Mixed Race Studies

The Chevalier de Saint-Georges: Virtuoso of the Sword and the Bow

Pendragon Press
March 2006
566 pages
ISBN: 9781576471098

Gabriel Banat

The Chevalier de Saint-Georges, born Joseph Bologne, was the son of an African slave and a French plantation owner on the island of Guadeloupe. The story of his improbable rise in French society, his life as a famous fencer, celebrated violinist-composer and conductor, and later commander of a colored regiment in the French Revolution, should, on the facts alone, gladden the heart of the most passionate romance novelist. Yet, the information disseminated about this illustre inconnu is found in an extravagant nineteenth-century novel, which contains more fiction than fact. Unfortunately, many of the author’s flights of fancy have found their way into serious works about Saint-Georges. Gabriel Banat has set about systematically dispelling the confusion, for the real story is easily as fascinating as any flight of fancy. Gabriel Banat has been a professional violinist all his life; recitalist and member of the New York Philharmonic, he has systematically scoured the violin repertory for interesting and even unknown music. He came across the works of St. Georges and was fascinated by the freshness and charm of these 18th-century compositions. Eventually, he edited a critical edition of all the violin music and, inevitably, began a systematic investigation into the life of this intriguing and multifaceted individual, utilizing archives of the French Land Army, official clippings and untapped personal diaries of St. Georges’ contemporaries. Banat is the author of an authoritative monograph on St. Georges in the Black Music Research Journal.

Gabriel Banat has been a professional violinist all his life: recitalist and member of the New York Philharmonic, he has systematically scoured the violin repertory for interesting and even unknown music. He is the author of an authoritative monograph on St. Georges in the Black Music Research Journal.

Table of Contents

List of Illustrations ix
Acknowledgments xii
Preface xiv
Necrology xviii
Chapter 1 The Island 1
Chapter 2 Joseph 5
Chapter 3 The Trial 12
Chapter 4 A Fugitive Family 22
Chapter 5 The Bologne Plantation 27
Chapter 6 People ¿of Color¿ 37
Chapter 7 Return to France 40
Chapter 8 Paris 46
Chapter 9 The Prodigy 54
Chapter 10 Too Many Blacks 67
Chapter 11 The Chevalier de Saint-Georges 76
Chapter 12 A Young Man About Town 90
Chapter 13 Virtuoso 97
Chapter 14 Gossec 113
Chapter 15 The New Bow 119
Chapter 16 Composions- Quartets and Concertos 125
Chapter 17 Gluck and Marie Antoinette 140
Chapter 18 Concertos andSymphonie Concertantes 159
Chapter 19 TheOpéra Affair 177
Chapter 20 Ernestine 193
Chapter 21 Mme. de Montesson
Chapter 22 Mme. de Montalembert
Chapter 23 L¿Amant Anonyme
Chapter 24 Le Concert des Amateurs
Chapter 25 The Grand Orient of France
Chapter 26 Le Concert Olympique
Chapter 27 Le Palais-Royal
Chapter 28 London
Chapter 29 The Gathering Storm
Chapter 30 The Bastille
Chapter 31 Revolution
Chapter 32 An Orléans Conspiracy?
Chapter 33 Return to London
Chapter 34 Lille
Chapter 35 The National Guard
Chapter 36 La Légion Saint-Georges
Chapter 37 Regicide
Chapter 38 The Great Terror
Chapter 39 Too Many Colonels
Chapter 40 Paris 1795
Chapter 41 Saint Domingue
Chapter 42 Coda-Finale
Epilogue
Epitaphs for those who survived Saint-Georges 456
Appendix: Dramatis Personae
Works List
Discography
List of Documents
Bibliography
Index

List of Illustrations

Fig. 1.1 Map of Guadeloupe xix
Fig. 2.1 View of Basse-Terre, ca. 1750 7
Fig. 2.2 ¿Squares¿ of sugar cane, Bailiff 9
Fig. 5.1 Plantation with view on La Suffrière 30
Fig. 7.1 Custom Records of Passengers arriving in Bordeaux, Aug. 2, 1753 41
Fig. 7.2 Port of Bordeaux, 1753 42
Fig. 8.1 Mme. de Pompadour 49
Fig. 8.2 49 rue St. André des Arts today 52
Fig. 10.1 The Saint-Georges Guard 70
Fig. 11.1 Equestrian statue of Louis XV 79
Fig. 11.2 Chamber music at a musical salon 88
Fig. 12.1 ¿Winter¿ from Les quatre saisons 94
Fig. 12.2 The Italian style of fencing 95
Fig. 13.1 One of Les vingt-quatre violons du Roi 99
Fig. 13.2 Leopold Mozart and his two children 107
Fig. 13.3 English Tea in the Salon of the Four Mirrors 108
Fig. 13.4 Portrait of Saint-Georges at 22 111
Fig. 14.1 François Joseph Gossec 114
Fig. 14.2 L¿Hôtel de Soubise 115
Fig. 15.1 Leopold Mozart, 1756 121
Fig. 15.2 The evolution of the bow 122
Fig. 16.1 Title page of Saint-Georges¿ second set of quartets 130
Fig. 17.1 Maria Antoinette at her spinet in Vienna 145
Fig. 17.2 Christoph Willibald Gluck 147
Fig. 17.3 Marie Antoinette in 1777, Versailles 151
Fig. 18.1 George Polgreen Bridgetower 168
Fig. 19.1 La petit loge at the Opéra in the Palais-Royal 179
Fig. 19.2 Mlle.La Guimard in Le Navigateur 185
Fig. 19.3 Papillon de la Ferté 189
Fig. 20.1 Choderlos de Laclos 195
Fig. 20.2 Théatre Italien in 1777 198
Fig. 21.1 Mme. de Genlis 206
Fig. 21.2 Mme. de Montesson 208
Fig. 21.3 The Duke of Orléans and his son 210
Fig. 23.1 Title page of L¿Amant Anonyme 238
Fig. 24.1 Title page of the D¿Ogny catalogue 246
Fig. 24.2 Saint-Georges¿ quartets listed in the D¿Ogny catalogue 247
Fig. 25.1 Philippe, Duke of Chartres with his family 253
Fig. 26.1 Masonic initiation ceremony 260
Fig. 26.2 The Palais-Royal before its reconstruction 262
Fig. 27.1 ¿Prinny,¿ George, Prince of Wales 277
Fig. 27.2 Philippe, Duke of Orléans 278
Fig. 28.1 Henry Angelo 284
Fig. 28.2 Le Chevalier D¿Éon in his uniform 288
Fig. 28.3 Mlle. La Chevalière D¿Éon in 1783 288
Fig. 28.4 Cartoon of St. George and D¿Éon 293
Fig. 28.5 Fencing match at Carlton House 297
Fig. 29.1 Burning of the Opera House, 1781 307
Fig. 29.2 Palais-Royal after reconstruction 308
Fig. 30.1 Mme. de Genlis as ¿Governor¿ of Philippe¿s children 315
Fig. 30.2 Giovanni Baptista Viotti 317
Fig. 30.3 Louis XVI inaugerating the opening session of the Estates-General 320
Fig. 30.4 Desmoulins haranguing the people 324
Fig. 30.5 Fall of the Bastille
Fig. 31.1 Mrs. Grace Dalrymple Elliott 327
Fig. 32.1 March of the Paris Poissardes, 1789 334
Fig. 32.2 Cartoon of Lafayette kicking Philippe 340
Fig. 33.1 Mr. Angelo¿s Fencing Academy 342
Fig. 34.1 Session at the Jacobin Club, Paris, 1792 363
Fig. 35.1 General Dillon¿s body being burned in Lille 368
Fig. 36.1 Hussar of the Légion St. Georges 374
Fig. 36.2 The battle of Jemappes, 1792 378
Fig. 36.3 Trooper of the 13th regiment of the Chasseurs à cheval, 1793 383
Fig. 37.1 Execution of Louis XVI, 1793 386
Fig. 37.2 Bust of General Dumouriez 388
Fig. 37.3 Arrest of the Commissioners and the Minister of War by Dumourez 397
Fig. 38.1 General Thomas Alexandre Dumas 403
Fig. 38.2 Danton on his way to the guillotine 409
Fig. 38.3 The Feast of the Supreme Being 410
Fig. 38.4 ¿The Last Tumbrel¿ 411
Fig. 40.1 Invasion of the Assembly by the Sans-Culottes 428
Fig. 40.2 Post-Thermadorian manners, 1795 432
Fig. 40.3 Theresa Tallien ¿Our Lady of Thermador¿
Fig. 41.1 Toussaint Louverture, c.1800 444
Fig. 41.2 Map of Saint-Domingue 445

Anomaly: A New Documentary Film About Mixed Race Identity

African Diaspora Film Festival

• Tuesday, 2009-12-01 at 17:50 EST (Local Time) – Anthology Film Archives, 2nd St. and 2nd Ave., New York, New York
• Wednesday, 2009-12-09 at 19:30 EST (Local Time) – Cowin Center, Columbia University Teachers College, 525 W. 120th St., New York, New York

Jessica Chen Drammeh
2009
47 minutes
In English

Barack Obama‘s presidency highlights the continued struggles around U.S. race issues. “Anomaly” provides a thought-provoking look at multiracial identity by combining personal narratives with the larger drama of mixed race in American culture. The characters use spoken word and music to tell their stories of navigating a complex racial landscape. Q&A with the director after the screening.

View the trailer here.

Embracing Ambiguity: Faces of the Future

Cal State Fullerton College of the Arts Main Gallery
2010-01-30 through 2010-03-05
Opening Reception: 2010-01-30, 17:00-20:00, artist will be present
Panel discussion 2010-02-02, 17:00-19:00, artist will be present
800 N. State College Blvd. Fullerton, CA 92831-3547
Phone (657) 278-7750

Curated by Lynn Stromick and Jillian Nakornthap

Featuring

Laura Kina, Professor of Art
DePaul University 

This group exhibition will feature selections from Kina’s Loving Series as well as an essay by Kina in the exhibition catalog – “Half Yella: Embracing Ethno-Racial Ambiguity.”

Crossing the Line: Racial Passing in Twentieth-Century U.S. Literature and Culture

Duke University Press
July 2000
272 pages
12 b&w photographs
Cloth ISBN: 0-8223-2479-2, ISBN13: 978-0-8223-2479-9
Paperback ISBN: 0-8223-2515-2, ISBN13: 978-0-8223-2515-4

Gayle Wald, Professor of English
George Washington University

As W. E. B. DuBois famously prophesied in The Souls of Black Folk, the fiction of the color line has been of urgent concern in defining a certain twentieth-century U.S. racial “order.” Yet the very arbitrariness of this line also gives rise to opportunities for racial “passing,” a practice through which subjects appropriate the terms of racial discourse. To erode race’s authority, Gayle Wald argues, we must understand how race defines and yet fails to represent identity. She thus uses cultural narratives of passing to illuminate both the contradictions of race and the deployment of such contradictions for a variety of needs, interests, and desires.

Wald begins her reading of twentieth-century passing narratives by analyzing works by African American writers James Weldon Johnson, Jessie Fauset, and Nella Larsen, showing how they use the “passing plot” to explore the negotiation of identity, agency, and freedom within the context of their protagonists’ restricted choices. She then examines the 1946 autobiography Really the Blues, which details the transformation of Milton Mesirow, middle-class son of Russian-Jewish immigrants, into Mezz Mezzrow, jazz musician and self-described “voluntary Negro.” Turning to the 1949 films Pinky and Lost Boundaries, which imagine African American citizenship within class-specific protocols of race and gender, she interrogates the complicated representation of racial passing in a visual medium. Her investigation of “post-passing” testimonials in postwar African American magazines, which strove to foster black consumerism while constructing “positive” images of black achievement and affluence in the postwar years, focuses on neglected texts within the archives of black popular culture. Finally, after a look at liberal contradictions of John Howard Griffin’s 1961 auto-ethnography Black Like Me, Wald concludes with an epilogue that considers the idea of passing in the context of the recent discourse of “color blindness.”

Wald’s analysis of the moral, political, and theoretical dimensions of racial passing makes Crossing the Line important reading as we approach the twenty-first century. Her engaging and dynamic book will be of particular interest to scholars of American studies, African American studies, cultural studies, and literary criticism.

Table of Contents

• Preface
• Acknowledgments
• Introduction: Race, Passing, and Cultural Representation
• 1. Home Again: Racial Negotiations in Modernist African American Passing Narratives
• 2. Mezz Mezzrow and the Voluntary Negro Blues
• 3. Boundaries Lost and Found: Racial Passing and Cinematic Representation, circa 1949
• 4. “I’m Through with Passing”: Postpassing Narratives in Black Popular Literary Culture
• 5. “A Most Disagreeable Mirror”: Reflections on White Identity in Black Like Me
• Epilogue: Passing, “Color Blindness,” and Contemporary Discourses of Race and Identity
• Notes
• Bibliography
• Index

The Obama Issue

Journal of Visual Culture
August 2009
Volume 8, No. 2
Online ISSN: 1741-2994
Print ISSN: 1470-4129

The August 2009 edition of Journal of Visual Culture is focused on president Barack Obama.

Table of Contents

Marquard Smith and JVC Editorial Group
Questionnaire on Barack Obama
pp. 123-124

W.J.T. Mitchell
Obama as Icon
pp. 125-129

Shawn Michelle Smith
Obama’s Whiteness
pp. 129-133

Dora Apel
Just Joking? Chimps, Obama and Racial Stereotype
pp. 134-142  

Raimi Gbadamosi
I Believe In Miracles
pp. 142-150 

Rajagopalan Radhakrishnan
Recognizing Obama: Image and Beyond?
pp. 150-154

Toby Miller
My Green Crush
pp. 154-158

Jacqueline Bobo
Impact of Grassroots Activism
pp. 158-160

Julian Myers, Dominic Willsdon, Mary Elizabeth Yarbrough, and Lauren Berlant
What Happened in Vegas
pp. 161-167

Lauren Berlant
Dear journal of visual culture
pp. 166-167

Marita Sturken
The New Aesthetics of Patriotism
pp. 168-172

Lisa Cartwright and Stephen Mandiberg
Obama and Shepard Fairey: The Copy and Political Iconography in the Age of the Demake
pp. 172-176  

John Armitage and Joy Garnett
Radicalizing Refamiliarization
pp. 176-183

Victor Margolin
Obama Sightings
pp. 183-189  

Joanna Zylinska
You Killed Barack Obama, 2008
pp. 190

Gayatri Chakravorty Spivak
The Modern Prince . . . ‘to come’?
pp. 191-193  

Anna Everett
The Afrogeek-in-Chief: Obama and our New Media Ecology
pp. 193-196  

Julian Stallabrass
Obama on Flickr
pp. 196-201  

Ellis Cashmore
Perpetual Evocations
pp. 202-206  

John Carlos Rowe
Visualizing Barack Obama
pp. 207-211 

Robert Harvey
Other Obamas
pp. 211-219

Curtis Marez
Obama’s BlackBerry, or This Is Not a Technology of Destruction
pp. 219-223

Cynthia A. Young
From ‘Keep on Pushing’ to ‘Only in America’: Racial Symbolism and the Obama Campaign
pp. 223-227

Nicholas Mirzoeff
An End to the American Civil War?
pp. 228-233

Ape to Apollo: Aesthetics and the Idea of Race in the 18th Century

Cornell University Press
2002
264 pages
6 x 9, 12 color illustrations, 65 halftones
ISBN: 978-0-8014-4085-4

David Bindman, Emeritus Professor of the History of Art
University College London

Ape to Apollo is the first book to follow the development in the eighteenth century of the idea of race as it shaped and was shaped by the idea of aesthetics. Twelve full-color illustrations and sixty-five black-and-white illustrations from publications and artists of the day allow the reader to see eighteenth-century concepts of race translated into images. Human “varieties” are marked in such illustrations by exaggerated differences, with emphases on variations from the European ideal and on the characteristics that allegedly divided the races.

In surveying the idea of human variety before “race” was introduced by Linneaus as a scientific category, David Bindman considers the work of many German and British thinkers, including J. F. Blumenbach, Georg and Johann Reinhold Forster, and Immanuel Kant, as well as Georges Louis Leclerc Buffon and Pieter Camper.

Bindman believes that such representations, and the theories that supported them, helped give rise to the racism of the modern era. He writes, “It may be objected that some features of modern racism predate the Enlightenment, and already existed in the sixteenth and seventeenth centuries; certainly there was deep prejudice, but that, I would argue, is not the same as racism, which must have as a foundation a theory of race to justify the exercise of prejudice.”

Ellen Craft: A New American Opera

8th Annual New York City International Fringe Festival
2004-08-13 through 2004-08-29

Lyrics by Sherry Boone
Music: Sean Jeremy Palmer
Book: Sherry Boone and Sean Jeremy Palmer

Ellen Craft: A New American Opera is based on true events of a half -white, half-black womans harrowing escape from slavery disguised as a white man. Ellen‘s fiery story of revenge, love, forgiveness and redemption was recognized as Best Ensemble Performance at the 2004 New York International Fringe Festival. Ellen Craft will be performed on both the Music Theatre and Operatic Stages of the world.

“The Ineffaceable Curse of Cain”: Racial Marking and Embodiment in Pinky

Camera Obscura
43 (Volume 15, Number 1),
2000
pp. 94-121

Elspeth Kydd

Look at my fingers, are not the nails of a bluish tinge . . . that is the ineffaceable curse of Cain . . .
Dion Boucicault, The Octoroon, or Life in Louisiana

The 1949 film Pinky presents a central mulatto character as a method for focusing attention on issues of race and racism.  As one of a series of liberal films released shortly after the Second World War, Pinky approaches issues of race and racism as “social problems.” Yet this film, as do others of this movement, demonstrates more ambiguities around racial categorizations than it offers solutions for dealing with postwar racial tensions.  Made during the Hays Code‘s ban on the representation of miscegenation, Pinky confronts the issue of interracial relations more overtly than many other films of its time by focusing its narrative on the difficulties experienced by a mixed-race woman. The character of Pinky faces crises over passing, as she is torn between her “birthright” and the “mess of pottage”  that she would gain by identifying as white.

Pinky uses the mulatto character to gain audience sympathies, exploring the effects of Southern racism by subjecting the almost-white main character to racially motivated degradations.  Significantly, the film embodies the mulatto through a white actress, producing an ambiguous interplay of audience identifications.  The film engages multiple deployments of the mulatto character: Through the actress, through the social context of the Hays Code, through the visual conventions it deploys, and through its narrative, which draws on…

Read or purchase the entire article here.

Crossing Lines: Race and Mixed Race Across the Geohistorical Divide

Rowman & Littlefield
Paper: 0-9700-3841-0 / 978-0-9700-3841-8
June 2005
190 pages

Edited by

Marc Coronado
DeAnza College

Rudy P. Guevarra
University of California, Santa Barbara

Jeffrey A. S. Moniz, Associate Professor and Director
University of Hawai’i

Laura Furlan Szanto
University of California, Santa Barbara

Crossing Lines addresses the issues of race and mixed race at the turn of the 21st century. Representing multiple academic disciplines, including history, ethnic studies, art history, education, English, and sociology, the volume invites readers to consider the many ways that identity, community, and collectivity are formed, while addressing the challenges that multiracial identity poses to our understanding of race and ethnicity. The authors examine such subjects as social action, literary representations of multiracial people, curriculum development, community formation, Whiteness, and demographic changes.

List of Contributors
Marc Coronado (DeAnza College), Carina Evans (UC Santa Barbara), Melinda Gandara (UC Santa Barbara), Rudy P. Guevarra, Jr. (UC Santa Barbara), Tomas Jimenez (Harvard University), George Lipsitz (UC San Diego), Jeffrey Moniz (University of Hawai’i), Paul Spickard (UC Santa Barbara), Laura Furlan Szanto (UC Santa Barbara), and Nicole Marie Williams (UC Santa Barbara).

Table of Contents

• Introduction

• Clueless
  Rudy P. Guevarra, Jr.

• Noises in the Blood: Culture, Conflict, and Mixed Race Identities
  George Lipsitz

• Does Multiraciality Lighten? Me-Too Ethnicity and the Whiteness Trap
  Paul Spickard

• “My Father? Gabacho?” Ethnic Doubling in Gloria Lopez Stafford’s A Place in El Paso
  Marc Coronado

• Burritos and Bagoong: Mexipinos and Multiethnic Identity in San Diego, California
  Rudy P. Guevarra, Jr.

• Challenging the Hegemony of Multiculturalism: The Matter of the Marginalized Multiethnic
  Jeffrey A.S. Moniz

• Beyond Disobedience
  Nicole M. Williams

• “Fictive Imaginings”: Constructing Biracial Identity and Senna’s Caucasia
  Carina A. Evans

• The Beginning
  Laura Furlan Szanto

• Los Angeles Museum of Art: Looking Forward
  Melinda Gandara

• Multiethnic Mexican Americans in Demographic and Ethnographic Perspectives
  Tomas R. Jimenez

“I’m Black an’ I’m Proud”: Ruth Negga, Breakfast on Pluto, and Invisible Irelands

Invisible Culture: An Electronic Journal for Visible Culture
Issue number 13 (Spring 2009): After Post-Colonialism
University of Rochester, New York

Charlotte McIvor, Lecturer in Drama
National University Ireland, Galway

This article examines Ethiopian-Irish actress Ruth Negga‘s performance in Neil Jordan’s 2005 Breakfast on Pluto in light of recent cultural, racial, and socio-economic shifts in Irish society. How does Negga’s identity as an Irish actress of color influence possible receptions of this film in post-Celtic Tiger Ireland and contest notions of Irishness that have typically been allied only with whiteness?

Roddy Doyle famously posited a relationship between the Irish and African-Americans thus in his 1987 novel The Committments:

–The Irish are the niggers of Europe, lads.
They nearly gasped: it was so true.
–An’ Dubliners are the niggers of Ireland. The culchies have fuckin’ everythin’. An’ the northside Dubliners are the niggers o’ Dublin. —–Say it loud, I’m black an’ I’m proud.
He grinned. He’d impressed himself again.
He’d won them. They couldn’t say anything.

Jimmy Rabitte, band manager, uses this turn of phrase to convince his motley crowd of Dublin Irish musicians to form a soul band, although the phrase was later reimagined in the film as, “The Irish are the blacks of Europe” [emphasis mine]….

…Negga’s performance models an ideal vision of Irish belonging that does not erase the co-mingling of Irish pasts and presents with histories of other peoples. Negga forces the audience towards a contemporary engagement with a transnational Irish history that illuminates the history of a “global Irish” who have now come to the island of Ireland either as returned white Irish emigrants or as would-be citizens who share colonial and European histories with their new neighbors, despite racial and cultural differences. Negga, in an article fittingly entitled, “Ruth Negga, a star without a label,” observes: “For the moment, I don’t have to worry about people trying to fit me into a box. Up until now, there were no mixed-race roles in Ireland. It’s not like in the UK, where these roles do exist and then you are typecast from then on.”…

Charlotte McIvor is a Ph.D. candidate in Performance Studies at University of California, Berkeley. Her research focuses on the production of Irish and Indian (Bengali) colonial and post-colonial nationalism and performance in their transnational and gendered contexts. McIvor’s dissertation is titled “Staging the ‘Global’ Irish: Transnational Genealogies in Irish Performance.” She is a graduate student instructor in the Department of Theater, Dance, and Performance Studies. She has directed several plays at UC Berkeley and in Allentown, Pennsylvania.

Read the entire article here.