Mixed Race Studies

The Pose as Interventionist Gesture: Erica Lord and Decolonizing the Proper Subject of Memory

E-Misférica
Decolonial Gesture, Volume 11, Issue 1, 2014

Colleen Kim Daniher
School of Communication
Northwestern University, Evanston, Illinois

This article investigates the decolonial politics of the pose in the photographic and installation work of mixed-race Native Alaskan artist Erica Lord. Refiguring the pose as decolonial gesture, I argue that Lord’s poses can be understood as decolonial labor because of the ways in which they employ messy genealogies of colonial space and time in order to disrupt the linear unfolding of white settler colonial history. In the act of posing, Lord intervenes in a visual and historical archive that positions both Native and mixed race subjects—especially women—as particularly vulnerable subjects to the ongoing Western imperial project of assimilationist inclusion. Lord’s photographic poses enact a literal seizure of time that resists both the presumed past-ness of the Native American and the presumed futurity of the racially-ambiguous, mixed race woman. In so doing, she revises the temporal politics of both, critically calling into question “the proper” subject of memory.

And it is always exciting, then and now, to realize that you are not a person or a voice that stands alone […] There’s this quote that I repeat to myself all the time, I put it on the starter slide for just about every presentation I give, and I think about it often…

Erica Lord, in interview with Dasha Shleyeva

and when we speak we are afraid
our words will not be heard
nor welcomed
but when we are silent we are still afraid
so it is better to speak
remembering
we were never
meant to survive

Audre Lorde from Litany for Survival

A woman, hair bleached blond and eyes rimmed with kohl, gazes directly into the camera. She is naked, save for a banana-lined skirt and piles of necklaces cascading down her bare breasts. Back arched, her hands wrapped around her exposed stomach, the woman’s feet are planted firmly on the ground, yet her long legged stance suggests the latent possibility of movement, of dance. We have seen this image, differently, before. Behind her, a double shadow, as if in flight, splays against the obvious studio backdrop. Moving between darkness and light, stillness and movement, presence and absence, the photograph conjures the ghost of Josephine Baker only to refract it, multiplying different trajectories of space and time both into the past and into the future.

The image is multimedia artist Erica Lord’s 2005 self-portrait, Danse Sauvage, and it features the artist in costume and in character as Baker. Lord is a self-identified mixed-race Native Alaskan of Athabascan (interior Alaska), Inupiat (North and Northwest Alaska), Finnish, Swedish, English, and Japanese descent. She has described the work as being “a direct response to the feeling of being seen as exotic,” explaining that she: “tried looking back in history, at other mixed women, or other Native women who sort of owned that power [of exoticism] […] The photograph sort of grew from this desire to emulate or embody that sort of force or power that she [Josephine Baker] had” (Shleyeva 2010). Although some might object to Lord’s proximate staging of North American Indigenous and Black diasporic histories, this essay seizes upon Lord’s identificatory “look back in history” in order to examine the ways in which such a gesture critically addresses the overlapping but sometimes fraught relationship between decolonizing and antiracist epistemological stances. Bonita Lawrence and Enakshi Dua have characterized this antagonism as an issue of historical memory: critical race and postcolonial theory systematically erases Aboriginal peoples and decolonization from the construction of knowledge about ‘race,’ racism, racial subjectivities, and antiracism…the exclusion of Aboriginal peoples from the project of antiracism erases them from history. (Lawrence and Dua 2005, 132)…

Read the entire article here.

Musical Miscegenation? Rock Music and the History of Sex

e-misférica
Hemispheric Institute for Performance & Politics
Issue 5.2: Race and its Others (December 2008)

Tavia Nyong’o, Associate Professor of Performance Studies
New York University

Image by Bruce Yonemoto

Countering facile analogies between musical hybridity and sex across the color line that characterize certain popular discourses about American popular music, this essay explores the genealogy of “miscegenation” in U.S. political discourse. Undermining claims that “musical miscegenation” explains black influence in rock music, the essay shows how “miscegenation” emerged precisely as a means of policing and proscribing black citizenship and black/white social equality.

“So, when it comes, miscegenation will be a terror …”
—Norman Mailer, “The White Negro,” 1957

When pop music critic Sasha Frere-Jones wondered aloud in the New Yorker magazine as to how, when, and why “indie rock lost its soul” in the mid-1990s, he provoked a small controversy among popular music critics, bloggers, and fans. Lamenting rock’s decreasing reliance on what he described as “the ecstatic singing and intense, voicelike guitar tones of the blues, the heavy African downbeat, and the elaborate showmanship that characterized black music of the mid-twentieth century,” Frere-Jones targeted contemporary musicians that he considered to be guilty of divorcing (white) rock from its (black) roots (Frere-Jones 2007a). Part of his argument resembled prior cases made by music critics like Albert Murray (1990) and Kandia Crazy Horse (2004), who have also extolled the universal basis and relevance of black music. But it took a peculiar turn when he attributed the steady diminution of black heat, rhythm, and ecstasy in 1990s and 2000s rock to a cultural separatism jointly enforced by hip hop and academic political correctness…

…Miscegenation as Political Coinage

Scholars and journalists routinely employ miscegenation, with or without scare quotes, to denote the “mixing” of the so-called races. Even when they pause to think about it, even when, as with Frere-Jones when they are challenged on their use of it, they typically ignore or seem unaware that the word appeared at a particular time and place, and for a particular purpose. Whatever Ralph Emerson meant by the “smelting pot,” for example, he could not have meant “miscegenation” musical or otherwise, simply because the word did not yet exist, and because he chose not to use the closest variant with a racial connotation that did exist at the time, amalgamation. While a variety of terms for race, caste, and color “mixing” have emerged from the time of the Encounter with the New World, no single term can accurately index all of that history. Miscegenation is not the translation of the Spanish mestizaje or the Portuguese mestizagem it is commonly assumed to be, as both terms long predate it. Nor does it have any etymological relation to words like “mulatto,” “mestizo,” or, for that matter, “hybrid.” It is, to quote William Carlos Williams, a “pure product” of the U.S., a specimen of rhetorical chicanery and pseudo-scientific quackery whose astonishing success at infiltrating the language should only surprise those who doubt the immense resources of racial disavowal in the shaping of our culture…

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Ellen Craft’s Radical Techniques of Subversion

e-misférica
Hemispheric Institute for Performance & Politics
Issue 5.2: Race and its Others (December 2008)
16 pages

Uri McMillan, Assistant Professor of English
University of California, Los Angeles

Image by Bruce Yonemoto

This paper considers the antebellum performance(s) of fugitive slave Ellen Craft. Craft, an African-American female slave from Georgia, impersonated a white male slaveholder, Mr. William Johnson, in order to escape from slavery with her husband William. I argue that through various techniques of performance—cross-racial impersonation, prosthetics, costume, hair, and gender performance, for example—Craft radically destabilized nineteenth-century social norms, particularly racial and gender mores. An antebellum subject who manipulated her body as an elastic object, Ellen Craft made costumes out of the rigid nineteenth-century identities of “blackness” and “whiteness,” particularly 19th century white masculinity. In this paper, specifically, I analyze the corporeal techniques Craft wielded in her original performance to escape in America before moving to her appearances later on the abolitionist lecture stage in England.

Read the entire article here.