Mixed Race Studies

Stir Builds Over Actress to Portray Nina Simone

The New York Times
2012-09-12

Tanzina Vega

In the digital age Hollywood casting decisions leaked from behind closed doors can instantly become fodder for public debate. And when the decision involves race and celebrity, the debate can get very heated.

The online media world has been abuzz with criticism for nearly a month now over the news — first reported by The Hollywood Reporter — that the actress Zoe Saldana would be cast as the singer Nina Simone in the forthcoming film “Nina” based on her life.

Few have attacked Ms. Saldana for her virtues as an actress. Instead, much of the reaction has focused on whether Ms. Saldana was cast because she, unlike Simone, is light skinned and therefore a more palatable choice for the Hollywood film than a darker skinned actress.

“Hollywood and the media have a tendency to whitewash and lightwash a lot of stories, particularly when black actresses are concerned,” said Tiffani Jones, the founder of the blog Coffee Rhetoric. Ms. Jones wrote a blog post titled “(Mis)Casting Call: The Erasure of Nina Simone’s Image.”…

…Recently an online petition was circulated to protest the casting of the light-skinned actress Thandie Newton in the film based on Ngozi Adichie’s novel “Half of a Yellow Sun,” which centers on the Nigerian Civil War (1967-70); there was some criticism of the casting of the biracial Jaqueline Fleming as Harriet Tubman in the film “Abraham Lincoln: Vampire Hunter.”…

…Casting an actress who does not look like Simone is troubling, said Yaba Blay, a scholar of African and diaspora studies and the author of a forthcoming book called “(1)ne Drop: Conversations on Skin Color, Race, and Identity.”

“The power of her aesthetics was part of her power,” Dr. Blay said. “This was a woman who prevailed and triumphed despite her aesthetic.” Dark-skinned actresses, she added, are “already erased from the media, especially in the role of the ‘it girl’ or the love interest.”…

Read the entire article here.

Afro-Latino/a Identities: Challenges, History, and Perspectives

Anthurium: A Caribbean Studies Journal
Volume 9, Issue 1 (2012-04-20)
Article 5

Sobeira Latorre, Assistant Professor of Spanish
Southern Connecticut State University

Miriam Jiménez Román and Juan Flores, editors, The Afro-Latin@ Reader: History and Culture in the United States. (Durham, NC: Duke University Press, 2010), 584 pp.

The Afro-Latin@ Reader: History and Culture in the United States explores the contradictions, complexities, and ambiguities surrounding the term “Afro-Latin@.” As editors Juan Flores and Miriam Jiménez Román argue: “The term befuddles us because we are accustomed to thinking of ‘Afro’ and ‘Latin@’ as distinct from each other and mutually exclusive: one is either Black or Latin@” (1). This distinction, as the editors rightly underscore, denies the experience of those who identify themselves or whose experiences mark them as both Black and Latino/a, and who do not fit comfortably into either category. The Afro-Latin@ Reader emerges as a noteworthy and valuable effort to validate that individual experience and to voice, document and historicize the collective experience of Black Latino/as in the US.

The editors of this groundbreaking collection argue that despite the historical relevance and rich cultural legacy of Afro-Latino/as, described as “people of African descent in Mexico, Central and South America, and the Spanish-speaking Caribbean and by extension those of African descent in the United States whose origins are in Latin America and the Caribbean” (1), racial paradigms in the US remain rigid and narrow in their definition and the contributions and diverse experiences of this growing population in the United States continue to be understudied. Adopting a multidisciplinary and transnational approach to the study of Afro-descendants of Caribbean and Latin American background in the United States, The Afro-Latin@ Reader makes an invaluable contribution to the fields of Latino/a, Caribbean, African American and African diaspora Studies.

The exploration of the African heritage in the Americas is not a new scholarly topic. Different aspects of the African presence in Latin America and the Spanish-speaking Caribbean, particularly around music, religion, and other socio-cultural manifestations, have been documented, especially among scholars in disciplines such as history, anthropology, and Latin American and Caribbean Studies. Studies on individual Latin American and Caribbean countries have also yielded significant insights into the particularities of racial discourse within distinct national contexts. More recently, this exploration is taking place within the context of the United States and has extended to fields like Latino/a, Black/African American, and Ethnic Studies…

Read the entire review here.

Cole Porter Scores An Interracial Couple’s Highs And Lows

National Public Radio
All Things Considered
Music: Mom and Dad’s Record Collection
2012-08-30

NPR Staff

As summer winds down, All Things Considered is winding down its series “Music: Mom and Dad’s Record Collection.”

For the past few months, the show has asked listeners to tell their stories about a particular piece of music they associate with their parents. Listener Melanie Cowart of San Antonio, Texas, wrote in to explain how Cole Porter’s “Begin the Beguine” — a song that’s been interpreted by Artie Shaw, Ella Fitzgerald and many others — became a running soundtrack for her parents’ relationship.

“My father was African-American; my mother was white,” Cowart tells NPR’s Melissa Block. “They met in 1929, at a time when that type of a relationship was not something that was acceptable in society. In fact, in many states, including in Missouri where they met, it was against the law. But they fell in love and formed a very strong bond.”…

Read the entire transcript here. Download the audio here (00:05:42).

American Indians in Chicago struggle to preserve identity, culture and history

Chicago Tribune
2012-08-13

Dahleen Glanton, Reporter

Recession, social service funding cuts hinder efforts

Susan Kelly Power was 17 when she boarded a train to Chicago, a place that seemed a world away from the Indian reservation she grew up on in North and South Dakota.

In the 70 years since she left her family’s home on the Standing Rock Sioux Reservation, Power has carved out a distinctive place for herself in Chicago’s youthful American Indian community. The oldest Native American in Chicago, she is the memory keeper in a community where history is sacred.

From the controversial Battle of Fort Dearborn, which marks its 200th anniversary this week, to Chief Illiniwek, the University of Illinois mascot who was forced into retirement five years ago, activists such as Power have made it their mission to set the historical record straight. While the Battle of Fort Dearborn is considered a pivotal part of the city’s history, American Indians living in Chicago have become, for the most part, an invisible population that is struggling.

With few financial resources and no political muscle, the community of about 49,000 American Indians in the Chicago area has struggled to find a voice in a region where they are outnumbered by almost every ethnic group. Once tucked away in Uptown and now scattered throughout the city and suburbs, they could virtually go unnoticed if not for a small but vocal group of elders who refuse to back down from a good fight…

…Wiese said the economic condition of American Indians is more dire than the 2010 census indicates, largely because she believes the figures are skewed. The census form allows anyone to identify themselves as American Indian, whether they have official tribal papers or not, she said. Without those who identified themselves as mixed race, the number of American Indians in Chicago would be cut in half, to just over 13,337, the census shows.

East Indians, whites, African-Americans and Hispanics who do not have tribal documentation are identifying themselves as Native American, Wiese said, driving up the economic status of Indians to artificial levels. Meanwhile, an equal number of tribal-recognized Indians, who like many poor people living with multiple families in a residence, were not counted in the census, she said.

“We call them ‘box checkers,’ the thousands of people who say they are American Indian” but don’t have legal status, said Wiese, whose agency provides educational services for children and adults. “It hurts us when the demographics look higher than they are.”…

Read the entire article here.

Whispering Grounds whispers thoughts of origins and nature

Quebec Chronicle-Telegraph
2011-10-19

Amanda Halm

Whispering Grounds, an exhibit of 13 charcoal drawings by artist Annie Lalande, is currently on display at the Bank National Financial Group Gallery, a space dedicated to visual arts in the Palais Montcalm.

Incongruous lines and organic shapes sweep across paper to symbolize the bi-racial identity that swirls inside the artist…

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Pictures and Progress: Early Photography and the Making of African American Identity

Duke University Press
2012
400 pages
71 photographs
Paperback ISBN: 978-0-8223-5085-9
Cloth ISBN: 978-0-8223-5067-5

Edited by:

Maurice O. Wallace, Associate Professor of English and African & African American Studies
Duke University

Shawn Michelle Smith, Associate Professor of Visual and Critical Studies
School of the Art Institute of Chicago

Pictures and Progress explores how, during the nineteenth century and the early twentieth, prominent African American intellectuals and activists understood photography’s power to shape perceptions about race and employed the new medium in their quest for social and political justice. They sought both to counter widely circulating racist imagery and to use self-representation as a means of empowerment. In this collection of essays, scholars from various disciplines consider figures including Frederick Douglass, Sojourner Truth, Ida B. Wells, Paul Laurence Dunbar, and W. E. B. Du Bois as important and innovative theorists and practitioners of photography. In addition, brief interpretive essays, or “snapshots,” highlight and analyze the work of four early African American photographers. Featuring more than seventy images, Pictures and Progress brings to light the wide-ranging practices of early African American photography, as well as the effects of photography on racialized thinking.

Contributors. Michael A. Chaney, Cheryl Finley, P. Gabrielle Foreman, Ginger Hill, Leigh Raiford, Augusta Rohrbach, Ray Sapirstein, Suzanne N. Schneider, Shawn Michelle Smith, Laura Wexler, Maurice O. Wallace

Table of Contents

• Acknowledgments
• Introduction: Pictures and Progress / Maurice O. Wallace and Shawn Michelle Smith
• 1. “A More Perfect Likeness”: Frederick Douglass and the Image of the Nation / Laura Wexler
• 2. “Rightly Viewed”: Theorizations of the Self in Frederick Douglass’s Lecture on Pictures / Ginger Hill
• 3. Shadow and Substance: Sojourner Truth in Black and White / Augusta Rohrbach
  • Snapshot 1. Unredeemed Realities: Augustus Washington / Shawn Michelle Smith
• 4. Mulatta Obscura: Camera Tactics and Linda Brent / Michael Chaney
• 5. Who’s Your Mama?: “White” Mulatta Genealogies, Early Photography, and Anti-Passing Narratives of Slavery and Freedom / P. Gabrielle Foreman
• 6. Out from Behind the Mask: Paul Laurence Dunbar, the Hampton Institute Camera Club, and Photographic Performance of Identity / Ray Sapirstein
  • Snapshot 2. Reproducing Black Masculinity: Thomas Askew / Shawn Michelle Smith
• 7. Louis Agassiz and the American School of Ethnoeroticism: Polygenesis, Pornography, and Other “Perfidious Influences” / Suzanne Schneider
• 8. Framing the Black Soldier: Image, Uplift, and the Duplicity of Pictures / Maurice O. Wallace
  • Snapshot 3. Unfixing the Frame(-up): A. P. Bedou / Shawn Michelle Smith
• 9. “Looking at One’s Self through the Eyes of Others”: W. E. B. Du Bois’s Photographs for the Paris Exposition of 1900 / Shawn Michelle Smith
• 10. Ida B. Wells and the Shadow Archive / Leigh Raiford
  • Snapshot 4. The Photographer’s Touch: J. P. Ball / Shawn Michelle Smith
• 11. No More Auction Block for Me! / Cheryl Finley
• Bibliography
• Contributors
• Index

Double Native: A moving memoir about living across two cultures

University of Queensland Press
2012-01-03
304 pages
ISBN: 978 0 7022 3917 5

Fiona Wirrer-George Oochunyung

Growing up ‘on country’ on the west coast of Queensland’s Cape York Peninsula in the 1970s and ’80s, Fiona Wirrer-George Oochunyung had an idyllic traditional life. At the age of 16, she decided to pursue her dream of performing and moved to Sydney to attend the NAISDA Dance College. There she studied with the legendary Page brothers before they founded Bangarra Dance Theatre and met her future husband and father of her three daughters.

But the missing piece of her life was her father. As a young woman, she finds her father and carves out a fragile relationship with him. This inspires her to better understand her Austrian ancestry and how it meshes with her Indigenous identity.

Fiona Wirrer-George Oochunyung is the model of a modern woman: mother and professional; performer and creator; teacher and student, urban dweller and remote community inhabitant. As such she shares the joys and challenges that come with growing up in a divided community and carving out a career as a solo parent.

Double Native is a powerful and candid memoir that offers a rare insight into the burgeoning years of the contemporary Indigenous dance movement and what it means to straddle two cultures.

Interview with Brazilian Journalist and Activist Daniela Gomes

The Husslington Post
2011-12-04

Amil Cook, Correspondent

In this interview, Husslington Post correspondent, Amil Cook, goes in depth with journal/scholar/activist Daniela Gomes about her fight against racism in Brazil. This is the first installment in what we hope will become a series of interviews by Amil.

How influential is Hip-Hop and African American culture in Brazil?

For a long time Afro Brazilians didn’t have access to information about the black leaders in our history. The myth of the racial democracy created an important issue in our country, where a lighter skin person didn’t consider him/herself as black. So for many years for mixed people in Brazil to be black was a shame. In some cases this still happens. So after a long time we were without any understanding about black consciousness but during the 1970s some cultural and political movements started to be inspired by Afro American movements and heroes such as: the Civil Rights Movement, the Black Panther Party, Martin Luther King, Malcolm X and others. And Hip Hop is a part of this because of its cultural influence.

What is racial democracy for those who may not be familiar with this term?

Racial democracy was a theory created in the early 1900s. The main creator was Gilberto Freyre, who used to affirm that Brazilian society was totally different from other countries because it was a racially mixed country and as a mixed country there wasn’t racism here. He taught that we should value our three races [indigenous (native), African and European] that formed our society because it made us better, made our slavery less painful and things like that. It is important to explain that before Freyre the theory that used to be adopted in Brazil, was the ‘whitening theory’, it was used to affirm that if we started to mix the country we could clean our race and it was believed that in little time black people would be extinct in Brazil. The main thinker of this theory was Nina Rodrigues, a doctor who used to see the black population as a shame. Gilberto Freyre was Rodrigues’ student, and “improved” Rodrigues’ racist theories when he decided to hide the racial issue in Brazil. These two theories are fundamental to understand racial thought in Brazil. The first one [Rodrigues], made Brazilians believe that if they are mixed they aren’t black and the second one [Freyre] made them believe that we are special because we are mixed; there isn’t racism in our country so we don’t need to fight against it. And although the black struggle in my country never stopped, ideas like that made our mission harder…

Read the entire interview here.

Cuban surrealist Wifredo Lam fetches record price

BBC News
2012-05-24

A painting by Cuban surrealist artist Wifredo Lam fetched a record personal price at a Latin American art sale at auctioneers Sotheby’s in New York.

An unnamed South American collector paid $4.5m (£2.9m) for Lam’s 1944 Idol (Oya/Divinite de l’Air et de la mort), well above the $2m-3m guide price…

…But Diego Rivera’s 1939 painting Girl in Blue and White, considered the main attraction, remained unsold.

The work by the Mexican artist had been expected to sell at a price between $4m and $6m.

In contrast, Lam’s piece, which had been in private hands since 1947, sold for more than double the previous top price for his paintings.

An Afro-Cuban, Lam died in 1982 and was heavily influenced both by surrealism and by santeria, an Afro-Caribbean religion based on Yorùbá and Roman Catholic beliefs…

Read the entire article here.

Shoshanna Weinberger: What Makes My Hottentot So Hot

Solo(s) Project House: Creative Spaces in Downtown Newark, New Jersey
2012-01-27 through 2012-03-02

Weinberger presents a body of work that is driven by the history of exposé, beauty and form inspired by the real-life story of Saartjie Baartman the “Hottentot Venus.”
 
“I find Baartman’s life both captivating and horrific; living as a specimen perpetuating the myth of “otherness” that can still be found today fascinates me as a woman and an artist.”
 
Weinberger identifies with Baartman physiologically and politically, making personal connections of awkwardness as a female growing-up in a society obsessed with attaining beauty result in imagery that depicts this as distorted excess. Malformed and decapitated bodies, with long cornrow braids, un-kept locks, and pigtails, mutations of multiple-mouths, nipples, breasts, and buttocks, create a sense of familiarity, confusion, humor and tension.
 
Contemporary connections of Baartman’s subjugation are found in references to modern-day strip-club dancers, West-Indian Dancehall performers, cultural stereotypes, Hollywood icons, prostitutes and circus sideshow freaks to name a few. These figures are tangled, hogtied and suffocated with props associated with femininity such as thongs, bras, high-heels and jewelry. Forms are placed on a scallop shell akin to the mythological Birth of Venus story. Incorporating Botticelli’s Birth of Venus scallop shell into a new psychology of presenting the birth of femininity found in bars and graffiti stalls declaring love found or lost. These drawings allude to the psychology of coexisting in human and animal form as well as forms grotesque and sexualized.
 
Weinberger was born in Kingston, Jamaica, to Jamaican-mother and American-father. She currently resides in Newark, New Jersey. She completed her undergrad degree at The School of the Art Institute of Chicago and received a masters degree from Yale University, Yale School of Art. Exhibiting for the past decade, Weinberger’s work has been glorified across the country at the Spertus Museum in Chicago, Illinois; The Jones Center for Contemporary Art in Austin, Texas; and Carol Jazzar Contemporary Art in Miami, Florida just to name a few. She has also been featured in the National Biennial Exhibition National Gallery of Jamaica, Kingston in 2006 and 2008.

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