Mixed Race Studies

Scholarly perspectives on the mixed race experience.

At the federal university in Brazil’s capital city, Brasília, a special committee was constituted in 2004 to evaluate the application file photographs of self-classified negros (read “blacks” or “Afro-Brazilians”) applying to the university via a new racial quota system. An anthropologist, a sociologist, a student representative, and three negro movement actors make up that committee, and their identities are kept sub secreto (Maio and Santos 2005). If the committee does not consider a candidate to be a negro or negra, then he or she is disqualified. The applicant can, however, appeal the decision and appear in person before the committee to contest his or her racial classification (Universidade de Brasília 2004). The State University of Mato Grosso do Sul has also adopted the use of photographs and a verification committee for a racial quota system (UEMS 2004). At that institution, the committee is made up of two university representatives and three negro movement actors (Corrêa 2003).

This unusual modus operandi highlights a period of instability in racial categories, associated with a novel phase in the political struggle for identity and inclusion by the Brazilian negro movement. Through a multifaceted process, but without disruptive protest or mass mobilizations, the movement has successfully pressured state actors to mandate negro inclusion in higher education and to encode that legislation with language emic to the movement. The label negro is not an official census term; the Brazilian state has for well over a century used a ternary, or three-category, format to represent the black-white color continuum that includes an intermediate or mixed-race category. In contrast, negro is part of a dichotomous racial scheme, counterposed to white, whose novelty in official contexts leads to the thorny issue of defining its boundaries. Nonetheless, some 30 Brazilian public universities have already adopted race-targeted policies (Ribeiro 2007). Moreover, legislation is now before the national congress mandating that all federal universities adopt racial quotas…

Stanley R. Bailey, “Unmixing for Race Making in Brazil,” American Journal of Sociology. (Volume 114, Number 3, 2008): 577–614.

Pinturas de Casta: Mexican Caste Paintings, a Foucauldian Reading

Posted in Anthropology, Articles, Caribbean/Latin America, History, Literary/Artistic Criticism, Media Archive, Mexico on 2010-11-26 04:04Z by Steven

Pinturas de Casta: Mexican Caste Paintings, a Foucauldian Reading

New Readings
School of Modern Languages, Cardiff University
Volume 10 (July 2009)
page 1-17

Nasheli Jiménez del Val
Cardiff University

This article looks at the genre of casta painting developed in colonial Mexico during the eighteenth century. The genre consists of a series of paintings representing the different racial mixes that characterised New Spain throughout the colonial period and that continue to play an important role in contemporary Mexican society. By referring to several Foucauldian concepts such as disciplinary power, biopower, normalisation, deviance and heterotopia, this essay aims to locate the links between this genre and prevailing discourses on race, with a particular focus on the ensuing institutional and political practices implemented in the colony during this period. Centrally, by focusing on this genre as a representational technology of colonial surveillance, the paper argues that discourses on race in New Spain oscillated between an ideal representation of colonial society, ordered and stabilised through rigid classiﬁcatory systems, and a real miscegenated population that demanded a more ﬂuid understanding of the colonial subject’s societal value beyond the limitations of racial determinism.

It is known that neither the Indian nor Negro contends in dignity and esteem with the Spaniard; nor do any of the others envy the lot of the Negro, who is the “most dispirited and despised”. […] It is held as systematic that a Spaniard and an Indian produce a mestizo; a mestizo and a Spaniard, a castizo; and a castizo and a Spaniard, a Spaniard. It is agreed that from a Spaniard and a Negro a mulatto is born; from a mulatto and a Spaniard, a morisco; from a morisco and a Spaniard, a torna atrás; and from a torna atrás and a Spaniard, a tente en el aire. The same thing happens from the union of a Negro and Indian, the descent begins as follows: Negro and Indian produce a lobo; lobo and Indian, a chino; and chino and Indian, an albarazado, all of which incline towards the mulatto. [For more terms, see here.]

—Pedro Alonso O’Crowley, 1774.

Casta painting is a pictorial genre produced by colonial artists between the early 18th century and the early 19th century that consists of a series of paintings representing the different racial mixings that characterised the colony of New Spain. As a pictorial genre, it is constituted by a succession of images that show a male and female subject from different ethnic origins and the offspring that result from this combination. The three racial strands of Spaniard, Indian and Black initiate the series, with the possible combinations that derive from these crossing being depicted in detail, to the degree that even fifth or sixth degrees of derivations are often assigned specific names and traits…

Read the entire article here.

Tags: casta paintings, Mexico, Nasheli Jiménez del Val, New Readings

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Mixed Race Studies

Pinturas de Casta: Mexican Caste Paintings, a Foucauldian Reading

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