Mixed Race Studies

The “Passing” Question

Phylon (1940-1956)
Volume 9, Number 4 (4th Quarter 1948)
pages 336-340

Wm. M. Kephart, Professor of Sociology
University of Pennsylvania, Philadelphia

How many Negroes are ‘passing‘ every year in the United  States?” “What percentage of the White population possesses some Negro blood?” “In time, will all the Negroes ‘pass’?” “What proportion of the present-day Negro population is pure Negro?” “Is it true that many of our so-called White marriages are producing Negro offspring?” “Are some of our top-flight radio and motion picture entertainers really Negroes?”

These questions, or questions of similar implication, have been asked sporadically for the past 200 years. Recently, however, they have broken out afresh. Sinclair Lewis’ best-seller, Kingsblood Royal, persistent rumors concerning some of our most popular entertainers, and finally estimates as to the number of Negroes who “pass” every year, have done much to revive the old questions (and superstitions) regarding the “mysteries” of skin color.

Some of the questions are scientifically answerable, some are unanswerable because of the nature of the data, and some of the questions have only hypothetical answers. Ignoring the answerable questions for a moment, let us examine those questions which either have no present answer, or at best whose answers are problematical.

I. The number of Negroes who annually “pass.”

Walter White, in his “Why I Remain A Negro” states that “Every year approximately 12,000 white-skinned Negroes disappear…” Roi Ottley, in his “Five Million White Negroes” puts the figure at between forty and fifty thousand annually, with a “total” of between five and eight million! Such a wide disparity in figures suggests the real answer, namely, nobody knows.

For obvious reasons, Negroes who do “pass” keep the matter a secret, at least to the Whites. Furthermore, many Negroes who do “pass” do so on a temporary basis; that is, many of them are discovered, move to a new cultural setting, and begin the “passing” procedure over again.

For obvious reasons, Negroes who do “pass” keep the matter a secret, at least to the Whites. Furthermore, many Negroes who do “pass” do so on a temporary basis; that is, many of them are discovered, move to a new cultural setting, and begin the “passing” procedure over again.

It is also true that a great many Negroes who could “pass” do not choose to do so—in some cases because of a genuine pride in their race, and in other cases because they derive more social and economic benefit from being an upper-class Negro than from being a lower-class white. Any attempt to arrive at an accurate figure from U. S. Census figures…

The Tragic Mulatto Theme in Six Works of Langston Hughes

Phylon (1940-1956)
Volume 16, Number 2 (2nd Qtr., 1955)
pages 195-204

Arthur P. Davis (1904-1996)

The Weary Blues (1925), the first publication of Langston Hughes, contained a provocative twelve-line poem entitled “Cross,” which dealt with the tragic mulatto theme. Two years later when Mr. Hughes brought out Fine Clothes to the Jew (1927), he included another poem on racial intermixture which he named “Mulatto.” During the summer of 1928 when Hughes was working with the Hedgerow Theatre at Moylan Rose Valley, Pennsylvania, he completed a full-length drama on the tragic mulatto theme, which he also called Mulatto. This play was produced on Broadway in 1935 where it ran for a full year, followed by an eight month’s tour across the nation. From the play, the poet composed a short story, “Father and Son,” which though written later than the play, appeared in The Ways of White Folks (1934), a year before the drama was produced. Returning once more to the theme, Hughes in 1949 reworked the play Mulatto into an opera, The Barrier, the music for which was written by the modern composer, Jan Meyerowitz. The opera was first produced at Columbia University in 1950. And finally in 1952, Hughes published another short story on the tragic mulatto theme entitled “African Morning.” This sketch appears in Laughing to Keep from Crying, a second collection of short stories. In short, for over a quarter of a century, the author has been concerned with this theme; returning to it again and again, he has presented the thesis in four different genres, in treatments varying in length from a twelve-line poem to a full-length Broadway play.

Before discussing Mr. Hughes’ several presentations of the theme, however, let us understand the term “tragic mulatto.” As commonly used in American fiction and drama, it denotes a light-colored, mixed-blood character (possessing in most cases a white father and a colored mother), who suffers because of difficulties arising from his bi-racial background. In our literature there are, of course, valid and convincing portrayals of this type; but as it is a character which easily lends itself to sensational exaggeration and distortion, there are also many stereotypes of the tragic mulatto to be found And these stereotypes, as Professor Brown has so…

President Alexandre Pétion: Founder of Agrarian Democracy in Haiti and Pioneer of Pan-Americanism

Phylon (1940-1956)
Volume 2, Number 3 (Third Quarter, 1941)
pages 205-213

Dantès Bellegarde (1877-1966) [Biography in French]

The history of Haiti is dominated by four great men who fought and worked for its independence: Toussaint Louverture, Dessalines, Christophe and Pétion. Toussaint is the best known of them all because his extraordinary genius and spectacular career have engaged the attention of numerous authors. From a variety of angles they have related the story of this one-time slave who became the governor-general of the French colony of Santo Domingo only to die a captive in a dungeon of the Jura Mountains.

The career of Dessalines was scarcely less dramatic than that of Toussaint, for it was he who led to decisive victory the Negroes and mulattoes, united in the sacred struggle for freedom. Christophe, who became King of Haiti and revealed great administrative powers, is principally known in the United States by the public works which he constructed in the Northern Kingdom. The most remarkable of these is the Citadelle Laferrière, which has justly been called one of the wonders of America.

Of these four remarkable men Alexandre Pétion is the least known in the United States, but his name is revered in Latin America. In fact, he has played a role of first importance in the history of the New World, as I hope to demonstrate in this short biography, which I am writing for Phylon.

Alexandre Pétion was born at Port-au-Prince, April 2, 1770, the son of a mulatto woman and a white man, Pascal Sabès, who, considering his son too dark of skin, refused to recognize him. His elementary education was very inadequate because the whites had not established schools in the colony of Saint Domingue. He learned the trade of silversmith from one of his father’s old friends, M. Guiole, a native of Bordeaux, whose wife showed much solicitude for the young boy. She called him Pichoun, which in her southern patois meant mon petit, “my little one,” whence the name Pétion, by which he continued to be known and which he finally adopted as his own…

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The Hybrid and the Social Process

Phylon (1940-1956)
Volume 6, Number 4 (4th Quarter, 1945)
pages 327-336

Jitsuichi Masuoka

An intermixture of blood is an invariable outcome of human migration, contact, and association. To this statement there seems to be no historical exception. Races and peoples, however much they may be physically and culturally dissimilar, if they come together at all, associate to produce individuals of nondescript physical type. In its essence, the hybridization of peoples and races is a biological process, but as it has a wider social implication, it may be studied as a part and parcel of social processes.

A study of changes in genetic factors, as a consequence of racial intermixing, belongs properly to the science of human genetics. Race mixture in its wider ramification is a sociological problem for reasons generally recognized but not always fully understood. Man’s sex appetite, as of all other human impulses, is everywhere culturally channeled, and in this broad sense, one may well speak of race mixture as falling within the orbit of sociology. Moreover, as the intermixture of races runs counter to the existing sex mores of the societies in contact and, as it undermines, in the long run, the pre-existing social order, the problem of race mixture comes to have a sociological rather than biological import. In this way it comes about that the problems of “race mixture” and “race problem” are inseparable in the minds of many; thus, making an objective study of racial hybridization difficult. Race mixing is freighted with heightened emotions and sentiments and intellectual stupidities rampage in this area of discourse. It seems important, therefore, that this problem be examined as a phase of general social process. By viewing it within this wider frame of reference, one may attain a reasonable degree of objectivity toward race mixture.

Much has been written about racial miscegenation by students of biology, psychology, and social sciences. But, the hybrid as a personality type received its first clear definitive statement from Reuter and Park. “The hybrids,” Reuter writes, “tend to be distinct in social position, cultural status, and personality organization: sociologically as well as racially, they are hybrid.” Resulting chiefly from their accessibility to wider cultural opportunities, the mixed-blood individuals occupy the status superior to that of the natives but inferior to that of the whites. However, this superior social position of the hybrid is not to be taken as an evidence of innate intellectual superiority. It should, as Reuter points…

The Mulatto in American Fiction

Phylon (1940-1956)
Volume 6, Number 1 (1st Quarter, 1945)
pages 78-82

Penelope Bullock

In its heterogenous population and the individualistic traits of its various inhabitants the United States possesses a reservoir teeming with literary potentiality. Throughout the years, the American writer has tapped these natural resources to bring forth products of value and interest. Even though the characters whom he has depicted are not always lasting literary creations, they are significant in that they are social and sociological indices. Wrought from American life, they reflect the temper of the times and the actualities and the attitudes surrounding their prototypes in life. One of these characters is the mulatto. In this study the portrayal of the mulatto by the nineteenth-century American fictionist is presented.

Who and what is the mulatto? According to Webster, he is, in the strictly generic sense. “. . . the first generation offspring of a pure negro and a white. . . The popular, general conception is that he is a Negro with a very obvious admixture of white blood. (In this study the persons considered as mulattoes are selected as such on the basis of this definition.) But the sociologist more adequately describes the mulatto as a cultural hybrid, as a stranded personality living in the margin of fixed status. He is a normal biological occurrence but a sociological problem in the United States. In the brief span of one life he is faced with the predicament of somehow resolving within himself the struggle between two cultures and two “races” which over a period of three hundred years have not yet become completely compatible in American life.

Two hundred years after the Negro-white offspring became a member of the population of the United States he made his advent into the American novel. How was he portrayed by the nineteenth-century writer?

The treatment accorded the mulatto in fiction was conditioned to a very large extent by the social and historical background out of which the authors wrote. The majority of them wrote as propagandists defending an institution or pleading for justice for an oppressed group. In depicting their characters, these writers very seldom approached them as a sociologist, or a realist, or a literary artist. They wrote only as partisans in national political issues. They wrote as propagandists: they distorted facts and clothed them in sentiment; they did not attempt to perceive and present the truth impartially. The persons of mixed blood pictured by these authors appealed to the emotional, prejudiced masses. But they are not truthful recreations of life and of…