully formed, would abstain from the identities that are not just au courant but manifestly powerful in their capacity to compel deference or compliance from the establishment. They’re not offering a new synthesis that incorporates some of the insights and aesthetics of identity politics. They’re mostly arguing for a return to the previous liberal synthesis…

Read the entire review here.

In Search of Julien Hudson: Free Artist of Color in Pre–Civil War New Orleans

Historic New Orleans Collection
2010
128 pages
70 color images, 7 b/w images
8″ × 9½”
Hardcover ISBN: 978-0-917860-57-7

Edited and with an introduction by Erin M. Greenwald, with essays by William Keyse Rudolph and Patricia Brady

Julien Hudson, born in 1811 in New Orleans, was the son of a property-owning free woman of color and a white English merchant, ironmonger, and ship chandler. Hudson began painting in the mid-1820s, training first in New Orleans and later in Paris. Little is known about his personal life, outside of scattered details found in a handful of public documents and a pair of early-twentieth-century reminiscences by former student George Coulon and prominent Creole of color Rodolphe Desdunes. This carefully researched volume is the most thorough examination to date of Julien Hudson and his world.

[Mati] Diop’s father (jazz musician Wasis Diop) is from Senegal and her mother is French. Diop was born and raised in Paris, although she visited Senegal often as a child. “In France, we have a very different relationship in terms of defining blackness. I’m not called black — I’m called a Frenchwoman,” she says. “But I have noticed that in America, as soon as you have a little — even 10 or 20 percent of blackness — you become black. Being black is not something I think about every day when I wake up. I don’t think of myself as white or as black. I just think about me as me.”

“Meet the First Black Female Director in the Cannes Competition,” The Hollywood Reporter, May 9, 2019. https://www.hollywoodreporter.com/news/mati-diop-being-first-black-female-director-cannes-lineup-1208189.

Theaster Gates on how his new show was inspired by the eviction of 45 people from an island in Maine

The Art Newspaper
2019-02-01

Anna Swansom

Theaster Gates ©Theaster Gates; Photo: Julian Salinas

The Chicago-based artist’s exhibition in Paris examines the forced removal in 1911 of the inhabitants of Malaga Island

The US artist Theaster Gates has taken the eviction of a mixed-race community from a small island in Maine as the starting point for his first solo exhibition in France, opening this month at the Palais de Tokyo. In 1912, 45 people from Malaga Island were evicted by the state authorities and eight of them were committed to the Maine School for the Feeble-Minded following the state’s purchase of the island in 1911. The island, a poor fishing village of black, white and mixed-race people, was ridiculed in a Maine newspaper as a “strange community” of “peculiar people”; its eviction has recently been described by a US documentary as having been motivated by economics, racism, eugenics and political retribution.

Through new works including sculptures, a film and a video, the Chicago-based artist has developed the wide-ranging project and exhibition, Amalgam, which explores the complexity of interraciality and migratory histories. The show has been organised by Katell Jaffrès and has received support from Regen Projects, Richard Gray Gallery and White Cube.

The Art Newspaper: How did you become interested in the history of Malaga Island and how did this lead to Amalgam?

Theaster Gates: I had started a residency in 2017 at Colby College in Maine and was visiting a friend who said there was this important, not well-known history about this island that used to have black and mixed-race people that were evicted. We were in a boat and he suggested having lobsters on the adjacent island before checking it out. So I learned of it quite leisurely and then started to do research.

The idea of interracial mixing led to the creation of a sculptural form, “amalgam”: a by-product of what happens when one artistic form from history meets another one to create a new kind of work. I wanted to create a bridge that would make people more curious about this island and for people who are of mixed race and from backgrounds where their parents are of different religions, I wanted Malaga to be a place where all mixes felt that they had a home. The beauty of mixing is one of the cornerstones of the exhibition…

Read the interview article here.

A French-Rwandan Rap Star Turned Novelist From Burundi

The New York Times
2018-05-29

Tobias Grey

“Small Country,” by Gaël Faye, is about a boy, living in Burundi during the war between the Hutus and Tutsis, who loses his innocence in spite of desperately wanting to cling onto it. Elliott Verdier for The New York Times

PARIS — “It felt like an injustice to me,” said the rapper and novelist Gaël Faye, about having to leave civil-war-torn Burundi in 1995 to come live in France. Mr. Faye, who was 13 at the time, had to contend with the shock of a new culture and moving with his younger sister into the cramped space of his mother’s apartment in Versailles.

Months went by without unpacking his suitcases. “When I went to school I used to take what I needed and put it back afterward,” the 36-year-old author said in a recent interview in Paris. “I’d convinced myself that any day my father would ring up and tell us that the war had ended and we could come back. But the war ended up lasting until 2005 by which time I was an adult.”

In his first novel, “Small Country” — a huge hit in France when it was published in 2016 and where it sold 700,000 copies — Mr. Faye wrote with a rare and subtle yearning about his youthful escapades in and around Bujumbura, the capital of Burundi. It has now been translated from French into English by Sarah Ardizzone and is being released by Hogarth on June 5.

“Small Country,” which in its original language shares the title of one of Mr. Faye’s most popular songs, “Petit Pays,” is told from the perspective of Gabriel, a 10-year-old boy with a French father and a Rwandan mother (the same mixed-race parentage as Mr. Faye). He is part of a gang of young boys sneaking beers in cabaret bars and stealing mangoes from local gardens to sell on the black market…

Read the entire article here.

Lesec, from Brave Mulato into Blackness?: Defection to France and Spanish Racial Regression

Age of Revolutions
2018-04-02

Charlton W. Yingling, Assistant Professor of History
University of Louisville, Louisville, Kentucky

“El ciudadano Hedouville habla al mentor de los negros…,” Jean-Louis Dubroca, Vida de J. J. Dessalines, gefe de los Negros de Santo Domingo (Mexico, 1806), University of Virginia Slavery Images Database, JCB_67-270-3. This well-known image is cropped to draw attention away from the figures’ faces and to their façades.

In May 1794, Governor Joaquín García of Spanish Santo Domingo (present-day Dominican Republic) praised the “brave spirit” of “Carlos Gabriel Lesec, mulato,” a term denoting European and African heritage. As an officer in Spain’s Black Auxiliaries, Lesec had just repulsed troops of the French Republic in a resounding victory at Santa Susana on the border with Saint-Domingue (present-day Haiti). As the third anniversary of the Haitian Revolution approached, thousands of ex-slaves had expanded their liberatory war under Spanish flags and occupied nearly half of Saint-Domingue.[1] These “Black Auxiliaries” of Spain enjoyed limited manumissions and material support in their war against the French, their former exploiters. Their leaders, Jean-François and Georges Biassou, represented some of the earliest participants in the initial slave revolts of 1791. Those who ascended later, such as Toussaint Louverture and his officer Charles Lesec, seized a once-in-a-lifetime opportunity at upward mobility by punishing their former French oppressors. Despite these victories, García was dismayed by the “disunion that reigns between the black chiefs Biassou and Toussaint,” who along with Jean-François were Lesec’s superiors.[2] Six months earlier French commissioner Léger-Félicité Sonthonax had begun tactical, practical emancipations, in part to attract black supporters due to desperation over his opponents’ successes…

Read the entire article here.