Mixed Race Studies

Rethinking Mestizaje: Ideology and Lived Experience

Journal of Latin American Studies
2005
Number 37, Issue 2
Pages 239–257
DOI: 10.1017/S0022216X05008990

Peter Wade, Professor of Social Anthropology
University of Manchester

The ideology of mestizaje (mixture) in Latin America has frequently been seen as involving a process of national homogenisation and of hiding a reality of racist exclusion behind a mask of inclusiveness. This view is challenged here through the argument that mestizaje inherently implies a permanent dimension of national differentiation and that, while exclusion undoubtedly exists in practice, inclusion is more than simply a mask. Case studies drawn from Colombian popular music, Venezuelan popular religion and Brazilian popular Christianity are used to illustrate these arguments, wherein inclusion is understood as a process linked to embodied identities and kinship relations. In a coda, approaches to hybridity that highlight its potential for destabilising essentialisms are analysed.

Rethinking mestizaje as embodied experience

This article explores a key concept in the complex of ideas around race, nation and multiculturalism in Latin America, that of mestizaje – essentially the notion of racial and cultural mixture. I address mestizaje not just as a nation-building ideology – which has been the principal focus of scholarship on the issue, but also as a lived process that operates within the embodied person and within networks of family and kinship relationships. I consider how people live the process of racial-cultural mixture through musical change, as racially identified styles of popular music enter into their performing bodies, awakening or engendering potentialities in them; through religious practice, as racialised deities possess them and energise a dynamic and productive embodied diversity ; and through family relationships, as people enter into sexual and procreative relations with others identified as racially-culturally different, to produce ‘mixed’ children.

This approach emphasises the ways in which mestizaje as a lived process, which encompasses, but is not limited to, ideology, involves the maintenance of enduring spaces for racial-cultural difference alongside spaces of sameness and homogeneity. Scholars have recognised that mestizaje does not have a single meaning within the Latin American context, and contains within it tensions between sameness and difference, and between inclusion and exclusion.  Yet a scholarly concern with mestizaje as ideology has tended to privilege two assumptions: first, that nationalist ideologies of mestizaje are essentially about the creation of a homogeneous mestizo (mixed) future, which are then opposed to subaltern constructions of the nation as racially culturally diverse ; and second, that mestizaje as a nationalist ideology appears to be an inclusive process, in that everyone is eligible to become a mestizo, but in reality it is exclusive because it marginalises blackness and indigenousness, while valuing whiteness…

Read the entire article here.

Black Through a Distortion Pedal

San Fransisco Bay Press
2010-01-01

Eric Wilkinson

Black Through a Distortion Pedal is a poetry compilation about indulgence in and resistance to a racialized world from the perspective of a white youth who found his voice in hip-hop.

Wilkinson explores the genesis of multiple selves in an era of increasingly fluid and unstable identity, concerned not so much with issues of art’s authenticity, as with how words and music heal, break down boundaries and re-imagine the world in terms of summer nights spent freestyle rapping, philosophizing, and reveling in strange experiences of love, loss, and becoming. Wilkinson offers stories of personal intimacy and everyday resistance in the context of reconnecting with people that history has alienated him from.

He draws inspiration from black and white artists, musicians, and critical social theorists as he confronts the race divide in his personal life and the corporate divide that acts to homogenize the world and silence voices of dissent. Wilkinson’s poetry sees resistance in all walks of life, from eating WTO banned Roquefort cheese, to inter-racial dating, to writing hip-hop songs that resist the trappings of mainstream music.

Mestizaje Upside-Down: Aesthetic Politics in Modern Bolivia

University of Pittsburgh Press
May 2004
240 pages
6 x 9
ISBN: 9780822942276

Javier C. Sanjinés, Associate Professor of Latin American Literature and Cultural Studies
University of Michigan

Mestizaje refers to the process of cultural, ethnic, and racial mixture that is part of cultural identity in Latin America. Through a careful study of fiction, political essays, and visual art, this book defines the meaning of mestizaje in the context of the emergence of a modern national and artistic identity in late-19th- and early 20th-century Bolivia.

Part Asian, 100% Hapa: Portraits by Kip Fulbeck

Chronicle Books
February, 2006
264 pages
7 x 7 in; 125 color photographs
ISBN 0811849597
ISBN13 9780811849593

Kip Fulbeck, Professor of Performative Studies, Video
University of California, Santa Barbara

Foreword by Sean Lennon

Afterword by Paul Spickard, Professor of History
University of California, Santa Barbara

Part Asian, 100% Hapa — Originally a derogatory label derived from the Hawaiian word for half, Hapa is now being embraced as a term of pride by many people of Asian or Pacific Rim mixed-race heritage. Award-winning film producer and artist Kip Fulbeck has created a forum in word and image for Hapas to answer the question they’re nearly always asked: “What are you?” Fulbeck’s frank, head-on portraits are paired with the sitters’ own statements of identity. A work of intimacy, beauty, and powerful self-expression, Part Asian, 100% Hapa is the book Fulbeck says he wishes he had growing up. An introduction to the rest of the world and an affirmation for Hapas themselves—who now number in the millions—it offers a new perspective on a rapidly growing population.

Post-Race on America’s Next Top Model

International Communication Association, TBA
2007 Conference
San Francisco, CA
2007-05-23

Ralina L. Joseph, Assistant Professor of Communications, American Ethnic Studies and Women Studies
University of Washington

African American supermodel Tyra Banks’s popular reality show for aspiring young models, America’s Next Top Model, both reflects and produces twenty-first century ideals of post-feminism, a “girl power” moment in which second-wave feminism is antiquated, and post-race, a post-Civil Rights moment in which race is relic. ANTM features a sizable number of women of color contestants who are led by an African American female leader. The show’s explicit message is that racialized and gendered identities are equalized in the “Top Model” space. However, all of the contestants, both women of color and white women, are disciplined so that they must signify hyper-raced, hyper-sexed and essentialized versions of “difference.” At the same time, the contestants must also perform as safe, genteel, and essentially white middle class “Cover Girls.”

In this paper I investigate performances of racial and gender masquerade in a 2004 episode of America’s Next Top Model. This episode features a confluence of race as costume, because the contestants “switch ethnicities” with the help of makeup and wigs, and gender as maternity, because the contestants don milk mustaches and three-year-old children as props. ANTM demonstrates that performances of post-ethnicity and post-feminism are always reliant upon racialized and gendered stereotypes and the logic of capitalism. While the mixed-race contestants are showcased as the most seamless transgressors of racialized and gendered identity, as all of the women slip on race and gender “costumes,” the show illustrates the seductive power of post-identity politics in the twenty first century United States.

…As a graduate student I worked on notions of contemporary mixed-race African-American representations as being particularly emblematic of a post-race and postfeminist excuse that was vital in constructing neo-conservative political measures like California’s 1996 anti-affirmative action measure prop 209 and 2003’s racial privacy initiative prop[osition] 54. Historically and into the new millennium hybridized Black female bodies have been represented as not only sexually available, but also complicit in their exploitation (one of my favorite examples is Halle Berry’s much lauded academy award winning turn in 2001’s Monster’s Ball where she screams out in her sex scene with her death row inmate husband’s prison guard/executioner Billy Bob Thornton, “make me feel good!”). What I’ve been working on post-grad school is how these connected ideologies of post-race and post-feminism operate in other popular culture where mixed-race functions more often as a metaphor. One cite I’ve been investigating is the celebrity of thirty-three year old African American supermodel turned media mogul Tyra Banks and the phenomenon of her reality television show, America’s Next Top Model…

Read the entire article here.

Danzas Nacionalistas: The representation of history through folkloric dance in Venezuela

Critique of Anthropology
(2002)
Vol. 22, No. 3
pages 257-282
DOI: 10.1177/0308275X02022003758

Iveris Luz Martínez
Johns Hopkins University

In this article I argue that the nation is not only invented or imagined, but depends on activities and practices in order to be invented and imagined. Here, the focus is on dance in Venezuela, where a number of groups use what they call `folkloric dance’ to construct and depict the national `culture’. This article considers the case of Danzas Típicas Maracaibo (DTM), a dance company founded in 1976 under the auspices of the government of the state of Zulia in Venezuela. DTM presented a carefully crafted and selective stylized repertoire of `folk’ dances from throughout the country. These re-created dances are called danzas nacionalistas, although the dances are often interchangeably referred to as `folkloric’. They are used to make statements about ethnic and cultural authenticity, and in their own way contribute to the discourse of mestizaje. In Venezuela, as in much of Latin America, there is entwined in nationalist rhetoric the idea of `race’ and cultural mixing, or mestizaje. Here, mestizaje does not only or necessarily imply a `racial’ mixing or a mixing of `blood’, but it also refers to `culture’. History, and discourses of the past generally, are especially implicated in these activities and representations.

Sci fi offers surprising insights on race

The Brandeis Hoot
Brandeis University
2009-03-06

Marissa Lainzi

Months and months of wading through red ink, volleying e-mails, coordinating, coordinating, and coordinating came to fruition for the Mixed Heritage Club on Friday night, as their much-anticipated speaker, Eric Hamako, gave the talk, “Monsters, Messiahs, or Something Else?” a discussion of mixed race issues in sci-fi movies.

Hamako, a doctoral student at the University of Massachusetts Amherst, intrigued the audience with his observations and theories regarding the portrayal of the “new” and “old” mixed race ideals in popular entertainment. Citing the movies Blade and Underworld, Hamako explained the portrayal of mixed-race people as “monsters” or “messiahs”—with vampires, humans, and werewolves becoming the racial metaphors.

The “monster” depiction of mixed-race people, Hamako explained, comes from the “old” conception of mixed race, which presented mixed-race people as deformed, immoral, or somehow wrong or inhuman. The “new” conception of mixed race, on the other hand, presents opposite stereotypes—that mixed-race people are beautiful, genetically superior, and the easy way to quash racism. Hamako calls this the “messiah” depiction.

Using clips from “Underworld,” Hamako showed the movie’s symbolic pitting of the new messiah version of mixed race against the old monster version. Hamako said that this is a way of injecting the new stereotypes about mixed race into the audience’s mind and attempting to justify forgetting that the old stereotypes existed by symbolically destroying them…

Read the entire article here.

`For Venus smiles not in a house of tears’: Interethnic relations in European cinema

European Journal of Cultural Studies
2003
Vol. 6, No. 1
pages 55-74
DOI: 10.1177/1367549403006001470

Anneke Smelik
University of Nijmegen

In the 1990s, several European filmmakers addressed the Romeo and Juliet motif of `impossible love’ in the context of multiculturalism. A heterosexual love affair between people of different ethnic backgrounds allows filmmakers to address issues of racism and deconstruct racial stereotypes. In the films discussed in this article, the tragic love affairs point to the unwillingness of European countries to become pluralistic and multiethnic societies. Some films have attempted to represent interethnic love relations more hopefully, celebrating happy endings of mixed race couples. The success of such films may indicate that the genre of comedy has won over the tragedy of the Romeo and Juliet topos in cinematic representations of interethnic love relations. Perhaps European cinema is ready to embrace constructions of European identity as hybrid, diverse and multiple.

An Illuminated Life: Bella da Costa Greene’s Journey from Prejudice to Privilege

W. W. Norton & Company
June 2007
592 pages
6.6 × 9.6 in
Hardcover ISBN: 978-0-393-05104-9

Heidi Ardizzone, Assistant Professor of American Studies
University of Notre Dame

Named a New York Times Editor’s Choice.

The secret life of the sensational woman behind the Morgan masterpieces, who lit up New York society.

What would you give up to achieve your dream? When J. P. Morgan hired Belle da Costa Greene in 1905 to organize his rare book and manuscript collection, she had only her personality and a few years of experience to recommend her. Ten years later, she had shaped the famous Pierpont Morgan Library collection and was a proto-celebrity in New York and the art world, renowned for her self-made expertise, her acerbic wit, and her flirtatious relationships. Born to a family of free people of color, Greene changed her name and invented a Portuguese grandmother to enter white society. In her new world, she dined both at the tables of the highest society and with bohemian artists and activists. She also engaged in a decades-long affair with art critic Bernard Berenson. Greene is pure fascination—the buyer of illuminated manuscripts who attracted others to her like moths to a flame.

Casta Painting: Images of Race in Eighteenth-Century Mexico

Yale University Press
2004-04-10
252 pages
8 1/2 x 11
100 b/w +100 color illus.
Paper ISBN: 9780300109719
Cloth ISBN: 9780300102413

Ilona Katzew, Associate Curator of Latin American Art
Los Angeles County Museum of Art

Selected for Honorable Mention for a 2003-2004 Book Award given by the Association for Latin American Art.

The pictorial genre known as casta painting is one of the most compelling forms of artistic expression from colonial Mexico. Created as sets of consecutive images, the works portray racial mixing among the main groups that inhabited the colony: Indians, Spaniards, and Africans. In this beautifully illustrated book, Ilona Katzew places casta paintings in their social and historical context, showing for the first time the ways in which the meanings of the paintings changed along with shifting colonial politics.

The book examines how casta painting developed art historically, why race became the subject of a pictorial genre that spanned an entire century, who commissioned and collected the works, and what meanings the works held for contemporary audiences. Drawing on a range of previously unpublished archival and visual material, Katzew sheds new light on racial dynamics of eighteenth-century Mexico and on the construction of identity and self-image in the colonial world.

Table of Contents

• Acknowledgements
• Introduction
• 1. Painters and Paintings: A Visual Tradition and Its Historiography
• 2. “A Marvelous Variety of Colors?”: Racial Ideology and the Sistema de Castas
• 3. The Rise of Casta Painting: Exoticism and Creole Pride, 1711-1760
• 4. Changing Perspectives: Casta Painting in the Era of the Bourbon Reforms, 1760-1790
• 5. The Theater of Marvels: Casta Paintings in the Textual Microcosmos
• Concluding Remarks: A Genre with Many Meanings
• Abbreviations
• Notes
• Bibliography
• Photograph Credits
• Index