Mixed Race Studies

Portuguese and Luso-Asian Legacies in Southeast Asia, 1511-2011, Volume 2: Culture and Identity in the Luso-Asian World: Tenacities & Plasticities

Institute of Southeast Asian Studies
2012
368 pages
Soft cover ISBN: 978-981-4345-50-7
See Volume 1 here.

Edited by:

Laura Jarnagin, Visiting Professorial Fellow
Institute of Southeast Asian Studies in Singapore
also Associate Professor Emerita in the Division of Liberal Arts and International Studies at Colorado School of Mines (Golden, Colorado)

“In 1511, a Portuguese expedition under the command of Afonso de Albuquerque arrived on the shores of Malacca, taking control of the prosperous Malayan port-city after a swift military campaign. Portugal, a peripheral but then technologically advanced country in southwestern Europe since the latter fifteenth century, had been in the process of establishing solid outposts all along Asia’s litoral in order to participate in the most active and profitable maritime trading routes of the day. As it turned out, the Portuguese presence and influence in the Malayan Peninsula and elsewhere in continental and insular Asia expanded far beyond the sphere of commerce and extended over time well into the twenty-first century.

Five hundred years later, a conference held in Singapore brought together a large group of scholars from widely different national, academic and disciplinary contexts, to analyse and discuss the intricate consequences of Portuguese interactions in Asia over the longue dure. The result of these discussions is a stimulating set of case studies that, as a rule, combine original archival and/or field research with innovative historiographical perspectives. Luso-Asian communities, real and imagined, and Luso-Asian heritage, material and symbolic, are studied with depth and insight. The range of thematic, chronological and geographic areas covered in these proceedings is truly remarkable, showing not only the extraordinary relevance of revisiting Luso-Asian interactions in the longer term, but also the surprising dynamism within an area of studies which seemed on the verge of exhaustion. After all, archives from all over the world, from Rio de Janeiro to London, from Lisbon to Rome, and from Goa to Macao, might still hold some secrets on the subject of Luso-Asian relations, when duly explored by resourceful scholars.”

—Rui M. Loureiro
Centro de Historia de Alem-Mar, Lisbon

“This two-volume set pulls together several interdisciplinary studies historicizing Portuguese ‘legacies’ across Asia over a period of approximately five centuries (ca. 1511-2011). It is especially recommended to readers interested in the broader aspects of the early European presence in Asia, and specifically on questions of politics, colonial administration, commerce, societal interaction, integration, identity, hybridity, religion and language.”

—Associate Professor Peter Borschberg
Department of History, National University of Singapore

Table of Contents

• Preliminary pages with Introduction
• PART I: CRAFTING IDENTITY IN THE LUSO-ASIAN WORLD
  • 1. Catholic Communities and their Festivities under the Portuguese Padroado in Early Modern Southeast Asia, by Tara Alberts
  • 2. A “Snapshot” of a Portuguese Community in Southeast Asia: The Bandel of Siam, 1684-86, by Rita Bernardes de Carvalho
  • 3. The Colonial Command of Ceremonial Language: Etiquette and Custom-Imitation in Nineteenth-Century East Timor, by Ricardo Roque
  • 4. Remembering the Portuguese Presence in Timor and Its Contribution to the Making of Timor’s National and Cultural Identity, by Vicente Paulino
• PART II: CULTURAL COMPONENTS: LANGUAGE, ARCHITECTURE AND MUSIC, by Alan Baxter
  • 5. The Creole-Portuguese Language of Malacca: A Delicate Ecology
  • 6. Oral Traditions of the Luso-Asian Communities: Local, Regional and Continental, by Hugo C. Cardoso
  • 7. Verb Markings in Makista: Continuity/Discontinuity and Accommodation, by Mario Pinharanda-Nunes
  • 8. From European-Asian Conflict to Cultural Hertiage: Identification of Portuguese and Spanish Forts on Ternate and Tidore Islands, by Manuel Lobato
  • 9. The Influence of Portuguese Musical Culture in Southeast Asia in the Sixteenth and Seventeenth Centuries, by Christian Storch
• PART III: ADVERSITY AND ACCOMMODATION, by Roderich Ptak
  • 10. Portugal and China: An Anatomy of Harmonious Coexistence (Sixteenth and Seventeenth Centuries)
  • 11. “Aocheng” or “Cidade do Nome de Deus”: The Nomenclature of Portuguese and Castilian Buildings of Old Macao from the “Reversed Gaze” of the Chinese, by Vincent Ho
  • 12. Enemies, Friends, and Relations: Portuguese Eurasians during Malacca’s Dutch Era and Beyond, by Dennis De Witt
• Appendix: Maps
• Bibliography
• Index

Blackface, Whiteness and the Power of Definition in German Contemporary Theatre

The International Research Center “Interweaving Performance Cultures” invites Bühnenwatch
Studio 1 Kunstquartier Bethanien
Mariannenplatz 2 / 10 997 Berlin
2012-10-16, 11:00-16:30 CEST (Local Time)

With presentations by Sharon Otoo, Sandrine Micossé-Aikins, Dr. Daniele Daude, Dr. Azadeh Sharifi and Julia Lemmle

Moderated by Oliver Kontny

Program

11.00 Introduction by Oliver Kontny
11.30 “Reclaiming Innocence: Unmasking Representations of Whiteness in German Theatre,” Sharon Otoo
12.00 “Not just a Blackened Face: The Back Stage of a Stereotyp,” Sandrine Micossé-Aikins
12.30 “The (Un)Chosen Bodies of Myths. Performing Race on Opera Stage,” Dr. Daniele Daude
13.00-13.30 Discussion
Lunch
15.00 “Black artists in German theatre,” Dr. Azadeh Sharifi
15.30 ““Ich bin kein Nazi!” The blackface debate in the German mainstream media,” Julia Lemmle
16.00-16.30 Discussion…

For more information, click here.

The L.A. Scene: Teaching Race and Popular Music in the 1950s

Organization of American Historians Magazine of History
Volume 26, Issue 4
pages 17-20
DOI: 10.1093/oahmag/oas030

Luis Alvarez, Associate Professor of History
University of California, San Diego

In 1956, Little Julian Herrera had one of the biggest rhythm and blues hits of the year in Los Angeles. His soulful, doo-wop style ballad, “Lonely Lonely Nights,” turned Herrera into an overnight sensation. He was soon known across the city for spectacular live performances that later drew comparisons to a young James Brown. He became a teen idol and heartthrob among Mexican American girls on the Eastside. What many of his fans may not have known, however, was that Herrera was neither Mexican American nor from L.A. He was an East Hungarian Jew who had run away from his Massachusetts home at age eleven. His given name was Ezekiel, though his probation officer knew him as Ron Gregory. After hitchhiking to Southern California, he was taken in by a Mexican American family in the Boyle Heights neighborhood of East L.A. and eventually took their surname as his own.

“Lonely Lonely Nights” was produced by the legendary Johnny Otis. Born the son of Greek immigrants in Vallejo, California, Otis came of musical age as a drummer and bandleader playing African American jazz and blues joints along Central Avenue in L.A. By the mid-1950s when he helped launch Little Julian Herrera into local stardom, Otis already was a formidable figure in the L.A. music scene who soon became known as the “Godfather of Rhythm and Blues.” He produced records, hosted radio and television programs, and organized dances and concerts. He was also regularly harassed by local authorities for creating and promoting music whose performers and audiences often crossed racial lines. Otis, in fact, considered himself “black by persuasion.” He once remarked, “Genetically, I’m pure Greek. Psychologically, environmentally, culturally, by choice, I’m a member of the black community”. In a scenario emblematic of the racial diversity of L.A.’s 1950s…

Read or purchase the article here.

The Eurasian Face

Blacksmith Books
November 2010
140 pages
70+ b/w images
Bilingual: English/Chinese
20.5 x 31 cm
Hardcover ISBN: 978-988-99799-9-7

Kirsteen Zimmern

No one represents diversity better than Eurasians—those individuals with a mix of Caucasian and Asian heritage. Once a source of shame, the Eurasian face has become the face that sells. It is the face with which everyone can identify. In an ever-shrinking world, the search is on for a one-size-fits-all global image. Eurasians have become the world’s poster boys and girls, much sought after as actors and models.

Taking advantage of increasingly tolerant times and the growing commercial and cultural exchanges between East and West, Eurasians have gained prominence as entrepreneurs, professionals and athletes. This book of interviews and black-and-white portraits reveals how seventy Eurasians of diverse backgrounds see their place in the world today.

Kirsteen Zimmern is a photographer of Chinese and Scottish ancestry. She has always been fascinated by the tell-tale signs of East and West in the faces of fellow Eurasians, and has found this fascination to be widespread: few days go by without strangers examining her appearance to discern her ethnicity. She lives in Hong Kong.

View pages 48-59 here.

Living Portraits: Carl Van Vechten’s Color Photographs of African Americans, 1939-1964

Beinecke Rare Book & Manuscript Library
Yale University, New Haven, Connecticut

Carl Van Vechten (1880-1964), photographer, promotor of literary talent, and critic of dance, theater, and opera, had an artistic vision rooted in the centrality of the talented person. He cherished accomplishment, whether in music, dance, theater, fine art, literature, sport, or advocacy. He began to make photographic portraits in 1932; in 1939 he discovered newly available color film. For a quarter century, he invited friends and acquaintances, well-known artists, fledgling entertainers, and public intellectuals to sit for him, often against backdrops reminiscent of the vivid colors and patterns of a Matisse painting. Among his subjects are a very young Diahann Carroll, Billie Holiday in tears, Paul Robeson as Othello, Althea Gibson swinging a tennis racquet, and a procession of opera stars, composers, authors, musicians, activists, educators, and journalists who made notable contributions to the cultural and intellectual life of the country. Also included are brilliant color images of notable and everyday places: Fisk University in Nashville, Tennessee; the wedding of friends; pushcarts and street scenes of Harlem; children at play in a housing project’s yard.

The Collection

Color slides of Blacks.
1,884 color Kodachrome slides, 2 x 2 inches each

[Note from Steven F. Riley] Also includes photographs of: Peter Abrahams, Prince Etuka Okala Abutu, Armenta Adams, Adele Addison, Alvin Ailey, Betty Allen, Sanford Allen, Martina Arroyo, William Attaway, Ethel Ayler, Pearl Bailey, James Baldwin, Harry Belafonte, Roy Thompson Beresford, Mary McLeod Bethune, Charles Blackwell, McHenry Boatwright, Margaret Allison Bonds, Paul Bontemps, William Stanley Braithwaite, Carol Brice, Jonathan Brice, Maurice Brooks, Anne Wiggins Brown, Debria Brown, Roscoe Lee Browne, Joyce Bryant, Ralph J. Bunche, Dan Burley, Miriam Burton, John Carlis, Thelma Carpenter, Diahann Carroll, John Carter, Shirley Verrett Carter, Horace Cayton, Omar Clay, Ladybird Cleveland, Leo Coleman, Durward B. Collins, Janet Collins, Zebedee Collins, Clayton Corbin, Edna Cordoza, Eldzier Corter, Robert Curtis, Jimmy Daniels, Ossie Davis, Gloria Davy, Ruby Dee, William Demby, Beauford Delaney, Inez Dickerson, Hugh Dilworth, Mattiwilda Dobbs, Owen Dodson, W. E. B. DuBois, Todd Duncan, Roy Eaton, Bobby Evans, Martha Flowers, Benny Garland, Althea Gibson, Richard Gibson, John Birks “Dizzie” Gillespie, Shirley Graham, Reri Grist, Nicolas Guillen, Juanita Hall, Bertha “Chippie” Hill, Ramon Blancos Habana, Frank Harriott, Afrika Hayes, Marion Hayes, Roland Hayes, Chester Eugene Haynes, Godfrey Headley, Bomar Himes, Geoffrey Holder, Leo Holder, Charlotte Holloman, Nora Holt, Marilyn Horne, Langston Hughes, Phillipa Husley, Earle Hyman, Ivie Jackman, Annette Jackson, Mahalia Jackson, Raymond Jackson, Louise E. Jefferson, Charles Johnson, Hal Johnson, Hylan “Dots” Johnson, Marie Johnson, (Everett) LeRoi Jones , James Earl Jones, Laurence Clifton Jones, Ulysses Kay, William Melvin Kelly, Eartha (Mae) Kitt, George Lamming, Carmen De Lavallade, Everett Lee, Henry Lewis, Powell Lindsay, James Lowe, Robert Keith McFerrin, Claudia McNeil, Geraldyn (Gerri) Hodges Major, Claude Marchant, William Marshall, Mabel Mercer, Lizzie Miles, Arthur Mitchell, Edgar Mittelholzer, Mollie Moon, Linwood Morris, Willard Motley, Lorenzo Newby, Maidie Norman, Godfrey Nurse, Frederick O’Neal, Leonard de Paur, Louise Parker, Louis Peterson, Julius Perkins Jr., Mildred Perkins, Charles Perry, Ann Petry, Evelyn La Rue Pittman, Leontyne Price, Bertice Reading, Guy Rodgers, Percy Rodriguez, Pearl Showers, Edith Spurlock Sampson, Diana Sands, Harold Scott, George Shirley, Bobby (Robert Waltrip) Short, Merton Simpson, Noble Sissle, Clarence Smith Jr., William Gardner Smith, Rawn Spearman, Melvin Stewart, William Grant Still, Billy Strayhorn, Howard Swanson, Archie Savage, Wesley Tann, Ellen Tarry, Dorothy Taylor, Claude Thompson, Veronica Tyler, Margaret Tynes, Henry Van Dyke, Elaine Vance, William Warfield, Dorothy West, Moran Weston, Clarence Cameron White, Josh White, Lindsay H. White, Roy Wilkins, Billy Dee Williams, Camilla Williams, John Alfred Williams, Maurice Williford, Ellis Wilson, John W. Work, and Dale Wright.

To view the collection, click here.

Theater; On Hearing Her Sing, Gershwin Made ‘Porgy’ ‘Porgy and Bess’

The New York Times
1998-03-29

Barry Singer

In his tragically short life, George Gershwin knew only one Bess, and this bittersweet fact has framed Anne Wiggins Brown’s life. She was that Bess in the original production of Gershwin’s operatic masterwork based on Dorothy and DuBose Heyward’s theatrical adaptation of Heyward’s novel “Porgy.”

More than 60 years have passed since Gershwin’s death in 1937 from a brain tumor. Though singers of every race and nationality have by now assayed the role, Ms. Brown will always be the first, the Bess Gershwin himself chose in 1934.

“Bess is slender but sinewy; very black,” wrote the Heywards. “She flaunts a typical but debased Negro beauty.”

At 85, Ms. Brown still possesses the vibrancy and unaffected elegance that must have first inspired Gershwin. She is not, however, “very black.” For Gershwin that was never a problem. “I don’t see why my Bess shouldn’t be cafe au lait,” he told Ms. Brown before offering her the role.

Yet color has haunted Ms. Brown’s career. In the segregated America of the 1930’s and 40’s, where could a classically trained African-American soprano hope to have a career? The only answer was abroad…

…She was born Annie Wiggins Brown in Baltimore in 1912. Her father, a doctor, was the grandson of a slave; her mother’s parents were of Scottish-Irish, black and Cherokee Indian descent. At 23, Ms. Brown was introduced to the world as an opera singer and an African-American in “Porgy and Bess.” Thirteen years later, in 1948, after more than a decade of concertizing and frustrated ambitions, she left America for Norway…

…”To put it bluntly, I was fed up with racial prejudice,” she explained, her English accented with Scandinavian inflections. “Though there is no place on earth without prejudice. In fact, a French journalist wrote an article during one of my tours there asking: ‘Why does she say she is colored? She’s as white as any singer. It’s just a trick to get people interested.’ Can you imagine? Of course I was advertised as ‘a Negro soprano.’ What is ‘a Negro soprano’?”…

…When the show’s closing notice was posted after 124 performances, the producers announced a tour with stints in Philadelphia, Pittsburgh and Chicago, to be followed by a week at the National Theater in Washington. Ms. Brown was livid. The National Theater, she knew, was a segregated house.

“I told them: ‘I will not sing at the National. If my mother, my father, my friends, if black people cannot come hear me sing, then count me out.’ I remember Gershwin saying to me, ‘You’re not going to sing?’ And I said to him, ‘I can’t sing!’ ”

After protracted negotiations, the National, for one week only, became an integrated house. When the curtain came down on the final performance of “Porgy and Bess,” segregation was reinstated…

Read the entire article here.

Anne Brown, Soprano Who Was Gershwin’s Bess, Is Dead at 96

The New York Times
2009-03-16

Douglas Martin

Anne Brown, a penetratingly pure soprano who literally put the Bess in “Porgy and Bess” by inspiring George Gershwin to expand the character’s part in a folk opera that was originally to be called “Porgy,” died Friday in Oslo. She was 96.

Her daughter Paula Schjelderup announced the death.

“Porgy and Bess” burst onto the American scene in 1935 as a sophisticated musical treatment of poor blacks. Critics could not make out whether it was a musical comedy, a jazz drama, a folk opera or something quite different. Time told: it became part of the standard operatic repertory, including that of the Metropolitan Opera.

Drawing from the gritty experiences of South Carolina blacks, “Porgy and Bess” introduced songs that came to be lodged in American culture. Ms. Brown was the first person Gershwin heard singing the part of Bess, a morally challenged but achingly human character who was relatively minor in the original 1925 DuBose Heyward novel and the 1927 hit stage play by DuBose and Dorothy Heyward.

As he composed the opera, often with Ms. Brown at his side, Gershwin added more and more music for her. Her voice was also the first he heard singing several other parts in the opera…

Read the entire obituary here.

Anne Wiggins Brown (1912-2009)

Afrocentric Voices in Classical Music
2012-01-29

Randye Jones

Soprano Anne Wiggins Brown was born on August 9, 1912, in Baltimore, Maryland. (This year, rather than 1915, was confirmed by the singer herself.) Her father, Dr. Harry F. Brown, was a prominent physician and grandson of a slave. Her mother, Mary Wiggins Brown, was of African, Cherokee and Scottish-Irish ancestry. She and her three sisters were active in the musical and theatrical life of the racially segregated community. Brown described her early musical training:

I was always with music. My mother played and sang and she taught her four daughters very much about music. She was my first vocal teacher. In those days there was not much that an African-American could do in the theatre, except roles as a servant or something. I thought about being an opera singer but there also was the same difficulty. In those days the Metropolitan didn’t have any African-American singers.

Brown’s parents tried to enroll her in an area Catholic school, where they hoped to foster her musical talents. However, the school refused to admit an African American. After confronting similar discrimination years later when she applied to the Peabody School of Music, Brown was admitted to Morgan State College in Baltimore and attended Teachers’ College, Columbia University. She continued her classical vocal studies with Lucia Dunham at the Institute of Musical Art at the Juilliard School. Brown became the first African American to win Juilliard’s prestigious Margaret McGill scholarship…

…The song Anne Brown sang for Gershwin, “City Called Heaven,” became a standard of the soprano’s concert repertoire. Gershwin, hearing Brown’s performance of the spiritual, decided that she should be his Bess. The composer often invited Brown to sing not only Bess’s lines as they were written, but other characters’ parts. As work on the opera progressed, Bess’s role grew to the point that Brown suggested to Gershwin that the character’s name be added to the title  [“Porgy and Bess”]…

…Brown discussed the effects her skintone had on her career:

“We tough girls tough it out,” she said with a wry grin. “I’ve lived a strange kind of life—half black, half white, half isolated, half in the spotlight. Many things that I wanted as a young person for my career were denied to me because of my color. On the other hand, many black folks have said, ‘Well, she’s not really black.’ … Only when I went on a train or into a theater did I think about passing, and even then I didn’t consider it passing. I figured if I simply asked for a ticket it was their problem. Onstage, though, it they couldn’t take me as I was—the hell with them.”

Determined to escape the racism so prevalent in America, Brown travelled overseas in 1946…

Read the entire article here.

‘I don’t believe in Negro symphony conductors’

On An Overgrown Path
2011-07-25

John McLaughlin Williams

‘Oh, come in, young man. I’m reading these reviews. They are out of this world. You really have something. But I might as well tell you, right now, I don’t believe in Negro symphony conductors. No, you may play solo with our symphonies, all over this country. You can dance with them, sing with them. But a Negro, standing in front of a white symphony group? No. I’m sorry.’

That is the impresario Arthur Judson discussing career opportunities with African American conductor Everett Lee, seen above, [also here (1948)] in the early 1950s. Judson headed Columbia Artists Management Inc and for twenty-five years was the power broker of musical America with a stable of artists that included Eugene Ormandy, Jascha Heifetz and African American contralto Marian Anderson, and at the time of the discussion he also managed the New York Philharmonic Orchestra.

In 1940, together with fellow African American Dean Dixon and Canadian Benjamin Steinberg, Everett Lee attempted to circumvent the institutionalised racism in American classical music by forming an orchestra of black musicians. But the project failed for financial reasons and both Lee and Dixon went on to pursue their careers outside America, although Steinberg succeeded in establishing an orchestra of predominantly black players when he formed the New World Symphony in 1964…

…History was made in 1953 when Lee became the first black musician to conduct a white symphony orchestra in the south of the States, this happened at the concert in Louisville, Kentucky see in the photo below. There was another milestone in April 1955 when he became the first musician of colour to conduct a major opera company in the US with a performance of La Traviata at the New York City Opera in April 1955…

Read the entire article here.

Mosley Wotta releases new album

The Bulletin
Bend, Oregon
2012-09-14

Ben Salmon

Bend hip-hop artist performs in Bend tonight

Anyone who knows local artist, musician and educator Jason Graham—aka MOsley WOtta, leader of the hip-hop band of the same name—knows that his relocation to Bend at age 9 from Chicago’s north side has had a profound and longstanding effect on his worldview, and thus, his art.

Get Graham, 29, talking (not a difficult task at all), and you’re likely to eventually hear about his experience as a mixed-race kid moving from an ultra-urban environment to the lily-white Bend of a decade ago. And he won’t hesitate to point out that his own stereotypes about “the country” were as deeply entrenched as those he encountered in others.

The collision of race and culture is a subject Graham has always touched on in his music, going back to his time in the local rap collective Person People, up through his first solo album, 2010’s “Wake.”

But tonight, Graham will celebrate the release of the second Mosley Wotta album, “KinKonK,” at the old PoetHouse Art space in Bend (see “If you go”), and at the same time, he’ll unveil a more direct, more forceful and more thoughtful set of songs on the subject than he ever has before. It’s also material that may surprise some of the folks who’ve come to love the Mosley Wotta band that, since winning Bend’s inaugural Last Band Standing competition two years ago, has dominated local festival stages with its upbeat funk-hop and positive message of unity through music…

Read the entire article here.