Mixed Race Studies

Visualizing Racial Mixture and Movement: Music, Notation, Illustration

J19: The Journal of Nineteenth-Century Americanists
Volume 3, Number 1, Spring 2015
pages 146-155
DOI: 10.1353/jnc.2015.0009

Brigitte Fielder, Assistant Professor of English
University of Wisconsin, Madison

The archive of nineteenth-century visual culture abounds with illustrations of racial difference reflect anxieties about racial mixture and movement. Race extends beyond visual expression and detection, but racialized bodies have been continually represented by images meant to convey racial difference, often via racist caricatures. The piece I discuss here adds, to the depiction of racial difference, mixture and movement conveyed through the representation of sound, in written music (fig. 1). Layering illustrations of figures in dance atop the symbolic notation of the aural, the music conveys its narrative of race via musical rather than literary genres: the waltz and the march. In this brief essay I will begin to unpack this particular representation of racialized bodies as visualized in a remarkable, and remarkably little-known, piece of sheet music distributed by George P. Reed, a Boston music store owner and seller of musical instruments, instruction books, and sheet music during the 1830s and 1840s.

Racial representation has often been confined by the media used to depict its complexity—from language that describes race via metaphors of color to the technology of racial representation in black-and-white that obscures nondualistic racial gradation. Written music, like the written word, is a technology of representation. The visual representation of music and the visual representation of race are similar in that they are not mimetic but symbolic. Just as quarter and half notes stand in for certain pitches and durations that might be interpreted through variations such as instrumentation and style, the presence and absence of black ink represents racial difference that in reality is nuanced by gradations in complexion, historical contexts, and cultural resonances of racialization.

Music here implies the aural, but also the movement of dance; the waltz and the march produce bodies in motion. The movement of racialized bodies through geopolitical spaces and with relation to one another hints at race’s fluidity. In the two genres on this single sheet, we see what might be understood as different methodological frames for understanding their respective narratives of race. The waltz’s male and female pairing of partners suggests heterosexuality. The march denotes a different kind of movement, not simply interpersonal but movement through geopolitical spaces and in militaristic endeavors.

The limitations of the musical form for representing race correspond to other limitations of racial representation in metaphors of color, racialized value, and racial distinctions that forgo complexity in favor of legibility. The extent to which race becomes legible through musical notation is admittedly limited. This sheet music is, in many ways, difficult to read. The stick-figure drawings crowd the notes, making one wonder at the practicality of playing the musical annotation. In this respect, the sheet is poised to function less as legible musical notation and more as a visual showpiece. Notwithstanding its visuality, the flatness of stick-figure characters obscures the political import that is clearer in other racial/racist caricatures. Nevertheless, these juxtapositions of the movement of racialized bodies and the movement of music thematize relations of race within musical form, marking race as always in motion, unfixed, and progressing through a specific, readable generic narrative.

Amalgamation Waltz

In nineteenth-century America, the image of a racially integrated dance was a popular site for American anxieties about race relations. Illustrations of integrated dances appeared throughout the antebellum period, in Amalgamation Waltz from Edward Williams Clay’s 1839 “Practical Amalgamation” series of lithographs, his 1845 Amalgamation Polka, and the 1864 political caricature The Miscegenation Ball. The underlying movement of music composes a compelling backdrop for understanding popular depictions of and reactions to racial mixture in nineteenth-century America. Illustrations of dance, movement, and music signal the similarly fluid notions of race that permeated antebellum discourse. While Clay’s Amalgamation Waltz is emphatic in its illustrated pairings of black men and white women, the musical notation of Reed’s music literalizes these juxtapositions of racial integration within the music itself. The three-beat measure of the waltz is composed of stick-figure illustrations, mostly of pairings of black men and white…

Racial Reflections

American Book Review
Volume 36, Number 2, January/February 2015
page 13
DOI: 10.1353/abr.2015.0007

Ben Railton, Associate Professor of English
Fitchburg State University, Fitchburg, Massachusetts

Hobbs, Allyson, A Chosen Exile: History of Racial Passing in American Life (Cambridge: Harvard University Press, 2014)

Even without a back-cover blurb from Isabel Wilkerson, it seems inevitable that Allyson Hobbs’s A Chosen Exile: A History of Racial Passing in America would be compared to Wilkerson’s The Warmth of Other Suns: The Epic Story of America’s Great Migration (2010). Both books focus on an American history with which we’re all vaguely familiar but know far too little of its specifics and complexities. Both works use the individual, intimate stories of American lives, families, and communities to consider these sweeping cultural and historical issues. And both are entirely successful in bringing their readers into those stories and histories, helping them understand American identities and communities in a way that perhaps no prior work has accomplished.

However, Hobbs’s most fundamental choice to structure each of her chapters around a different time period differentiates her book from Wilkerson’s in an important way. That is, most of the collective narratives of passing have focused on the same late nineteenth–through mid–twentieth–century time period that comprised the Great Migration—the period between, let’s say, Charles Chesnutt’s The House Behind the Cedars (1900) and the 1950s version of the film Imitation of Life (1959; a remake of the 1934 original), with James Weldon Johnson’s Autobiography of an Ex-Colored Man (1912) and Nella Larsen’s Passing (1929) marking significant stages along the way. Hobbs’s third and fourth chapters also focus on this period, but through her extended attention to all the aforementioned works and figures and many others (such as the pioneering turn of the century sociologist E. Franklin Frazier, who both analyzed and experienced these issues of identity; or the Harlem Renaissance poet and novelist Jean Toomer, whose writings and life complement each other to provide a rounded picture of passing in 1920s and 1930s), she urges the reader to better understand breadth and depth of the era.

But by the time Hobbs brings her readers to those chapters and that new look at a somewhat familiar time period, she has already provided an even more striking shift in our perspectives on passing through her first and second chapters. In those chapters, she narrates and analyzes the far different yet still interconnected histories and stories of passing in the pre-Civil War and Reconstruction periods, convincingly portraying the issue as one that has persisted and evolved alongside American society and culture throughout the centuries. Indeed, these earlier chapters expanded and challenged some of my most basic understandings of passing: it’s impossible to think of it as simply a choice between different possible identities and communities, for example, when considering the case of William and Ellen Craft, the fugitive slaves who used both racial and gender passing as a conjoined strategy to gain their freedom. Is passing a choice if it is necessary for freedom and even survival? If not, might that also help us see the necessities and even at times inevitabilities of twentieth-century acts of passing as well? Such are the kinds of questions prompted by Hobbs’s Chapter 1 investigation of antebellum passing.

These striking earlier chapters have another, corollary effect: they also force us to reexamine the time periods under consideration through the new lens provided by the issue of passing. Ever since Frederick Douglass highlighted in the first chapter of his Narrative of the Life of Frederick Douglass (1845) the prevalence of master-slave rape and thus miscegenation on plantations, we’ve had at least some collective sense of how arbitrary the racial categories and definitions by which the slave system was divided were—of why Douglass was defined as an African American slave while his father’s other children were free white men and women. But what Hobbs’s stories and analyses remind us is that, thanks to such racial mixing as well as many other factors, race was also a slippery, liminal category in the era—one that could be manipulated and altered in the right moments and circumstances. Successful manipulations were, no doubt, as rare as escapes such as Douglass’s, but, still, the existence of slave passing at all underscores the instability of race and other identity markers in…

Read the entire review here.

“Almost Eliza”: Genre, Racialization, and Reading Mary King as the Mixed-Race Heroine of William G. Allen’s The American Prejudice Against Color

Studies in American Fiction
Volume 40, Issue 1, Spring 2013
pages 1-25

Brigitte Nicole Fielder, Assistant Professor of English
University of Wisconsin, Madison

In 1853, Mary King, the white daughter of abolitionists, was engaged to marry William G. Allen, the “Coloured Professor” of New York Central College at McGrawville. The engagement stirred their upstate New York community into a popular controversy, inciting letters of family disapproval, newspaper commentary, and mob violence leading to their forced, though temporary, separation. Alongside his personal account of their engagement and marriage, in The American Prejudice Against Color: An Authentic Narrative, Showing How Easily the Nation Got into an Uproar (1853), Allen also reprinted various letters and newspaper articles both in support of and in opposition to his and King’s marriage. This array of accounts show how Mary King’s white womanhood becomes a function of genre: in the various stories of her relation to Allen, King’s race and sexuality are constructed according to the practices of reading her as either the white damsel of the captivity narrative or the mixed-race heroine of abolitionist fiction.

In a letter to Mary King written during the week before she and William Allen were secretly married, the couple’s friend John Porter wrote, “Your flight is a flight for freedom, and I can almost call you Eliza,” referencing the well-known mixed-race heroine of Harriet Beecher Stowe’s 1852 novel, Uncle Tom’s Cabin. Unlike Stowe’s Eliza, Allen and King were not fleeing literal enslavement, but the racial prejudice of people who had attempted to prevent their marriage. Thus, Porter’s evocation of abolitionist literature to explain King’s situation is intriguing not only because it refuses to perform the more obvious slippage of simply relegating prejudice against the African American William Allen (who was born to a free mixed-race woman and was never enslaved) to the discourse of slavery, but because it chooses the white woman as its subject and re-figures her in one of abolitionism’s most popular tropes of enslavement, the mixed-race heroine. Not merely an equation of all race-related persecution with slavery, Porter’s comparison of Mary King to Stowe’s Eliza Harris displaces the racist rhetoric of the couple’s forced separation, by which some newspaper commentators rendered King a “damsel” in need of white male protection from Allen, which the mob purported to give her. Instead, Porter’s reading of King places her in the abolitionist literary tradition, where her and Allen’s story reads as a narrative of African American fugitivity rather than white captivity. Moreover, Porter’s characterization of King as “almost . . . Eliza” emphasizes a close generic proximity to the figure of the mixed-race heroine, recognizing the interracial allegiance of King and Allen’s proposed kinship, and a re-racialization of the figure of the white woman along lines of her participation in interracial sexual relations and reproduction.

My analysis takes up Porter’s comparison of Mary King to Eliza Harris and reads King as the mixed-race heroine of The American Prejudice Against Color. In the private and public discourse surrounding Allen and King’s engagement and marriage, I examine themes of “amalgamation” and fugitivity in order to discuss how Mary King is figured according to different generic constructions of racialized womanhood in the two primary versions of the story Allen reproduces—that told by Allen, King, and their allies, and the version supporting the racist mob that separated the couple. First, I discuss the racist rhetorics by which Mary King is read in the tradition of what I call “anti-amalgamation” literature—a sub-genre of the body of writing that emerges in response to abolitionist literature, which has its roots in the American captivity narrative.

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Laura Kina

Fused Society
2015-04-16

Laura Kina, Vincent de Paul professor of Art, Media, & Design
DePaul University, Chicago, Illinois

Meet today’s Fused Society contributor, the accomplished Laura Kina!

“Laura Kina is a multiracial Asian American artist based in Chicago who identifies as “hapa, yonsei, and Unchinanchu” (mixed race, 4th generation Japanese American, and part of the Okinawan diaspora). Her father is Okinawan from Hawaiʻi and her mother is Anglo American (Spanish/Basque and French, English, Scottish, Irish, Dutch) from the Pacific Northwest. Kina’s artwork, scholarly research and activism center on themes of distance and belonging. She focuses on the fluidity of cultural difference and the slipperiness of identity. Asian American history and mixed race representations are subjects that run through her work.

Kina is a Vincent de Paul professor of Art, Media, & Design at DePaul University. She is the coeditor, along with Wei Ming Dariotis, of War Baby/Love Child: Mixed Race Asian American Art (University of Washington Press, 2013); cofounder of the DePaul biennial Critical Mixed Race Studies conference; and cofounder and consulting editor of the Journal of Critical Mixed Race Studies and reviews editor for the Asian Diasporic Visual Cultures and the Americas…

Read the entire article here.

Wrightsville Beach alderman pressured to resign after insult against bartender

StarNews
Wilmington, North Carolina
2015-04-17

Julian March

WRIGHTSVILLE BEACH | Alderman Darryl Mills is facing pressure to resign after he used derogatory language to a bartender last month.

Mills made the comment to Mia Banks while she was working at King Neptune Restaurant on North Lumina Avenue.

In an interview, Mills confirmed he called Banks a “mixed breed” and used an expletive. He said he and Banks have had a bantering and teasing relationship for years.

“That night, as soon as it happened, I saw that it bothered her, hurt her, and I apologized immediately and left,” Mills said. He later apologized a second time in an email.

He has no plans to resign. “I think this is a personal matter,” he said. “It has nothing to do with Wrightsville Beach.”

Banks agreed she had a bantering relationship with Mills, but said that would be true with all of her customers, especially regulars.

She said she had not discussed her race with Mills before his comment. Her mother is Polish and Italian and her father is African-American.

“I was humiliated,” Banks said. “I was degraded.”…

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Having Mixed-Race Kids Doesn’t Make You Non-White

Mom.Me
2015-04-20

Grace Hwang Lynch, Blogger
Hapa Mama

Adel Vardell photography

Do white parents become “less white” when they have non-white kids? That question is burning up my Facebook feed right now, thanks to an essay in the New York Times last week.

In the piece published in Motherlode, Jack Cheng (a Chinese American man married to a white woman) writes of his wife:

“She became less white when our son, and then our daughter, were born. I think the first bit of doubt surfaced the day we were on the subway with our newborn and a woman came up to my wife and said: ‘Oh, he’s so cute! When did you adopt him?’ I was livid: Did it not occur to this woman that the father was sitting right next to his wife and child?”

But that is not becoming less white…

…While I might be able to code switch and move in different circles and enjoy a variety of cultures, that doesn’t change the fact that my skin is golden, my nose is wide and sometimes people assume I’m a Tiger Mother. Or the manicurist. Or that I should be taking their General’s Chicken order…

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In Puerto Rico, a push to revive indigenous culture

The Associated Press
2015-04-20

Anica Coto

SAN LORENZO, Puerto Rico (AP) — In Puerto Rico’s misty, bamboo-studded mountains, elementary school students are studying a nearly extinct language, beating on drums and growing native crops like cassava and sweet potato as they learn about the indigenous people who lived on the island before Christopher Columbus.

The children in four towns in the island’s southeast corner play a ceremonial ball game that was called batey by the native Tainos, who were all but wiped out during colonial times. The boys and girls also learn words from the local Arawak language, which was in part rebuilt with help from linguists, and still exists in varying forms among other native groups in the hemisphere.

Now, a group of academics and educators hope to expand the Taino education program to other public schools around the U.S. territory in an effort to teach children this little known part of the territory’s history.

“If you don’t know your roots, you don’t know yourself,” said anthropologist Carlalynne Yarey Melendez, director of the Taino cultural organization that runs the educational program. “There are so many communities and schools that want the classes, but I can’t keep up with the demand.”

Puerto Ricans’ interest in the territory’s indigenous past has grown in recent years, with 42,000 of the 3.7 million people then living on the island identifying themselves as at least partially Taino in the 2010 Census.

But even though that’s just a little more than 1 percent, Puerto Rico’s legislature is considering a proposal to declare Melendez’s Naguake organization to be the island’s first indigenous-based community. The designation would allow it to receive federal funds under a program that aids native groups, and expand the program to other towns…

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See First Photos of Matthew McConaughey in The Free State of Jones

Time
2015-04-21

Sarah Begley, Culture Reporter

Matthew McConaughey stars in The Free State of Jones (Murray Close)

He’s basically your Civil War boyfriend

For an actor, there’s no better awards bait than an appearance-transforming role in a biographical war movie. World, meet The Free State of Jones.

Matthew McConaughey will star in the action-drama as Newt Knight, a Mississippi farmer who led a southern rebellion against the Confederates during the Civil War. He and his followers “seceded” from the Confederacy, calling Jones County “The Free State of Jones.” After the war, he distinguished himself from fellow southerners once again by marrying a former slave named Rachel…

Read the entire article here.

Panel discusses mixed race scholarship

Washington Square News: NYU’s Independent Student Newspaper
2015-04-21

Amanda Morris, Contributing Writer

Jared Sexton speaks on the topic of mixed race individuals. Sexton is the director of the African American Studies program in UC Irvine. (Shawn Paik)

In studying mixed race identities, the historical focus has been on the individual, but speakers at Monday’s roundtable conversation “What’s Radical About Mixed Race?” aimed to reframe discussion in a way that allows for more nuanced understanding of racial identity.

Speakers at the event, which was hosted by the Asian/Pacific/American Institute, included Minelle Mahtani, an associate professor at the University of Toronto, and Jared Sexton, an associate professor and director of African American studies at the University of California, Irvine.

Sexton said hypodescent, a condition in which people with multiple race identities are automatically classified according to their non-white race, is one of the concerns researchers of mixed race have had in the past. Sexton said he wants researchers to re-examine this issue in a larger framework of racial stereotypes.

“Some of the preoccupations are the issue of hypodescent and challenging its reflexive use, but in challenging hypodescent, multiracial studies also runs the risk of re-stigmatizing the very identities that it claims to combine,” Sexton said.

Mahtani said some mixed raced individuals try to fuse their various identities, but often reinforce white supremacy by ignoring their non-white ancestry. Mahtani added that the media often takes advantage of people of mixed race, using their perceived racial ambiguity to appeal to several demographics at once…

…“We need to ask new questions,” Mahtani said. “Not ‘What is mixed race?’ but ‘How does the meaning of mixed race change over time?’”

University of Washington student Na’quel Walker, who attended the event, said she often had trouble with her identity as a child.

“When I was younger, for me to say ‘I’m mixed,’ was to denounce blackness,” Walker said. “I was trying to elevate myself because I wanted to feel special or different, but I was running away from my blackness.”

Nicole Holliday, a doctoral student at NYU in linguistics who is studying the speech patterns of people of mixed race, agreed that research into mixed race culture needs to take a new approach…

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Color Blindness and Racial Politics in the Era of Obama

Books & Ideas
2010-12-08

Andrew J. Diamond, Professor of American History and Civilization
Université Paris-Sorbonne, France

At a time when a supposedly “post-racial” America is becoming increasingly polarized over its first black president, historian Thomas Sugrue proposes a badly needed perspective on Obama’s attempts to negotiate between color blindness and race consciousness. Despite the depth of his historical perspective, he understates how destructive Obama’s religious moralism is for the cause of racial progress.

Reviewed: Thomas J. Sugrue, Not Even Past. Barack Obama and the Burden of Race, Princeton University Press, 2010, 178p., $24.95

Thomas J. Sugrue’s Not Even Past is one of the latest contributions to the exploding field of Obama studies. Sugrue discloses in the opening pages that he voted for Barack Obama, made a small financial contribution to his campaign, and even worked on the candidate’s urban advisory committee, but his objective in his own rendering of Obama’s breathtaking rise to the White House is “balance”. In a moment when the United States is becoming increasingly polarized over its first black president, with a rising crescendo of criticism on both the right and left of the American political spectrum, this is an ambitious project to say the least. But Sugrue, an eminent Professor of History and Sociology at the University of Pennsylvania and a pioneer in the new urban historiography of race and power in the postwar American metropolis, is just the guy for the job, even if, in the final analysis, Obama’s detractors will no doubt have more complaints with the book than his supporters. And yet, if one gets the sense that Sugrue is at times pulling punches, he ultimately manages to produce an even-handed and illuminating analysis of the Obama story.

Not Even Past, which consists of three essays adapted from a series of lectures the author presented at Princeton University in 2009, stands out among the recent works on what Barack Obama means to the United States, in part, because Sugrue remains true to his métier. Joining a field crowded with works of a somewhat polemical and journalistic bent, Sugrue delivers a rich, lucid, and badly needed account of the historical events, political movements, and ideological currents that shaped the ground upon which Obama negotiated his racial identity, developed his political views, and positioned himself for an improbable run for the presidency. Yet, this is as much a story about the world that made the man than it is about the man himself. “It is the story”, Sugrue writes, “of a journey through one of the most contentious periods of America’s racial history, through America’s post-1960s multicultural turn, into the syncretic black urban politics of the late twentieth century, onto the contested intellectual and cultural terrain of race and ‘identity politics’ in the late 1980s and 1990s, and finally to a moment in the early twenty-first century when America still lived in the shadow of the unfinished civil rights struggles of the previous century while influential journalists, politicians, and scholars hailed the emergence of a post-racial order” (p. 16). These were treacherous waters indeed for black politicians and white liberals alike, both of whom had to navigate a course through the ideological cross-currents of color blindness and race consciousness. These conditions had the Democratic Party lost at sea for the good part of three decades. Obama’s journey to political and racial self-discovery is also the story of how the Democrats rediscovered their bearings in a country drifting ineluctably rightward…

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