Mixed Race Studies

Jean Toomer and the Politics and Poetics of National Identity

Contributions in Black Studies
A Journal of African and Afro-American Studies
Volume 7, Number 1 (1985-01-01)
Article 3
24 pages

Onita Estes-Hicks
State University of New York, Old Westbury

Jean Toomer’s place in thew world of letters rests on Cane, the author’s profound statement on the quest for African-American identity. Published in 1923, Cane was composed during a year of intense creativity which followed Toomer’s three-month stay in Sparta, Georgia in 1921, during which time he served as Acting Principal in an industrial and agricultural school. As had happened to Du Bois in rural Tennessee, in backwards, poverty-ridden, oppressive Georgia, Toomer touched base with the deep roots of Black culture under conditions which recalled the slave past. The writer celebrated that return to the foundations of Black life in Cane, charting his own adventures on southern soil, contrasting the conditions of Blacks in the North, and positing cultural/geographical tradeoffs in search of a whole, healthy Black identity. Compressed yet exhaustive, Cane would be the author’s main creative statement on African American identity. That splendid work justly merits the acclaim it received at the time of its publication and the place it now occupies in the literary canon. An experimenter in life and in letters, Cane’s author realized that Cane need not and could not be duplicated; he next focused his energies on mastering the poetics of national identity, a project which had captivated his imagination during his apprentice years. Little attention has been given to this aspect of Jean Toomer’s literary and personal life, although the author’s earliest excursions into writing centered on the challenges of national identity or what he called “the new world soul.” Additionally, Toomer intermittently wrestled with the composition of a work on national identity for over fifteen years, ultimately achieving a sterling measure of success in his magnum opus, “Blue Meridian,” published in 1936.

Even before he began composing Cane, the Washingtonian explored the poetics of national identity in a poem entitled “The First American.” This Whitmanesque fragment assayed the possibility and process of constructing an inclusive national character by merging the best racial characteristics of America’s three racial groupings-Black, Red, White. This achievement would eventuate in “The First American”-a being free of the conditions of class and color, moving American nationality from theory to fact, from ideality to actuality.

Toomer’s deep interest in the question of national identity stemmed not only from his own multi-racial heritage, but also from his early life in turn-of-the century Washington, D.C., where he was reared among a significant mulatto population, some of whom-such as the Grimkes-maintained family ties across the color line. Toomer’s grandfather, Reconstruction politician, P. B. S. Pinchback, was himself the offspring of a long and stable Black-White relationship between a wealthy southern planter, Major William Pinchback, and his emancipated slave-mistress, Eliza Benton Stewart, a woman of Indian, Caucasian, and African descent. The Pinchbacks maintained ties for over eighteen years in two different states. They had eight children, two of whom, P. B. S. Pinchback and Napoleon, were sent by the father to Gilmore Academy, a private school in Cincinnati, famed for educating the mixed children of wealthy white men and African-American women. In addition to the Pinchbacks, Jean Toomer’s racial lineage consisted of other Black-White families, a condition which prompted his concern with national identity. Caucasian in appearance, Nathan Toomer, the writer’s father, lived on both sides of the color line, while listed alternately as Black and mulatto in census data. Prior to marrying Nina Pinchback, Jean’s mother, Nathan had been married to Amanda Dickson of Augusta, Georgia. The latter was the “natural” daughter of one of the wealthiest white men in the South, David Dickson, who claimed Amanda as his child in a deathbed confession, leaving her the major portion of his considerable wealth. Following the breakup of the Nathan Toomer-Nina Pinchback marriage, Nina’s second husband was Archibald Combes, of New Jersey’s famed and historic mulatto colony, Gouldtown, which had been settled by the descendants of a seventeenth-century African named Gold or Gould and the granddaughter of the Englishman Walt Fenwick, founder of southwestern New Jersey and friend of William Penn. Either by the clerk’s perception or by their own statements, both Archibald and Nina were listed as “white” on their marriage certificate.

Toomer’s complex racial background left him sceptical of racial labels and suspicious of a social system which designated people who were palpably “white” as “black.” Like Richard Wright, who similarly could not understand why a woman of his grandmother’s “white” complexion was labeled “colored,” Toomer early in his life began seeing through the social construction of reality. Race, Toomer was convinced, was a cultural, not a biological issue. Like many light-skinned Washingtonians of his time, Jean Toomer lived on both sides of the color line, as he so chose, exploiting his own biology to subvert the caprices of color. In Washington “functional passing“-to obtain jobs, to attend educational institutions, to secure entrance to entertainment facilities-had been raised to a fine art. Jean knew many Washingtonians who passed during the day to maintain jobs and who rode “uptown to the respite of a Negro home” at the end of the day, the situation faced by Vera, the central character in the author’s short story “Withered Skin of Berries.” Mary Church Terrell, a friend of the Pinchbacks, whose daughters grew up with young Jean, reported that her daughters often utilized their white skin to purchase tickets for their “darker brothers.” Questions about race and nationality never came up at the University of Wisconsin. But before going off to college, the student had prepared himself to adopt the strategy of “functional passing,” a resource which Gunnar Myrdal noted was historically called upon by numerous light-skinned students in pre-integration America to avoid the added tensions of racial problems in university life. In New York in the twenties, Toomer, Gorham Munson recalled, gained luncheon accommodations for Charles Johnson and Alain Locke by a functional pass. Moving easily across the color line, the writer, like Lear and Cordelia, regarded himself as one of “God’s spies,” garnering data on the human condition as race distorted it. Like another famous Shakesperian character, Jean Toomer often felt “what fools these mortals be.” Seeing beyond race, he felt the nation and saw it off balance and off guard and culled his own sense of nation and national identity from hardcore experience…

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Passing Novels in the Harlem Renaissance: Identity Politics and Textual Strategies

Lit Verlag Munster
2003
224 pages
ISBN 3-8258-5842-1

Mar Gallego, Associate Professor of American Studies
University of Huelva (Spain)

Passing Novels in the Harlem Renaissance offers an insightful study of the significance of passing novels for the literary and intellectual debate of the Harlem Renaissance. Mar Gallego effectively uncovers the presence of a subversive component in five of these novels (by James Weldon Johnson, George Schuyler, Nella Larsen, and Jessie Fauset), turning them into useful tools to explore the passing phenomenon in all its richness and complexity. Her compelling study intends to contribute to the ongoing revision of the parameters conventionally employed to analyze passing novels by drawing attention to a great variety of textual strategies such as double consciousness, parody, and multiple generic covers. Examining the hybrid nature of these texts, Gallego skillfully highlights their radical critique of the status quo and their celebration of a distinct African American identity.

The Mule as Metaphor in the Fiction of Charles Waddell Chesnutt

Theory and Practice in English Studies
Volume 4 (2005):
Proceedings from the Eighth Conference of British, American and Canadian Studies. Brno: Masarykova univerzita

Christopher E. Koy, Faculty of Arts
University of West Bohemia, Plzen

The term “mulatto,” meaning the offspring of one black parent and one white parent, is a racist term etymologically derived from the Spanish word “mulatto” meaning a young mule. The mule, a sterile offspring of a mare and a male donkey, is an important metaphor in early African American literature and folklore. Anthropologists collected African American tales with mules, and Charles Waddell Chesnutt (1858-1932), inspired in part by this folklore, employed the mule as a metaphor in his literary works to represent the subjugation of blacks.

1 Introduction

The mule, the sterile offspring of a mare and a male donkey, is an important symbol in early African American literature and folklore. The term mulatto, meaning the offspring of one black parent and one white parent, is a racist term etymologically derived from the Spanish “mulatto” meaning a young mule. It is racist because it associates offspring of animals of different species with a person of mixed ancestry. The term “mulatto” is a cognate—even the Czech language uses “mulat/mulatka” to indicate a person of mixed African and Caucasian ancestry. The old-fashioned Czech idiom “drít jako mezek” (to slave like a mule) likewise links slave and mule.

Sander L. Gilman has argued that “the abyss between the perceiver and the object in concepts of race is total. It is a complete form of distancing. Placing the Other beyond the pale by stressing an unchanging sense of self provides an image of the Other that is the antithesis of self” (Gilman 1986: 255). One might assume that the case of people of racially mixed ancestry might fill in this “abyss” described by Gilman. If the person were between black and white, the distance would be shortened, so to speak. Yet, then again it may be an examination of the myth-making which forms the basis of any communal identity that needs to be addressed.

the United States today as in Charles Chesnutt’s time, legally as well as otherwise, a person is classified either as black or white. Birth certificates and visa applications require classification of a person’s race, i.e., “Caucasian” or “African American,”—one or the other, since these forms leave no alternative. The “mulatto” term served as a linguistic means to maintain distance between the “white” and “black” race by defining the mixture of the two as Other (than white). After the Civil War “miscegenation” came to express the unacceptable notion of race mixing which in American English came to replace the term “amalgamation” as the word of choice.

2 The degeneracy of mulattos

Chesnutt implicitly and explicitly refutes the myth of race mixing as degenerate in part through the trope of the mule. On the plantation, the mule was known as the superior beast of burden to either the horse or donkey. The hybrid animal ate less, worked longer hours and lived longer. It became ill less frequently and required less attention from its owners. These characteristics are echoed in literature about lighter-skinned slaves, who were sold at higher prices at slave auctions. House slaves are further described as more refined, wearing finer clothes, surrounded by wealth as well as mastering to a greater extent than their darker skinned brethren the “more cultivated” language of their white master. Indeed, the lighter the pigmentation of Chesnutt’s African American characters, the closer their English language resembles that of their master, whereas darker blacks always speak African American vernacular…

Early African American fiction and folklore frequently focus on hybrid mulattos and mules. Chesnutt challenges the Anglo-Saxon myth that the mixing of races constitutes degeneracy (implying most often the degeneracy of the white race), an allegation directed against fair skinned heroes and heroines in his fiction. In Chesnutt’s first published novel, The House behind the Cedars, a medical journal reported that “…the smallest trace of negro blood would inevitably drag down the superior race to the level of the inferior” (Chesnutt 1993a[1900]: 71), replicating notorious medical racist notions of the time. In Chesnutt’s most renowned novel, The Marrow of Tradition (1901), a white journalist rebukes a black man who works for him for purchasing hair straightening solutions and chemicals to lighten skin pigmentation:

“Jerry, when I hired you to work for the Chronicle, you were black. The word ‘negro’ means ‘black.’ The best negro is a black negro, of the pure type, as it came from the hand of God. If you wish to get along well with the white people, the blacker you are the better,—white people do not like negroes who want to be white” (Chesnutt 1969[1901]: 245-246).

The advertisement claims, “mulattoes turned perfectly white” (Chesnutt 1969[1901]: 244). A change of appearance is regarded as degenerate as well as a threat to white Southerners. The white journalist knows that Jerry wants to join the privileged group in order to gain power. When his “black face is splotched with brown and yellow patches,” he is publicly exposed as a shoddy counterfeit, his face a metaphor of the “pathetic effort to escape from the universal doom of his race” (Chesnutt 1969[1901]: 245). At the same time that they decried race mixing as degenerate, in Chesnutt’s novels white characters persistently prefer lighter-skinned blacks. In The Quarry, which is set in the first quarter of the 20th century, the hero, Donald Glover, is fair-skinned. He

often had to explain that he was a Negro—he soon found out that most white people preferred the word to any designation that suggested or assumed blood kinship with themselves, though it was quite obvious that he got along better with them than a darker man would have, and in this way they acknowledged in practice what they rigorously ignored in theory (Chesnutt 1999b:189).

This experience was universal in the ante-bellum period, when lighter-skinned slaves served as domestic servants (or “house slaves”). The preference for fair-skinned blacks and the credence that they were somehow “better” or deserved preferential treatment is also not a uniquely American trait but can be observed among liberal-minded European intellectuals of the 19th century as well, even in countries with little experience in slavery or African colonialism…

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The Complexities of Identity: Teaching Michelle Cliff’s Abeng to High School Students

Minnesota English Journal
Volume 45 – Fall 2009
pages 19-33

Angie Iserman, English Teacher
Owatonna High School, Owatonna, Minnesota

When I decided to return to the role of student in order to obtain my graduate degree, my hope was I could bury myself within two genres of literature: adolescent and multicultural. Now, a year later, I have read several books in both genres and consistently find myself grappling with a single theme: identity. This may be due to the fact that both adolescent literature and multicultural literature readily lend themselves to the investigation of this theme, but I believe my fascination with it also stems from my experience as a high school English teacher. So far, much of my teaching career has been spent in classrooms filled with seventh, eighth, and ninth graders, and I have witnessed the struggle of these students to define themselves on a daily basis. Sometimes, it even seems like these students change their identities by the hour.

While changes in identity manifest themselves in students of all cultures, such changes are most easily observed in students who want to belong to two cultural groups at once. In particular, I am reminded of a Muslim student at the school where I teach who comes to school dances in traditional Muslim garb and who subsequently changes into pants as soon as possible after arriving in order to integrate herself into the dominant culture of the American teenager. As if the struggle to define one’s identity during adolescence is not challenging enough, this student must also create an identity for herself while straddling two cultures.

Being more than familiar with the struggle to find one’s identity, I was immediately drawn to the plight of Clare, the biracial protagonist in Michelle Cliff’s Abeng. After being introduced to this novel in one of my graduate courses, I decided to further explore Cliff’s assertion that the survival of a biracial person is dependent upon whether or not this person is able to create an identity for himself/herself. To do this, I investigate the current research on biracial children, the historical context of the novel, and the influences on Clare’s identity. Then, I use the novel itself to suggest biracial people must develop identities for themselves if they are to continue living. Finally, I conclude by discussing the pedagogical implications of studying identity in Abeng and in multicultural literature in general.

Although this comes as no surprise to teachers who are witnessing shifts in the racial and ethnic composition of their classes, Barbara Tizard and Ann Phoenix in their book Black, White or Mixed Race? state that current data indicates “there are a growing number of people in racially mixed relationships and marked increases in the number of people of mixed parentage”. As children with mixed parentages become more common, one must question the impact this will have on their identities. Will such children classify themselves as black, white, or biracial? How will society define them? How will society’s definition of them affect their lives socially, economically, and emotionally? In the past, it was believed people of mixed-race would suffer from an identity crisis. This sentiment is echoed in Black, White, or Mixed Race? when the authors assert: “‘The prevailing view of mixed children is that they have identity problems because of their ambiguous social position… the stereotype of the tortured misfit’”.

However, recent research suggests this notion of mixed-raced children suffering from an identity crisis is fictitious. As Tizard and Phoenix state, “It is now much more commonly recognized than previously that people of ‘mixed parentage’ largely do not suffer from racialised identity problems [. . .]” (54). As evidence of this conclusion, Tizard and Phoenix cite a study which suggests “that up to the age of 9, at any rate, the majority of mixed-parentage children did not suffer from identity problems; she [the researcher] found them to be happy and secure with an intermediate identity”.

Yet, this conclusion seems premature when one considers the works of authors with mixed-race parentage, such as Michelle Cliff. In fact, Cliff undermines recent research’s assertions that biracial children will not fall victim to identity crises when she comments in interviews on the similarities between herself and Abeng’s protagonist Clare. She is quoted as saying, “‘I was a girl similar to Clare and have spent most of my life and most of my work exploring my identity as a light-skinned Jamaican, the privilege and damage that comes from that identity’” (Dagbovie 96). Obviously, Cliff, like Clare, struggles, or struggled, to define herself…

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Whiting Up: Whiteface Minstrels and Stage Europeans in African American Performance

University of North Carolina Press
December 2011
336 pages
6.125 x 9.25, 15 illus., notes, bibl., index
Cloth ISBN: 978-0-8078-3508-1

Marvin McAllister, Assistant Professor of English
University of South Carolina

In the early 1890s, black performer Bob Cole turned blackface minstrelsy on its head with his nationally recognized whiteface creation, a character he called Willie Wayside. Just over a century later, hiphop star Busta Rhymes performed a whiteface supercop in his hit music video “Dangerous.” In this sweeping work, Marvin McAllister explores the enduring tradition of “whiting up,” in which African American actors, comics, musicians, and even everyday people have studied and assumed white racial identities.

Not to be confused with racial “passing” or derogatory notions of “acting white,” whiting up is a deliberate performance strategy designed to challenge America’s racial and political hierarchies by transferring supposed markers of whiteness to black bodies—creating unexpected intercultural alliances even as it sharply critiques racial stereotypes. Along with theater, McAllister considers a variety of other live performance modes, including antebellum cakewalks and contemporary stand-up comedy by solo artists such as Dave Chappelle. For over three centuries and in today’s supposedly “postracial” America, McAllister argues, whiting up has allowed African American performers first to appropriate artistic products of a white imagination and then to fashion new black identities through these “white” forms, therefore enhancing our collective understanding of self and other.

Controversy: Race and Sexuality on the American Frontier (FRO 100.023)

Goucher College, Baltimore, Maryland

Angelo Robinson, Associate Professor of English

“Am I Black or White? Am I Straight or Gay? CONTROVERSY?”  Since its founding, and long before recording artist Prince penned these lyrics in the 1980s, America has been a space and a place demanding and mandating polarized definitions of race and sexuality. This course will examine the reasoning behind and ramifications of these dichotomies from the Colonial Period to the present in genres that include literature, film, and music.  We will also explore how these binaries affect people who identify as biracial and bisexual.

This discussion-based course requires intensive reading, viewing, and listening and will foster your critical thinking and analytical writing.  Topics of discussion will include the “one-drop rule,” the slavery debate, miscegenation, racial passing, segregation, integration, interracial desire, and sexual passing.  Special attention will be given to individuals who and organizations that refuse to follow racial and sexual dictates. Authors will include Thomas Jefferson, Harriet Jacobs, Mark Twain, Nella Larsen, James Weldon Johnson, Ralph Ellison, June Jordan, James Baldwin, Audre Lorde, Stevie Wonder, Prince, Adrienne Rich, E. Lynn Harris, and Barack Obama.

Playful ambiguities: racial and literary hybridity in the novels of Brian Castro

University of Melbourne
Université Toulouse-le Mirail
2010

Marilyne Brun

PhD thesis, Arts – School of Culture and Communication, The University of Melbourne and Université Toulouse-le Mirail.

This thesis studies eight of the nine novels of Brian Castro, a contemporary Australian writer born in Hong Kong in 1950, and focuses on the theme of hybridity in his work. Starting with the observation that many of Castro’s characters are mixed-race, the thesis reflects on his suggestion, in his critical essays, that hybridity is deployed at a literary level in his fiction. It seeks to answer three major questions: how is racial hybridity represented in the novels? Why does Castro use a form of literary hybridity in his fiction? And what connections can be established between racial and literary hybridity in his work? The present study argues that hybridity is a useful concept which can be productively applied to literary studies and is particularly appropriate to discuss Castro’s novels. It focuses on two aspects of his literary practice: his use of hybridity as a literary device and his ambiguous representation of the mixed-race body. It argues that racial and literary hybridity are uniquely complementary in the novels and that Castro’s playful resort to hybridity represents a form of resistance to literary canons, racial categorisation and national politics. In this sense, the thesis not only extends the study of Brian Castro’s novels, it also brings new insights to hybridity theory, thus contributing to postcolonial, literary and critical race studies.

NHUM3031 Passing: (Re)Constructing Identity

The New School
Fall 2009

Tracyann Williams, Instructor

Passing: (Re)Constructing Identity: “Passing,” a term traditionally used to describe fair-skinned Blacks posing as whites, is, in fact, part of a broader cultural phenomenon that has its origins in the pursuit of “the American Dream.” For the sake of economic comforts, racially, ethnically, and sexually diverse individuals submerge certain aspects of their identity in order to “pass” into the community of “whiteness.” Passing comes with obvious advantages, but for some, great personal sacrifice. We read Helen Fremont’s memoir detailing the ethnic (and religious) journey taken by her parents, Nella Larsen’s multilayered novel Passing, and Diane Wood Middlebrook’s biography of gender-crossing jazz musician Billy Tipton. We examine how particular individuals become white while whiteness remains unattainable by others. We draw on “whiteness studies,” an interdisciplinary field that decenters hegemonic markers connected to white dominance, and through this lens, we explore the racial, ethnic, and sexual biases embedded in our culture that have propelled individuals to reinvent themselves. At the dawn of the 21st century, these biases are supposedly less potent. We test this assumption by examining passing in the contemporary context.

“A Being of a New World:” The Ambiguity of Mixed Blood in Pauline Johnson’s “My Mother”

MELUS
Volume 27, Number 3, Native American Literature (Autumn, 2002)
pages 43-56

Margo Lukens, Associate Professor of English
University of Maine

Studying mixed-blood/Métis history reveals that an overwhelming number of unions between Europeans and Native people happened between a European man and a Native woman. Sylvia Van Kirk has illustrated this demographic pattern in her work on the importance of Native women to the development of the fur trade in Canada; others, such as Jennifer Brown, corroborate the story of the creation of the Métis people by men from France or the British Isles and women from “the country,” members of Native groups who were instrumental in helping white men survive and establish their link to North American land. A specific mythology describing the men and women of these cross-cultural unions, and their children as well, grew in the imaginations of the Europeans intent upon describing their own occupation of the land and what they came to conceive of as their Manifest Destiny to spread the civilization they knew over the face of the continent. The mythology typified the Native women of these unions as drudges and as sexual temptresses, ready to cleave to their white spouses or melt inconspicuously back into their tribes once their husbands left them behind to care for their unacknowledged and genetically compromised children. The European men could, in this mythology, choose to return to French or English wives without penalty for their foray “into the country;” only those who chose to thrust their mixed-blood children upon society’s notice or “squaw-men” who remained with Native wives for life risked social disapproval and marginaliation.

What, then, of the handful of people experiencing unions with the genders reversed? Perhaps because of the Europeans’ inability to imagine these unions, they are largely undescribed by the mythology; perhaps because historical circumstance brought European men to America in large numbers without European women as companions, there was little necessity for a descriptive mythology to arise, except perhaps as a prohibitive tool; perhaps the fear of exposing their women to the attentions of men from outside shaped the European colonial project to be a male journey into an unknown and feminine landscape. Whatever the reasons, no comparable mythology existed for the union of a Native man and European woman. (2) In the work of Pauline Johnson, daughter of a Mohawk man and an English woman, we can see the tension generated by an attempt to create such a mythology of self-identity.

Pauline Johnson was born in 1861 on the Six Nations Reserve in the Grand River valley near Brantford, Ontario, the daughter of George Henry Martin Johnson, a Mohawk chief who was one-quarter Dutch, and Emily Susanna Howells, whose family had emigrated from England when she was eight years old. Because Canadian law identified as Indians women whose fathers or husbands were Indians, her status was Indian even though five of her eight great-grandparents were Europeans. She grew up in an English-style household on the Reserve, where she was educated partly by an English governess at home and partly at the Reserve school, idealizing the Indianness of her father and learning to claim the Mohawk part of her heritage with pride; as her biographer Betty Keller says, Pauline Johnson “credited everything in which she excelled to her Indian blood” (54)…

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French colonial and post-colonial hybridity: condition métisse

Journal of European Studies
Volume 28, Number 1 (1998)
pages 103-120
DOI: 10.1177/004724419802800108

Dina Sherzer, Professor Emeritus of French and Italian and Comparative Literature
The University of Texas, Austin

One of the central issues which shapes and agitates contemporary France, as well as other European countries, is that of identity. Multiple discourses on French identity are crisscrossing France today and are channelled in two different domains—a revisiting of the colonial past, and a reflection on what constitutes contemporary Frenchness. Since the mid-1980s a cultural phenomenon has emerged in France which involves the rediscovery, reassessment and representation of the Empire, colonial politics and ideology, and colonial life. The colonial moment of France’s past (1830-1962), which had been repressed and censured, is now reappearing in studies by historians, sociologists and anthropologists. Film directors and novelists have contributed to this growing interest in the colonies by their imaginings and refigurings of the colonial past. Studies of the colonial period have shown that, based on a set of asymmetrical arrangements, life in the contact zone was organized according to two worlds whereby the colonized were subservient to and dominated by the colonizers. French hegemony was concretized by division and segregation based on race and economics. The French were considered pure and therefore superior, while the Others, the colonized, were considered inferior and somehow savage and impure. What was of utmost importance in the colonies was to preserve French identity; and life in multiracial settings fostered and exacerbated racial consciousness.

It was also in the mid-1980s, as France was becoming increasingly multi-ethnic with a growing population of individuals from the ex-colonies of Africa and North Africa, that the notion of French identity became a national debate, stirring up the country on the right and the left. And it is now possible to speak of a ‘logique contradictorielle’ because, as has been noted, France is ‘un pays de meteques avec une tres forte ideologie antimeteque’. It is a country which has constructed its identity on the concept of universality, and yet particularism is thriving under the impulse of Jean-Marie Le Pen and his followers. As a result the country is divided by two contradictory attitudes: the desire for ethnic purity and xenophobia on one hand, and for tolerance, acceptance of the Other and celebration of contacts, mixings and ‘metissages’ on the other hand. Thus notions such as to be Francais-Francais, Francais-non Francais, or non-Francais; the presence in cities and outskirts of cities of a multiracial population, referred to as ‘les trois B’ (Blacks, Blancs, Beurs); and questions of immigration, integration and assimilation are constantly in the news, in political debates, in journalistic writings, and in films.

Because of the cohabitation of colonizers and colonized, and because of immigration of individuals from the former colonies to France, mixed marriages or unions took place in the colonies and are more and more frequent in contemporary France. For instance in 1994, 22% of second-generation Algerians were married to French individuals born of French parents. Nowadays hybrid individuals constitute a significant part of the French population. They are referred to as, and call themselves ‘sang meles’, ‘croises’or ‘metis’. Many well known personalities in sports, politics and the arts are metis and their hybridity is often mentioned and underscored by the media. Thus it is well known that the actress Isabelle Adjani has a Maghrebi father and a German mother; Raphaëlle Delaunay, a dancer at the Paris opera, has a father from Martinique and a mother from Alsace; Harlem Desir, the anti-racist activist, has an Antillean father and an Alsatian mother; Yannick Noah, the ex-tennis champion now pop singer, has a father from Cameroon and a French mother from Alsace; the lawyer Jacques Verges is Eurasian. Concomitant with and participating in the revisiting of the colonial past and the thinking about the post-colonial present, a number of studies, films, novels and autobiographies have appeared which engage and articulate with ethnicity and identity in focusing on hybrid, mixed-blood, metis individuals; they highlight the fact that if racial mixing, hybridity and ‘metissage’ were of utmost concern during the Empire, in the contact zone, now the same concern is manifesting itself in post-colonial France.

In my discussion I will draw on a representative selection of films and texts together with relevant scholarly studies. The presentation of the ‘condition metisse’ in colonial times appears in the 1988 film by Martinican director Euzhan Palcy, Rue cases-negres, autobiographies such as Kim Lefevre’s Metisse blanche (1990), Dany Carrel’s L’Annamite (1991) adapted into a telefilm with the same title screened in June 1996 on TF1, and a 1993 autobiographical essay entitled Metis by Patrice Franchini. Several novels set in the colonies, from the 1980s to the present, also present metis characters. Examples are the 1930 novel by Erwan Bergot set in Indochina, Le Courrier de Saigon, reedited in 1990, L’Amant by Marguerite Duras from 1988 and Annaud’s 1991 adaptation of it, as well as a 1994 novel by Régine Desforges, Route de la soie. Set in contemporary France, Leïla Sebbar’s Le Chinois vert d’Afrique (1984) and Marie N’Diaye’s En famille (1990) have hybrid individuals as central characters. Films also take on this topic as a subtext, as in Jean-Loup Hubert’s La Reine blanche (1991). Goyav, a popular magazine newly created and found at newsstands in public places, devoted its third issue in June 1996 in large part to ‘la condition metisse’ with articles and interviews about this topic. In these renderings of ‘la condition metisse’, set in the colonies and in post-colonial France, I propose to examine how hybrid individuals have been constructed, what identity they have been given and how they have been made to live and perceive their hybridity. Then I will discuss the significance of the emergence of such texts in the context of contemporary France and, more specifically, examine how these cultural micro-expressions in popular and high culture shape and participate in the creation of the mood, mentality, and attitudes of contemporary France alongside current events, political and sociological writings, and TV debates.

Metissage and colonialism

Metissage is a term invented during the colonial period, as mixed-blood children were born from relationships between French men and Asiatic, African and North African women in the colonies. It had negative connotations, implying miscegenation, mongrelization and impurity. After World War I successive waves of immigration brought to France Italians, Poles and Spaniards who married French individuals and had children, but no specific term was used for these European mixed-blood individuals. Thus, language already shows that mixing between Europeans was acceptable, whereas when it took place with a coloured Other it was marked negatively. The study of rules, regulations and attitudes during the Empire reveals that metis individuals were considered to be degenerate and represented a threat to racial purity. Yet in the colonies colonizers and colonized were in very intimate contact; native women were available and became sexual partners as the colonizers desired it. The colonies were places where the French appropriated land, goods and women, and in fact one of the incentives for going to the colonies was the promise of adventures which entailed unlimited access to women. Postcards, posters and advertisements from the period enticed prospective colonizers, travellers and soldiers by displaying native women and young girls. Exotic sexual encounters were part of the ‘imaginaire colonial’. In Metis Franchini proposes the following analysis of today’s connotations of the word Eurasian, which applies to the more…

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