Mixed Race Studies

Call at Rio fashion show for more black models

Agence France-Presse
2012-01-14

Only a handful of black models sashayed down the catwalk at this week’s Rio fashion show, sparking fresh calls for quotas to ensure greater diversity in a country where more than half of the population is of African ancestry.

Some 24 labels displayed their latest designs at the Rio de Janeiro winter 2012 fashion week, that ran from Wednesday to Saturday, and as in previous years the models were overwhelmingly white.

Yet Brazil, home to 190 million people, has the world’s second largest black population after Nigeria.

Organizers refused to address this perennial lack of racial diversity, although in the past they claimed that “there is no racial discrimination” in an industry known for its preference for eurocentric standards of beauty.

For the first time in June 2009, the Sao Paulo Fashion Week (SPFW)—Latin America’s premier fashion event—imposed quotas requiring at least 10 percent of the models to be black or indigenous…

…Luana Genot, one of the eight black models out of more 200 employed by the main Rio modeling agency, 40° Models, gave details of the hurdles blacks face.

“They call us only when the the theme of the show is linked to black culture,” said the 23-year-old who is also an advertising student at Rio Catholic University (PUC).

“I am often told: What am I going to do with your hair? And for make-up, I am always the last so as not to dirty the brush with overly dark tones,” she added.

Last June, during Black Consciousness Week, Genot organized a debate on “ethnic diversity in fashion” at PUC.

“We are told that the winter collection is for whites in Europe or that black women’s butts are too big, their hips too wide. I am shocked to see that in Brazil, where more than half of the people are descendants of black slaves, there is so little space for us,” she added.

“Brazil’s population is very mixed and this must be reflected in fashion,” Genot said…

Read the entire article here.

Author, Yaba Blay, to appear on CNN Newsroom with Don Lemon

CNN NewsRoom: Weekend Primetime
2012-01-14, 19:00-20:00 EST

Don Lemon, Host

Yaba Blay, Assistant Professor of Africana Studies
Lafayette College

(1)ne Drop author, Yaba Blay, will appear on the weekend edition of CNN Newsroom with Don Lemon on Sunday, January 15, 2012 during the 7:00 pm-8:00 pm hour (EST).

The Black List: Photographs by Timothy Greenfield-Sanders

National Portrait Gallery, Smithsonian Institution
Eigth and F Streets, NW
Washington, D.C.
Open daily: 11:30-19:00 ET
2011-10-28 through 2012-04-22

Curator: Ann Shumard
Historian: David C. Ward

 
Portraits by Timothy Greenfield-Sanders — Individual prints are Epson inkjet prints, 147.3 x 111.8 cm (58 x 44 in.)

What is a “black list”? The dictionary defines it as “a list of persons who are disapproved of or are to be punished or boycotted.” But imagine if the black list were a roll call of distinction rather than of disenfranchisement? What if being on the black list was a point of pride rather than dread? What if the black list could shed its negative connotation to become a term of affirmation and empowerment like black pride, black power, or black is beautiful?

These are some of the questions that prompted photographer Timothy Greenfield-Sanders (born 1952) to embark on a portrait project to create an entirely new kind of black list—a visual “who’s who” of African American men and women whose intelligence, talent, and determination have propelled them to prominence in disciplines as diverse as religion, performing arts, medicine, sports, art, literature, and politics.

Although these individuals have traveled different paths to success, all share a deep-seated activism that has carried them over daunting obstacles and continues to be a driving force in their lives. If the new black list represents a chronicle of African American achievement, the fifty men and women pictured here surely merit inclusion on its rolls.

Artist Statement

On February 24, 2005, Toni Morrison was having lunch in my East Village kitchen. The conversation turned to “divas,” as Toni described the extraordinarily talented performers she had auditioned for her opera, Margaret Garner. “Timothy, we should do a portrait book on these women. “Call it . . . Black Divas.”

It got me thinking about all the African Americans I knew and had photographed. I made a list: Toni of course, David Hammons, Bill T. Jones, and Colin Powell quickly came to mind…

Read the entire Artist Statement here.

“IndiVisible” Discusses African–Native American Lives

Newsdsesk: Newsroom of the Smithsonian Institution
2012-01-06

“IndiVisible: African–Native American Lives in the Americas,” a 20-panel display that outlines the seldom-viewed history and complex lives of people of dual African American and Native American ancestry, will open at the Smithsonian’s National Museum of the American Indian in New York, the George Gustav Heye Center, Thursday, Feb. 9. The exhibit will be on view through Friday, Aug. 31, in the museum’s photo corridor gallery.

“Indivisible” addresses the racially motivated laws that have been forced on Native, African American and mixed-heritage peoples. Since pre-colonial times, Native and African American peoples have built strong communities through intermarriage, unified efforts to preserve their land and taking part in creative resistance. Over time, these communities developed constructive survival strategies, and several have regained economic sustainability through gaming in the 1980s. The daily cultural practices that define the African–Native American experience through food, language, writing, music, dance and the visual arts, will also be highlighted in the exhibition…

Read the entire article here.

A Jazz Celebration – Remembering the Life of Philippa Schuyler

Southbank Centre
London, England
The Clore Ballroom
2012-01-27, 17:30Z

The Abram Wilson Quartet

Charismatic New Orleans trumpeter and vocalist Abram Wilson debuts original music inspired by the life of the Harlem born, mixed race classical piano prodigy, Philippa Schuyler, who died tragically young in 1967.

Wilson and his band of musicians explore new compositional ground with music ranging from the roughest blues to the most melodic swing. Soulful trumpet playing complements the vocals as Wilson tells the sensitive story of an extraordinary and gifted musician’s troubled life.

With a band featuring Alex Davies (bass), Dave Hamblett (drums) and Reuben James (piano), the multi-award winning Wilson has created a unique style of melodic compositions that swing and groove. His sound is reminiscent of Freddie Hubbard, Miles Davis and Wynton Marsalis.

For more information, click here.

The Case of Loving v. Bigotry

The New York Times
2012-01-01

Julie Bosman

Photography by: Grey Villet

In 1958, Richard and Mildred Loving were arrested in a nighttime raid in their bedroom by the sheriff of Caroline County, Va. Their crime: being married to each other. The Lovings—Mildred, who was of African-American and Native American descent, and Richard, a bricklayer with a blond buzz cut—were ordered by a judge to leave Virginia for 25 years. In January, the International Center of Photography is mounting a show [2012-01-20 through 2012-05-06] of Grey Villet’s photographs of the couple in 1965. That exhibit is complemented by an HBO documentary, ‘‘The Loving Story,’’ directed by Nancy Buirski, which will be shown on HBO on Feb. 14…

Read the entire text and view the photographs here.

Dreams of a Life

The Arts Desk
2011-12-14

Nick Hasted

Carol Morley’s moving documentary brings a dead woman lost in London back to life

The decontamination squad scraped the remains of 38-year-old ex-City professional Joyce Vincent from her seat, in front of a TV which had flickered unseen for three years. They took her wrapped Christmas presents too, and left unsolvable mysteries. How did she die? And how does someone become so alone that they’re left in a north-London flat above a busy shopping centre till their body melts into it?

When director Carol Morley read a Sun headline announcing the macabre discovery in 2006, she pined for those answers, putting ads in the London press, the internet and even a black cab, and working obsessively towards this documentary. It gives feature-length attention to an unknown soldier of 21st-century urban life: a woman who was ignored till she disappeared.

…Death’s tragedy, of course, is often worse for the living. From a primary schoolfriend to work colleagues, Morley’s interviewees show genuine affection, puzzlement and shock as Vincent’s jigsaw is pieced incompletely together. The most heartbreaking figure in her film, though, isn’t Vincent, but Martin, that old boyfriend, who she once asked to marry, and always dropped everything for her. Parental disapproval at her mixed race stymied the wedding but, as he finally breaks down on camera and wails, she was the love of his life. He is bereft for himself that they didn’t stick together, that he didn’t help her even more, that she’s gone…

Read the entire article here.

An art history mystery at Worcester Art Museum

Metrowest Daily News
Framingham, Massachusetts
2011-12-12

Chris Bergeron, Daily News Staff

WORCESTER—Forget the da Vinci Code. There’s no Knight Templars or murderous albinos, but the life and death of Julien Hudson and the whereabouts of his paintings is a fascinating “art historical mystery’’ waiting to be solved.

The second-earliest documented painter of African descent in the U.S. [after Joshua Johnson (see article “The Mysterious Portraitist Joshua Johnson”)], Hudson was making his mark as a portraitist in New Orleans in the early 1800s before dying of unknown causes, leaving behind just six canvases.

Who was the man with searching eyes in one of his remaining paintings? Did he kill himself, as some suspect? With his sixth painting discovered by a New England collector, can more of Hudson’s valuable works be found in area shops, flea markets or your attic?

An intriguing exhibit, “In Search of Julien Hudson,” at the Worcester Art Museum, offers the first retrospective about the man and the artist whose enigmatic career casts light on the lives of free blacks and mixed race people in Louisiana before the Civil War?

Organizer William Keyse Rudolph said, “The search for Julien Hudson isn’t over.”…

…For many New Englanders, “In Search of Julien Hudson’’ will provide an exciting opportunity to learn about a vital subculture of the pre-Civil War South that belies some stereotypes and confirms others.

Rudolph explained that Hudson was the mixed-race grandson of a woman who been freed from slavery and the oldest of four children born from the union of Desiree Marcos and Thomas Hudson, an English merchant and ship’s chandler.

From its founding in 1718 to its sale in 1803 to the U.S. as part of the Louisiana Purchase, New Orleans maintained a class of free people of color who were regarded as a “third caste,’’ with a legal and social status that positioned them between the enslaved and free whites.

Hudson’s life reveals many of the possibilities and limitations experienced by free blacks in New Orleans…

Read the entire article here.

Sewing Ourselves Together: Clothing, Decorative Arts and the Expression of Métis and Half Breed Identity

University of Manitoba
2004
450 pages

Sherry Farrell Racette, Professor of Native Studies and Women’s and Gender Studies
University of Manitoba

A Dissertation submitted to the Faculty of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy

When I was a university student, I worked at a summer education program in The Pas in northern Manitoba. There I met three women from the Manitoba Métis Federation who had obtained a grant to teach people who worked with their children. Tired of requests to come into classrooms to teach children beadwork, they had decided that the best use of their time and skills was to “teach the teachers” with the expectation that beadwork would be incorporated into the curriculum. The women seemed to take special care that I learned what they had to teach. Maybe it was because I was the only aboriginal woman in the workshop; maybe it was because I was interested. Kathleen Delaronde, a traditional artist of the highest caliber, was one of those women. I got to know her and her family and during another northern summer, I stayed at their home and learned at her kitchen table. Nobody in my family did beadwork but I felt an immediate connection with beads and leather.

Although beadwork and traditional arts were new to me, sewing clothes and making decorative objects for the home were not. Both my parents had been poor as children and took tremendous pleasure in dressing well. My grandmother always dressed up to go to town, and tortured my uncles by dressing them in little matching suits and hats. One summer while we were visiting my grandmother in Quebec, she sat me down at her treadle sewing machine and helped me sew a dress for my doll. At home I started sewing by helping my mother who was always making something. My job was to rip her mistakes while she forged ahead and to do hand sewing which she still loathes. In addition to what she had learned from my grandmother, my mother had taken a tailoring course that was offered by the Singer sewing machine company, and she sent me off to take a similar course when I was a teenager. Now she helps me when I embark on projects that involve sewing. For an art exhibit, Dolls for Big Girls, I merged what I knew about Métis and First Nations history and traditional arts and clothing. While I made little moccasins, my mother dressed the old woman for a piece entitled Flight based on her memories of clothing worn by my great-grandmother, Annie Poison King.

When I began my journey into traditional arts, my mother brought me a birch bark basket that belonged to my grandmother, Helen King Hanbury. Disappointed that, in a fit of creativity, my grandmother had painted it with green boat paint, I put the basket aside. I didn’t open it until shortly after my grandmother died. One day I found myself sitting on the edge of my bed with the basket in my lap. When I took off the lid, I found moccasin patterns, a piece of embroidery, assorted odds and ends, and a handmade needle case with a simple flower embroidered on the cover. I realized that I had unknowingly picked up a needle to an aesthetic tradition that my grandmother had put down. Since that time I have taken opportunities to learn from elder artists, such as the late Margaret McAuley of Cumberland House, and struggled on by myself. I have also thought a great deal about what it means when we wrap ourselves up and present ourselves to the world in a certain way and what it means when we stop. This study is an extension of the journey that began when Kathleen Delaronde helped me pick up the needle. It has been done with the greatest respect for the women who have taught me and the artists from long ago, who I am sure have been standing beside me guiding my research.

TABLE OF CONTENTS

• PREFACE: Picking Up the Needle
  • Acknowledgements
  • Glossary
  • Abbreviations
• CHAPTER ONE: Métis and Half Breed Clothing and Decorative Arts
• CHAPTER TWO: Métis, Half Breed and Mixed Blood: Identifying Self and Group
• CHAPTER THREE: The Métis Space of New Possibilities: Elements of Hybrid Style
• CHAPTER FOUR: “After the Half Breed Fashion”: Reconstructing 19th Century Métis and Half Breed Dress
• CHAPTER FIVE: Tent Pegs: Material Evidence
• CHAPTER SIX: Spirit and Function: Symbolic Aspects of Occupational Dress
• CHAPTER SEVEN: Clothing in Action: the Expressive Properties Of Dress
• CHAPTER EIGHT: Sewing for a Living: the Commodification of Women’s Artistic Production
• CHAPTER NINE: Artists, Making and Meaning
• CHAPTER TEN: Half Breed, but not Métis: Lakota and Dakota Mixed Bloods
• CHAPTER ELEVEN: Final Thoughts and Conclusions
  • Sewing Ourselves Together
• BIBLIOGRAPHY
• PLATE GALLERY

Read the entire dissertation here.

Anglo-Indian Identity, Knowledge, and Power: Western Ballroom Music in Lucknow

The Drama Review
Volume 48, Number 4 (Winter 2004)
Pages 167-182
DOI: 10.1162/1054204042442053

Dr. Bradley Shope, Assistant Professor of Music
Texas A&M Universtity, Corpus Christi

From the 1920s to the 1940s, Anglo-Indians relished Western popular music. For this marginalized group, this music was a way of promoting respectability. And though the music mimicked styles from America and Europe, its celebration was distinctly local.

Beginning in the first half of the 20th century, Western ballroom and dance music began to make its way into Lucknow in Uttar Pradesh, as well as other cities in North India. It was imported via gramophone disks, radio broadcasts, and sheet music coming from Europe and America. In the 1930s, an increasing number of dance halls, railway social institutes, auditoriums, and cafes were built to cater to a growing number of British and Americans in India, satisfying their nostalgia for the live performance of the foxtrot, the tango, the waltz, the rumba, big-band music, and Dixieland. Influenced by sound and broadcast technology, sheet music, instrument availability, the railway system, and convent schools teaching music, an appreciation for these styles of music was found in other communities. Especially involved were Portuguese Goans and Anglo-Indians, defined here as those of European and Indian descent who were born and raised in India. For these two groups, it served to assert their identities as distinct from other South Asians and highlighted that their taste for music reached beyond the geographical boundaries of India. Numerous types of media, institutions, and venues contributed to this vibrant Western music performance culture in Lucknow in the early 20th century. James Perry, an elderly Goan musician, and Mr. John Sebastian and Mr. Jonathan Taylor, two elderly Anglo-Indian ex-railway workers, were involved in its performance and appreciation. By drawing from multiple field interviews in North India conducted with these individuals between 1999 and 2001, and by describing the character of the performance culture, I will highlight the role of music in creating socioeconomic mobility and a distinct identity among Anglo-Indians in Lucknow, and address issues of power relations and colonialism with reference to the consumption of the music.

Just before and during World War II, Lucknow was considered a strategic military defense location because of the fear of bombing campaigns in Kolkata (formerly Calcutta) by the Japanese military. A large portion of the Allied Eastern Command was moved inland and established in Lucknow to counter…

Read or purchase the article here.