Mixed Race Studies

A Graphic Novel That Answers a Child’s Question About Being Biracial

Book Review
The New York Times
2019-05-02

Ed Park

Mira Jacob

For a person of color in America, the term person of color can be both useful and divisive, at once a form of solidarity and a badge of alienation. There’s a flattening effect, too: A multitude of ethnicities and cultures, with their own color-coded nuances, get crammed into the initials P.O.C.

Among its many virtues, Mira Jacob’s graphic memoir, Good Talk (One World, $30), helps us think through this term with grace and disarming wit. The book lives up to its title, and reading these searching, often hilarious tête-à-têtes — with her parents and brother, confidantes and strangers, employers and exes — is as effortless as eavesdropping on a crosstown bus.

Mira lives in New York with her husband, Jed, who is white and Jewish, and their young son, Z., who is dark-skinned like his mother — a poster for racial harmony that can, in the current climate, feel like a target. Born in New Mexico to parents who immigrated from India in 1968, Mira is simply “brown,” if ethnically obscure, while growing up (“You’re Indian like feathers or Indian like dots?” a boy asks her). Ironically, she first feels the stigma of skin color on trips to her parents’ native country, thanks to not being as “fair” as the rest of her family. As a girl, Mira envisions the “lighter, happier, prettier me.”…

Read the entire review here.

Illustrating the Messy Reality of Life as an Interracial Family

The Atlantic
2019-04-12

Amal Ahmed

Mira Jacob / Courtesy of Penguin Random House

In her new graphic memoir, the author Mira Jacob documents conversations about love and race with multiple generations of her family.

When the novelist Mira Jacob’s son was 6, he started asking her a lot of questions about race and identity. It started with Michael Jackson: Was he brown or black or white, and what did he like best? Then his questions took a more serious turn: Was it bad to be brown in America? Though he was only 6, Jacob’s son, who is biracial, was old enough to understand the news at the time, which was fixated on the riots in Ferguson, Missouri, after a white cop shot a black teenager. He wanted to know whether white people were afraid of brown people. And what about his own father, who was white? Was he ever scared of brown people?

Jacob didn’t always know how to answer him in the moment. She remembered the confusing conversations about race and identity that she’d had as a child herself, growing up in one of the few South Asian families in New Mexico. But having those conversations with her son in the years leading up to Donald Trump’s presidency made her realize that there weren’t any easy answers to the question of what it means to grow up as a person of color in the United States.

Even though she’s a writer by trade, Jacob couldn’t find the words to describe what she was feeling. She often felt paralyzed thinking about the hurtful comments she might receive online if she did write openly about those tricky conversations. But she still felt the urge to record them somehow, and that led her to producing a memoir in the form of a graphic novel. The book, Good Talk, spans from her childhood in New Mexico to her more recent arguments with in-laws who wanted to vote for Trump and who she felt weren’t listening to her concerns about his racist rhetoric on the campaign trail…

Read the entire interview here.

Good Talk: A Memoir in Conversations

Penguin Random House
2019-03-26
368 pages
Hardcover ISBN: 9780399589041

Mira Jacob
Brooklyn, New York

“How brown is too brown?”
“Can Indians be racist?”
“What does real love between really different people look like?”

Like many six-year-olds, Mira Jacob’s half-Jewish, half-Indian son, Z, has questions about everything. At first they are innocuous enough, but as tensions from the 2016 election spread from the media into his own family, they become much, much more complicated. Trying to answer him honestly, Mira has to think back to where she’s gotten her own answers: her most formative conversations about race, color, sexuality, and, of course, love.

Written with humor and vulnerability, this deeply relatable graphic memoir is a love letter to the art of conversation—and to the hope that hovers in our most difficult questions.

…Many Hispanic families in New Mexico have long known that they had indigenous ancestry, even though some here still call themselves “Spanish” to emphasize their Iberian ties and to differentiate themselves from the state’s 23 federally recognized tribes, as well as from Mexican and other Latin American immigrants.

But genetic testing is offering a glimpse into a more complex story. The DNA of Hispanic people from New Mexico is often in the range of 30 to 40 percent Native American, according to Miguel A. Tórrez, 42, a research technologist at Los Alamos National Laboratory and one of New Mexico’s most prominent genealogists.

…“I have Navajo, Chippewa, Greek and Spanish blood lines,” said Mr. Tórrez, who calls himself a mestizo, a term referring to mixed ancestry. “I can’t say I’m indigenous any more than I can say I’m Greek, but it’s both fascinating and disturbing to see how various cultures came together in New Mexico.”…

Simon Romero, “Indian Slavery Once Thrived in New Mexico. Latinos Are Finding Family Ties to It.” The New York Times, January 28, 2018. https://www.nytimes.com/2018/01/28/us/indian-slaves-genizaros.html.

Indian Slavery Once Thrived in New Mexico. Latinos Are Finding Family Ties to It.

The New York Times
2018-01-28

Simon Romero

St. Thomas the Apostle Church in Abiquiú, N.M., a village settled by former Indian slaves, or Genízaros, in the 18th century. Credit Adria Malcolm for The New York Times

ALBUQUERQUE — Lenny Trujillo made a startling discovery when he began researching his descent from one of New Mexico’s pioneering Hispanic families: One of his ancestors was a slave.

“I didn’t know about New Mexico’s slave trade, so I was just stunned,” said Mr. Trujillo, 66, a retired postal worker who lives in Los Angeles. “Then I discovered how slavery was a defining feature of my family’s history.”

Mr. Trujillo is one of many Latinos who are finding ancestral connections to a flourishing slave trade on the blood-soaked frontier now known as the American Southwest. Their captive forebears were Native Americans — slaves frequently known as Genízaros (pronounced heh-NEE-sah-ros) who were sold to Hispanic families when the region was under Spanish control from the 16th to 19th centuries. Many Indian slaves remained in bondage when Mexico and later the United States governed New Mexico.

The revelations have prompted some painful personal reckonings over identity and heritage. But they have also fueled a larger, politically charged debate on what it means to be Hispanic and Native American…

…Many Hispanic families in New Mexico have long known that they had indigenous ancestry, even though some here still call themselves “Spanish” to emphasize their Iberian ties and to differentiate themselves from the state’s 23 federally recognized tribes, as well as from Mexican and other Latin American immigrants.

But genetic testing is offering a glimpse into a more complex story. The DNA of Hispanic people from New Mexico is often in the range of 30 to 40 percent Native American, according to Miguel A. Tórrez, 42, a research technologist at Los Alamos National Laboratory and one of New Mexico’s most prominent genealogists.

…“I have Navajo, Chippewa, Greek and Spanish blood lines,” said Mr. Tórrez, who calls himself a mestizo, a term referring to mixed ancestry. “I can’t say I’m indigenous any more than I can say I’m Greek, but it’s both fascinating and disturbing to see how various cultures came together in New Mexico.”…

Read the entire article here.

Identity Politics of Difference: The Mixed-Race American Indian Experience

University Press of Colorado
2017-08-15
168 pages
1 table
Hardcover ISBN: 978-1-60732-543-7

Michelle R. Montgomery, Assistant Professor
School of Interdisciplinary Arts & Sciences, American Indian Studies, and Ethnic, Gender & Labor Studies
University of Washington, Tacoma

In Identity Politics of Difference, author Michelle R. Montgomery uses a multidisciplinary approach to examine questions of identity construction and multiracialism through the experiences of mixed-race Native American students at a tribal school in New Mexico. She explores the multiple ways in which these students navigate, experience, and understand their racial status and how this status affects their educational success and social interactions.

Montgomery contextualizes students’ representations of their racial identity choices through the compounded race politics of blood quantum and stereotypes of physical features, showing how varying degrees of “Indianness” are determined by peer groups. Based on in-depth interviews with nine students who identify as mixed-race (Native American–White, Native American–Black, and Native American–Hispanic), Montgomery challenges us to scrutinize how the category of “mixed-race” bears different meanings for those who fall under it based on their outward perceptions, including their ability to “pass” as one race or another.

Identity Politics of Difference includes an arsenal of policy implications for advancing equity and social justice in tribal colleges and beyond and actively engages readers to reflect on how they have experienced the identity politics of race throughout their own lives. The book will be a valuable resource to scholars, policy makers, teachers, and school administrators, as well as to students and their families.

Descendants Of Native American Slaves In New Mexico Emerge From Obscurity

All Things Considered
National Public Radio
2016-12-29

John Burnett, Southwest Correspondent, National Desk

Santo Tomas Catholic church in Abiquiu, N.M., is the site of an annual saint’s day celebration in late November that includes cultural elements of the genizaros, the descendants of Native American slaves. John Burnett/NPR

Every year in late November, the New Mexican village of Abiquiu, about an hour northwest of Santa Fe, celebrates the town saint, Santo Tomas. Townfolk file into the beautiful old adobe Catholic church to pay homage its namesake.

But this is no ordinary saint’s day. Dancers at the front of the church are dressed in feathers, face paint and ankle bells that honor their forbears — captive Indian slaves called genizaros.

The dances and chants are Native American, but they don’t take place on a Pueblo Indian reservation. Instead, they’re performed in a genizaro community, one of several scattered across the starkly beautiful high desert of northern New Mexico.

After centuries in the shadows, this group of mixed-race New Mexicans — Hispanic and American Indian — is stepping forward to seek recognition…

Read the entire story here. Download the story (00:05:04) here.

A Contested Art: Modernism and Mestizaje in New Mexico

University of Oklahoma Press
2015
304 pages
6.125″ x 9.25″
Hardcover ISBN: 9780806148649

Stephanie Lewthwaite, Lecturer in American History, Faculty of Arts
University of Nottingham

When New Mexico became an alternative cultural frontier for avant-garde Anglo-American writers and artists in the early twentieth century, the region was still largely populated by Spanish-speaking Hispanos. Anglos who came in search of new personal and aesthetic freedoms found inspiration for their modernist ventures in Hispano art forms. Yet, when these arrivistes elevated a particular model of Spanish colonial art through their preservationist endeavors and the marketplace, practicing Hispano artists found themselves working under a new set of patronage relationships and under new aesthetic expectations that tied their art to a static vision of the Spanish colonial past.

In A Contested Art, historian Stephanie Lewthwaite examines the complex Hispano response to these aesthetic dictates and suggests that cultural encounters and appropriation produced not only conflict and loss but also new transformations in Hispano art as the artists experimented with colonial art forms and modernist trends in painting, photography, and sculpture. Drawing on native and non-native sources of inspiration, they generated alternative lines of modernist innovation and mestizo creativity. These lines expressed Hispanos’ cultural and ethnic affiliations with local Native peoples and with Mexico, and presented a vision of New Mexico as a place shaped by the fissures of modernity and the dynamics of cultural conflict and exchange.

A richly illustrated work of cultural history, this first book-length treatment explores the important yet neglected role Hispano artists played in shaping the world of modernism in twentieth-century New Mexico. A Contested Art places Hispano artists at the center of narratives about modernism while bringing Hispano art into dialogue with the cultural experiences of Mexicans, Chicanas/os, and Native Americans. In doing so, it rewrites a chapter in the history of both modernism and Hispano art.

Published in cooperation with The William P. Clements Center for Southwest Studies, Southern Methodist University

There is No There There: Women and Intermarriage in the Southwestern Borderlands

Common-Place
A Common Place, An Uncommon Voice
Volume 13, Number 3, Spring 2013

Amanda Taylor-Montoya

Amanda Taylor-Montoya is an independent scholar living in southern New Mexico.

Borderlands are fuzzy, slippery, ambiguous places. Whether imagined as a geographic region straddling an international border, “the contested boundaries between colonial domains,” or simply zones of intercultural contact where state or imperial power is weak, borderlands are spaces where social boundaries are unstable and social conventions appear more flexible. Cooperation and accommodation characterize the borderlands as much as conflict and violence. Historians often point to centuries of racial mixture to help explain the cultural fluidity and hybridization that prevail in the borderlands.

Tales of liaisons that transgressed racial boundaries (beginning with the relationship between Hernán Cortés and Malíntzin Tenépal) are so common in histories of the Southwestern borderlands that they function as a kind of creation story for the region and its peoples. Here, men exchanged women—as captives or wives—to establish, bolster, or consolidate economic and social relationships. Indigenous women not only provided sexual companionship and domestic labor, but also served critical roles as translators, guides, and cultural mediators in colonial encounters between Europeans and native peoples. Whether consensual or coerced, mixed unions figured prominently in the borderlands economy and culture…

…Spanish colonial society recognized a wide variety of mixed race peoples, but also maintained a stringent hierarchy between them. The racial system included not only españoles (Spaniards) and indios (Indians), but also people identified as mestizos (Spanish and Indian), mulatos (Spanish and African), castizos (Spanish and mestizo), castas (racial mixture), color quebrado (literally, “broken color”), and genízaros (Hispanicized Indians). One’s racial classification was determined not only by ancestry or phenotype, but also by occupation or class, and could change over time according to one’s circumstances.

Race and legitimacy were intertwined in colonial New Mexico, as many associated mixed unions with illegitimacy and illicit sex. Consequently, many marriages—particularly among the elite—were arranged, in order to ensure matches with someone of equal status to preserve family honor. Simply put, the state’s acknowledgment of mixed race people did not alter the association of racial mixture with dishonor. In the first decades of the nineteenth century, New Mexicans increasingly moved away from the nuanced racial hierarchy in place during the colonial period toward a more rigid racialization of two categories: Spanish and Indian…

Read the entire article here.

Estimating Genetic Ancestry Proportions from Faces

PLoS ONE
Volume 4, Number 2, e4460 (February 2009)
8 pages
DOI: 10.1371/journal.pone.0004460

Yann C. Klimentidis
Department of Biostatistics
University of Alabama, Birmingham

Mark D. Shriver, Associate Professor of Anthropology
Pennsylvania State University

Ethnicity can be a means by which people identify themselves and others. This type of identification mediates many kinds of social interactions and may reflect adaptations to a long history of group living in humans. Recent admixture in the US between groups from different continents, and the historically strong emphasis on phenotypic differences between members of these groups, presents an opportunity to examine the degree of concordance between estimates of group membership based on genetic markers and on visually-based estimates of facial features. We first measured the degree of Native American, European, African and East Asian genetic admixture in a sample of 14 self-identified Hispanic individuals, chosen to cover a broad range of Native American and European genetic admixture proportions. We showed frontal and side-view photographs of the 14 individuals to 241 subjects living in New Mexico, and asked them to estimate the degree of NA admixture for each individual. We assess the overall concordance for each observer based on an aggregated measure of the difference between the observer and the genetic estimates. We find that observers reach a significantly higher degree of concordance than expected by chance, and that the degree of concordance as well as the direction of the discrepancy in estimates differs based on the ethnicity of the observer, but not on the observers’ age or sex. This study highlights the potentially high degree of discordance between physical appearance and genetic measures of ethnicity, as well as how perceptions of ethnic affiliation are context-specific. We compare our findings to those of previous studies and discuss their implications.

Read the entire article here.