Mixed Race Studies

‘In the Heights’ and Colorism: What Is Lost When Afro-Latinos Are Erased

The New York Times
2021-06-21

By Maira Garcia, Sandra E. Garcia, Isabelia Herrera, Concepción de León, Maya Phillips and A.O. Scott

The “In the Heights” cast includes Daphne Rubin-Vega, left, Stephanie Beatriz, Melissa Barrera (rear), Olga Merediz, Gregory Diaz IV, Dascha Polanco and Jimmy Smits. Warner Bros.

The film, set in a New York neighborhood known as the Little Dominican Republic, didn’t cast dark-skinned Latinos in lead roles. Our writers discuss how that absence reverberates.

“In the Heights,” the long-delayed Hollywood adaptation of the Broadway musical, has been heralded as a step for more Latino representation in Hollywood, but a conversation has emerged about colorism and the casting of the film.

The New York neighborhood at the center of the story, Washington Heights, is predominantly Afro-Dominican. In an interview, Felice León, a video producer for The Root, asked Jon M. Chu, the director, and some of the stars about the lack of dark-skinned leads in the film: “As a Black woman of Cuban descent specifically from New York City,” she told him, “it would be remiss of me to not acknowledge the fact that most of your principal actors were light-skinned or white-passing Latinx people.” Chu said it was a conversation and something he needed to be educated about. In the end, he said, they “tried to get the people who were best for those roles.”

Lin-Manuel Miranda, who is a part of the film’s creative team, which includes the writer Quiara Alegría Hudes, addressed the criticism last week in a statement on Twitter. He apologized for falling short in “trying to paint a mosaic of this community.” Several prominent Latinos came to Miranda’s defense, including the pioneering Latina actress Rita Moreno, who later backtracked her comments. It’s not the first time Chu has had to contend with questions of identity. His box office hit “Crazy Rich Asians” also had to address similar issues when it came to the casting of Asians and Asian-Americans in the film. (The lead actor in that film, Henry Golding, is biracial.)

I asked five critics and reporters at The Times to weigh in on the criticism and what it means for representation in the arts. These are edited excerpts from the conversation. MAIRA GARCIA…

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At a Santo Domingo Hair Salon, Rethinking an Ideal Look

The New York Times
2015-12-30

Sandra E. Garcia

On my first trip back to the Dominican Republic in 10 years, as I wandered down the streets of La Zona Colonial, I noticed how their names were weighted with history. Calle de las Damas, a street made specifically for the wives and daughters of noblemen from colonial times to walk down. Calle José Gabriel García, named for a Dominican historian and journalist, among other things, who shares a first and last name with my father and made me think of him while I was there. Calle Isabel La Católica where I felt a connection to my paternal grandmother, Isabel Mireya Garcia. Born in Bani, she lived and died on the right side of Hispaniola and raised my father in Santo Domingo.

During my trip I would text my father pictures of the streets, and he would always text me back a story from his youth that occurred close to or near the street I was on.

“That’s the street where I shook Pope John Paul II’s hand in 1979,” he texted me, referring to Calle Padre Billini.

He likened La Zona Colonial to Times Square, but to me it resembled too much of the Old World.

The cobblestones, the colonial-style houses that were more like haciendas, Christopher and Diego Columbus’s house-turned museum — this all reminded me of the Spanish who once lived here and the continuing reverence for their influence in a country whose residents have African, European and Asian ancestry.

Before I knew it, I was standing in front of the Miss Rizos Salon on Calle Isabel La Católica. This was a departure from that reverence.

Long hair that hangs down your back has so long been the prevalent beauty ideal in the Dominican Republic that many residents who mastered hair-straightening on the island emigrated to the United States and opened successful salons throughout the country…

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CUNY Exhibition Documents Lives of Black Africans in Early Dominican Republic

The New York Times
2015-07-13

Sandra E. Garcia

Scholars at the City University of New York are using clues left in 16th-century manuscripts and Spanish records to track the lives of the earliest black Africans in the Dominican Republic.

An exhibition now on view of letters and other documents from the archives of CUNY’s Dominican Studies Institute and the General Archives of the Indies in Seville, Spain, provides a window onto the lives of the often ignored black Africans of La Española, the island of Hispaniola.

In the exhibition, “16th-Century La Española: Glimpses of the First Blacks in the Early Colonial Americas,” 25 panels display photos of an original letter or record, along with an English translation, that explain or question situations involving formerly enslaved Africans on the island.

When searching the archives, Anthony Stevens-Acevedo, the assistant director of the Dominican Studies Institute, focused on keywords like “mulatto,” “negro” and “negra,” he said.

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