Mixed Race Studies

Political Discourse on Racial Mixture: American Newspapers, 1865 to 1970

Paper presented at the annual meeting of the MPSA Annual National Conference
Palmer House Hotel
Hilton, Chicago, IL
2008-04-03

Jennifer L. Hochschild, Henry LaBarre Jayne Professor of Government & Professor of African and African American Studies
Harvard University

Brenna Marea Powell
Harvard University

Vesla Weaver, Assistant Professor
The Woodrow Wilson Department of Politics
University of Virginia

We trace American political discourse around multiracialism, race-mixing, and mixed-race people from the end of the Civil War through the civil rights era. We use two new sources of data: counts of keywords such as “mulatto” and “multiracial” in two black and four white newspapers over 150 years, and a content analysis of themes and assumptions in almost 2,100 articles from the same newspapers, also using keywords that indicate racial mixture.

These datasets provide evidence on two analytic and two substantive points: First, the press’s treatment of mixture permits us to analyze “racial meaning,” defined as the varied ways in which Americans construe, practice, and judge group-based identities and identifications. Second, the datasets enable us to trace the timing of changes in ideas about racial meaning, and to map these changes onto a new periodization of distinct institutional treatments of racial mixture. Substantively, the dataset show vividly how much Americans argued over what counted as a race, how people were to be allocated to and across races, and what implications racial groupings should have. The contemporary racial order, which looks inevitable and orderly in hindsight, was not at all clear while it was being created. Most importantly, the language of the newspaper articles shows vividly that Americans’ debates over racial mixture and racially mixed people were (and continue to be) a critical site for contestation over racial hierarchy, advance, and equality.

Read the entire paper here.

‘The Nephew’ and ‘The Front Line’: black and mixed masculinities in Irish Cinema

Old Ireland, New Irish: ‘The same people living in the same place’: American Conference for Irish Studies 2009
‘Into the heartland of the ordinary’: Second Galway Conference of Irish Studies 2009

Hosted by
Centre for Irish Studies
National University of Ireland, Galway
2009-06-10 through 2009-06-13

Zélie Asava
University College Dublin

This paper explores representations of ethnicity and gender in The Nephew and The Front Line, Irish films which feature mixed-race and black male protagonists, and so reflect the changing face of the nation in Post-Celtic Tiger Ireland as well as reflecting contemporary concerns regarding the histories and transformations of Irish identity and tradition.

Historically the mixed/black body formed a canvas for Western conceptual theories of blackness, as Fanon noted: ‘I am overdetermined from without’.v In the last 20 years mixed/black actors have featured in several Irish films – Pigs, The Crying Game, Mona Lisa, Irish Jam, Breakfast on Pluto, Isolation and Boy Eats Girl – as prostitutes, single mothers, rappers and social contaminants. The transnational migratory bodies of The Nephew and The Front Line will be explored as revealing new directions in Irish cinema which attempt to deconstruct the mixed/black body, multiculturalism and the ‘new Irish’.

The discourses of ‘race’ and gender expressed in these two films portray ‘the possibility of a very differenced Ireland in the world’ which Gerardine Meaney observes may reconfigure the field of Irish Studies. They represent and reinvent public and private identities by projecting non-white Irish identity onto an Irish landscape in order to bring this social demographic from the margins to the centre of Irish visual culture.

Portraits of the New Negro Woman: Visual and Literary Culture in the Harlem Renaissance

Rutgers University Press
2006
224 pages
b&w illustrations
Paper ISBN: 978-0-8135-3977-5
Cloth ISBN: 978-0-8135-3976-8

Cherene Sherrard-Johnson, Professor of English
University of Wisconsin-Madison

Of all the images to arise from the Harlem Renaissance, the most thought-provoking were those of the mulatta. For some writers, artists, and filmmakers, these images provided an alternative to the stereotypes of black womanhood and a challenge to the color line. For others, they represented key aspects of modernity and race coding central to the New Negro Movement. Due to the mulatta’s frequent ability to pass for white, she represented a variety of contradictory meanings that often transcended racial, class, and gender boundaries.

Portraits of the New Negro Woman investigates the visual and literary images of black femininity that occurred between the two world wars. Cherene Sherrard-Johnson traces the origins and popularization of these new representations in the art and literature of the Harlem Renaissance and how they became an ambiguous symbol of racial uplift constraining African American womanhood in the early twentieth century.

In this engaging narrative, the author uses the writings of Nella Larsen and Jessie Fauset as well as the work of artists like Archibald Motley and William H. Johnson to illuminate the centrality of the mulatta by examining a variety of competing arguments about race in the Harlem Renaissance and beyond.

Representations of the Black Body in Mexican Visual Art: Evidence of an African Historical Presence or a Cultural Myth?

Journal of Black Studies
Volume 39, Number 5 (May 2009)
pages 761-785
DOI: 10.1177/0021934707301474

Wendy E. Phillips, Photographer
Atlanta, GA

Although Africans have been present in Mexico since the time of the Afro-Atlantic slave trade, the larger Mexican culture seems to have forgotten this aspect of its history.  Although the descendents of these original Africans continue to live in the communities of coastal Oaxaca, Guerrero, and Veracruz states, many Mexicans seem to be unaware of their existence. This article reviews works of visual art made from the 1700s through the present that represent images of Mexicans of African descent and provide evidence of a historical Afromestizo presence in Mexico.  The works are also considered as possible sources of evidence about prevailing attitudes about Mexicans of African descent and anxieties about race mixing.  This article provides a brief overview of Mexico’s historical relationship with Africa as a participant in the Afro-Atlantic slave trade and considers the work of muralists, painters, and photographers who have created works of art in various regions of the country.

Read or purchase the article here.

Barriers between Us: Interracial Sex in Nineteenth-Century American Literature

Indiana University Press
2004-10-12
160 pages
1 bibliog., 1 index, 6.125 x 9.25
Paper ISBN-13: 978-0-253-21733-2; ISBN: 0-253-21733-4

Cassandra Jackson, Professor of English
The College of New Jersey

This provocative book examines the representation of characters of mixed African and European descent in the works of African American and European American writers of the 19th century.  The importance of mulatto figures as agents of ideological exchange in the American literary tradition has yet to receive sustained critical attention. Going beyond Sterling Brown’s melodramatic stereotype of the mulatto as “tragic figure,” Cassandra Jackson’s close study of nine works of fiction shows how the mulatto trope reveals the social, cultural, and political ideas of the period. Jackson uncovers a vigorous discussion in 19th-century fiction about the role of racial ideology in the creation of an American identity.  She analyzes the themes of race-mixing, the “mulatto,” nation building, and the social fluidity of race (and its imagined biological rigidity) in novels by James Fenimore Cooper, Richard Hildreth, Lydia Maria Child, Frances E. W. Harper, Thomas Detter, George Washington Cable, and Charles Chesnutt.

The Specter of Sex: Gendered Foundations of Racial Formation in the United States

State University of New York (SUNY) Press
August 2009
323 pages
Hardcover ISBN13: 978-1-4384-2753-9
Paperback ISBN13: 978-1-4384-2754-6

Sally L. Kitch, Distinguished Professor of Women and Gender Studies
Arizona State University

Genealogy of the formation of race and gender hierarchies in the U.S.

Theories of intersectionality have fundamentally transformed how feminists and critical race scholars understand the relationship between race and gender, but are often limited in their focus on contemporary experiences of interlocking oppressions. In The Specter of Sex, Sally L. Kitch explores the “backstory” of intersectionality theory—the historical formation of the racial and gendered hierarchies that continue to structure U.S. culture today. Kitch uses a genealogical approach to explore how a world already divided by gender ideology became one simultaneously obsessed with judgmental ideas about race, starting in Europe and the English colonies in the late seventeenth century. Through an examination of religious, political, and scientific narratives, public policies and testimonies, laws, court cases, and newspaper accounts, The Specter of Sex provides a rare comparative study of the racial formation of five groups—American Indians, African Americans, Latinos, Asian Americans, and European whites—and reveals gendered patterns that have served white racial dominance and repeated themselves with variations over a two-hundred-year period.

“This gracefully written synthesis of existing historical scholarship advances a position that both asserts distinction between ‘race’ and ‘gender’ as categories and privileges the gendered process of racial formation as key to understanding power and hierarchy in the United States. It is perfect for the classroom and will serve as a guide for theorists who need grounding in history.

Table Of Contents

• Acknowledgments
• Introduction: The “Purloined Letter” of Gendered Race
• Part I: Roots As the Twig is Bent
  • 1. “Women are a Huge Natural Calamity”: The Roots of Western Gender Ideology
  • 2. The First Races in Society: Gendered Roots of Race Formation
  • 3. Gendered Racial Institutions: World Slavery and Nationhood
  • Conclusion: From Gender to Race
• Part II: Bodies Whose Too, Too Solid Flesh?
  • 4. The American “Body Shop”: Gendered Racial Formation in the Colonies and New Republic
  • 5. Enslaved Bodies and Gendered Race
  • 6. Sexual Projection and Race: Science, Politics, and Lust
  • Conclusion: Embodying Race
• Part III: Blood “Off Women Com Owre Manhed”
  • 7. Defining, Measuring, and Ranking Racial Blood: The Ungendered Surface
  • 8. Hardly Gender Neutral
  • 9. Gendered Anti-Miscegenation: Laws and Their Interpretation
  • 10. Preserving White Racial Blood: Rape Accusations and Motherhood
  • Conclusion: Miscegenation as Racial Reconciliation?
• Part IV: Citizenship “My Folks Fought for This Country”
  • 11. What is Citizenship?: Gender and Race
  • 12. Engendering Citizenship: Dependency and Sex
  • 13. “No Can Do” Men and Their Others: Dependency and Inappropriate Gender
  • 14. Mixed Race, Suspect Gender: Both White and . . . Whatever
  • Conclusion: Homosexual Citizenship: A Gendered Racial Oxymoron
• Part V: Implications Patterns for a New Bridge
  • 15. Implications for Feminist Theories of Racial Difference and Antisubordination Politics
  • 16. Gender Implications for Theories of Racial Formation
• Conclusion: Interdependence
• Notes
• Index

Mixed Heritage in Young Adult Literature

The Scarecrow Press, Inc.
March 2009
272 pages
Cloth ISBN: 0-8108-5969-6; ISBN-13: 978-0-8108-5969-2

Nancy Thalia Reynolds

Mixed-heritage people are one of the fastest-growing groups in the United States, yet culturally they have been largely invisible, especially in young adult literature. Mixed Heritage in Young Adult Literature is a critical exploration of how mixed-heritage characters (those of mixed race, ethnicity, religion, and/or adoption) and real-life people have been portrayed in young adult fiction and nonfiction.

This is the first in-depth, broad-scope critical exploration of this subgenre of multicultural literature. Following an introduction to the topic, author Nancy Thalia Reynolds examines the portrayal of mixed-heritage characters in literary classics by James Fenimore Cooper, Mark Twain, and Zora Neale Hurston—staples of today’s high school English curriculum—along with other important authors. It opens up the discussion of young-adult racial and ethnic identity in literature to recognize—and focus on—those whose heritage straddles boundaries. In this book teachers will find new tools to approach race, ethnicity, and family heritage in literature and in the classroom.  This book also helps librarians find new criteria with which to evaluate young adult fiction and nonfiction with mixed-heritage characters.

The Amalgamation Waltz: Race, Performance, and the Ruses of Memory

University of Minnesota Press
2009
248 pages
18 b&w photos | 6 x 9
ISBN: 978-0-8166-5613-4 (paper)
ISBN: 978-0-8166-5612-7 (cloth)

Tavia Nyong’o, Associate Professor of Performance Studies
New York University

Does racial hybridity offer a future beyond racial difference?

At a time when the idea of a postracial society has entered public discourse, The Amalgamation Waltz investigates the practices that conjoined blackness and whiteness in the nineteenth and twentieth centuries. Scrutinizing widely diverse texts—archival, musical, visual, and theatrical—Tavia Nyong’o traces the genealogy of racial hybridity, analyzing how key events in the nineteenth century spawned a debate about interracialism that lives on today.

Deeply interested in how discussions of racial hybridity have portrayed the hybrid as the recurring hope for a distant raceless future, Nyong’o is concerned with the ways this discourse deploys the figure of the racial hybrid as an alibi for a nationalism that reinvents the racist logics it claims to have broken with.  As Nyong’o demonstrates, the rise of a pervasive image of racially anomalous bodies responded to the appearance of an independent black public sphere and organized politics of black uplift.  This newfound mobility was apprehended in the political imaginary as a bodily and sexual scandal, and the resultant amalgamation discourse, he argues, must be recognized as one of the earliest and most enduring national dialogues on sex and sexuality.

Nyong’o tracks the emergence of the concept of the racial hybrid as an ideological modernization of the older concept of the mongrel and shows how this revision brought race-thinking in line with new understandings of sex and gender, providing a racial context for the shift toward modern heterosexuality, the discourse on which postracial metaphors so frequently rely.  A timely rebuttal to our contemporary fascination with racial hybridity, The Amalgamation Waltz questions the vision of a national future without racial difference or conflict.

Table of Contents

• Introduction: Antebellum Genealogies of the Hybrid Future
• 1. The Mirror of Liberty: Constituent Power and the American Mongrel
• 2. In Night’s Eye: Amalgamation, Respectability, and Shame
• 3. Minstrel Trouble: Racial Travesty in the Circum-Atlantic Fold
• 4. Carnivalizing Time: Decoding the Racial Past in Art and Installation
• Conclusion: Mongrel Pasts, Hybrid Futures
• Acknowledgments
• Notes
• Bibliography
• Index

The Interethnic Imagination: Roots and Passages in Contemporary Asian American Fiction

Oxford University Press
October 2009
216 pages
Hardback ISBN13: 9780195377361; ISBN10: 0195377362

Caroline Rody, Associate Professor of English
University of Virginia

In the wake of all that is changing in local and global cultures–in patterns of migration, settlement, labor, and communications–a radical interaction has taken place that, during the last quarter of the twentieth century, has shifted our understanding of ethnicity away from ‘ethnic in itself’ to ‘ethnic amidst a hybrid collective’.  In light of this, Caroline Rody proposes a new paradigm for understanding the changing terrain of contemporary fiction. She claims that what we have long read as ethnic literature is in the process of becoming ‘interethnic’.  Examining an extensive range of Asian American fictions, The Interethnic Imagination offers sustained readings of three especially compelling examples: Chang-rae Lee‘s ambivalent evocations of blackness, whiteness, Koreanness, and the multicultural crowd in Native Speaker; Gish Jen‘s comic engagement with Jewishness in Mona in the Promised Land; and the transnational imagination of Karen Tei Yamashita‘s Tropic of Orange.  Two shorter “interchapters” and an epilogue extend the thematics of creative “in-betweenness” across the book’s structure, elaborating crossover topics including Asian American fiction’s complex engagement with African American culture; the cross-ethnic adoption of Jewishness by Asian American writers; and the history of mixed-race Asian American fictional characters.

Features

• Examines three major yet under-studied contemporary Asian American novelists: Chang-rae Lee, Karen Tei Yamashita, and Gish Jen.
• Considers major Asian American fiction alongside African American and Jewish American authors.
• In lucid writing, provides a valuable and innovative paradigm for interpreting the burgeoning field of ethnic literature in the U.S.

Feeling Ancestral: The Emotions of Mixed Race and Memory in Asian American Cultural Productions

positions: east asia cultures critique
Volume 16, Number 2, Fall 2008
pages 457-482

Jeffrey Santa Ana, Assistant Professor English Department
Stony Brook University

The current era of war, militarism, and neocolonialism in the Pacific is a time in which capitalist expansion simultaneously generates and conceals the negative human consequences of globalization — for example, the tremendous upheaval and migration of Asian people. Diaspora, dislocation, exile, and immigration born of economic necessity are the depressing contradictions to a capitalist paradise that has been optimistically envisaged as the end of history.   Critics of globalization have theorized the ways in which the commercialization of human feeling conceals the anxieties, fears, and other negative affects that express the harsh underside of transnational capitalism.  Nowhere is this commercialization of emotion more obvious than in the marketing of multiculturalism and racial difference in global commerce. The commercial use of racial mixture is especially provocative in the way it signals, conditions, and manages distressing experiences, while assimilating them symmetrically and seamlessly into the transnational stage of capitalism. Clearly, racial mixture is a hot commodity in today’s global market. Particularly in North America, the fascination with and consumption of multiraciality is evident in the notable increase in scholarship about multiraciality in the academy and the profusion of mixed-race productions in the culture industry, both of which reflect the commercialization of racial mixture in a globalized world.

In the last ten years, there has been an explosion of cultural productions about mixed-race people, and particularly of multiracial Asian Americans. Ruth Ozeki’s My Year of Meats and Halving the Bones, Kip Fulbeck’s Paper Bullets and Part Asian, 100 Percent Hapa, Paisley.