Mixed Race Studies

Pat Cleveland: Early Supermodel and Author With Many Tales

The New York Times
2016-06-15

Guy Trebay, Chief Menswear Critic

The fashion model Pat Cleveland in her home studio in New Jersey. Credit Chad Batka for The New York Times

WILLINGBORO, N.J. — The peacocks were rooting around in the bushes, strutting and pecking and ruffling their trains. Occasionally, one — Boy or Big Boy, say, or Snow White — struck a pose, tipping its beak up to emit a banshee shriek.

“They’re just a bunch of drama queens, honey,” said Pat Cleveland, as she sat in the backyard of her house in a rural part of New Jersey, sipping on a sinister-looking juice drink the color and texture of algae. Drama queens, as it happens, is a topic on which Ms. Cleveland has some stories to tell.

This she does in “Walking with the Muses,” a picaresque new memoir about a tall, skinny mixed-race girl (“not black enough to be black or white enough to be white”) hailing from a section of East Harlem that she terms the Golden Edge.

In her 1950s childhood, Ms. Cleveland writes, that neighborhood was still representative of a now largely bygone city, a place where “the Jews, the blacks, the Irish and the Puerto Ricans all had a corner of their own.”…

…American fashion, in particular, during the era when Ms. Cleveland first appeared, was also more porous and racially diverse than it would be in the subsequent decades. Success in the business was measured in those days not by social media metrics but by an ability to bewitch the cognoscenti, to make yours a name they whispered about.

And seemingly Ms. Cleveland has been an object of fascination for those around her almost from the time she was born 65 years ago to a white Swedish saxophonist and an African-American artist from the South. Soon after, Ms. Cleveland’s father, Johnny Johnston, returned to Sweden, leaving her mother, Lady Bird Cleveland, to raise her freckle-faced young daughter alone.

“If you’re a single black woman and have a Swedish lover, life is never going to be easy, and Lady Bird didn’t have the opportunities in life,” Ms. Cleveland said. “But her lesson to me was always, whatever your circumstances are, it’s up to you to create your own world.”…

…At the height of her powers, that same skinny girl from Harlem was transformed into a star on the evening of Nov. 28, 1973, when she — one of 30 black models chosen to participate in a benefit runway show held at the Palace of Versailles outside Paris — took to the stage in front of 800 guests, many of them prominent or titled, and, spinning and twirling, left little doubt in the minds of observers that the immediate future of fashion belonged not to the Old World but to the New…

Read the entire article here.

Karin Tanabe: THE GILDED YEARS

Busboys and Poets
Langston Room
2021 14th Street, NW (14 & V Street, NW)
Washington, D.C. 20009
Tuesday, 2016-06-14, 18:30-20:30 EDT (Local Time)

Politics & Prose at Busboys and Poets 14th & V welcomes Karin Tanabe to present the new book “The Gilded Years.”

A Politico journalist turned novelist, Tanabe has reported on politics and society for Entertainment Tonight, CNN, and Inside Edition, experience she drew on for the Washington insider fiction of The List and The Price of Inheritance. Her third novel looks at class, race, and ambition in the Gilded Age, following smart and talented Anita Hemmings—daughter of a janitor—as she realizes her dream of attending Vassar. But Anita is also the descendent of slaves, and though her pale skin allows her to “pass” for white, as she moves among the wealthy elite of 1897 high society, she walks an increasingly tense line concerning her identity.

Tanabe will be in conversation with LaFleur Paysour, communications director for the National Museum of African American History and Culture.

For more information, click here.

Sexual Relations Between Elite White Women and Enslaved Men in the Antebellum South: A Socio-Historical Analysis

Inquiries: Social Sciences, Arts & Humanities
2013, Volume 5, Number 8
pages 1-3

J. M. Allain

There is ample evidence of sexual relations, from rapes to what appear to be relatively symbiotic romantic partnerships, between white slave masters and black women in the Antebellum South. Much rarer were sexual relations between white women and black slave men, yet they too occurred. Using an intersectional socio-historical analysis, this paper explores the factors that contributed or may have contributed to the incidence of sexual encounters between elite white women and slave men, the power dynamics embedded in them, and their implications in terms of sexual consent. The paper demonstrates how upper-class white women who engaged in these relationships used sex as an instrument of power, simultaneously perpetuating both white supremacy and patriarchy.

Read the entire article here.

‘Breaking’ Presents: Xenia Rubinos, a Powerhose Singer/Songwriter Unafraid to Learn Out Loud

Colorlines
2016-06-10

Sameer Rao, Culture Reporter/Blogger

Xenia Rubinos in concert Photo: John Felix Shaw/Anti- Records

On her funky second album, “Black Terry Cat,” the genre-bender explores identity, police violence and the hidden labor of Latino/a restaurant workers.

For our latest Breaking, we’re highlighting singer-songwriter Xenia Rubinos. The multi-instrumentalist, who hit the national scene with 2013’s “Magic Trix,” continues her personal and creative development on the funky, frenetic “Black Terry Cat.”

Hometown: Hartford, Connecticut

Based In: New York City

Sound: A chaotic mix of R&B, rock, hip-hop and jazz that underscores Rubinos’ robust mezzo-soprano. Her lyrics are sometimes wry, sometimes incorporating Spanish-language passages,

Why You Should Care: Depending on your background and worldview, Xenia Rubinos’ music sounds either like modern-day Latin pop, avant-garde R&B or a tapestry from an indie artist with too many influences to count. Either way, it sounds like nothing you’ve heard before—which, as she told us, is kind of the point.

…Juxtaposed, “Mexican Chef” and “Black Stars” speak volumes about the ongoing evolution of Rubios’ identity. While she identifies as Afro-Latina, she tells Colorlines that she does not identify as Black. “My family history is complicated, and I still don’t fully know the extent of it,” she says after describing her Black maternal great grandmother, her Puerto Rican family’s Taino heritage and her paternal grandfather’s emigration from Spain. “I started reading on the Afro-Latina diaspora two years ago, and I’m still ignorant to a lot of that, but I started seeing myself in that term. I explore the ‘Afro’ part of my cultural identity, and how I do or don’t fit into that, on ‘Black Terry Cat.'” She says that’s a big part of why hip-hop permeates this album…

Read the entire article here.

National Women’s History Museum presents Chinese American Women: A History of Resilience and Resistance

National Women’s History Museum
2016-06-08

Joseph, Emily, Mamie, Frank, and Mary Tape.

Tape v. Hurley

Mary Tape was a biracial Chinese American woman who believed that her daughter, Mamie, should have the same access to education as white children in San Francisco. In particular, Mary Tape wanted her daughter to be able to attend public school. When the local school principal, Jennie Hurley, stood in the schoolhouse door to bar Mamie’s entrance on the sole grounds that she was Chinese, Mary Tape took Jennie Hurley to court.

In 1885, almost seventy years before the famous Supreme Court Decision Brown v. Board of Education desegregated American public schools, Mary Tape sued the San Francisco School District to offer public education to all Chinese children. Tape v. Hurley was one of the most important civil rights decisions in American history. In this ground breaking case, Superior Court Judge James Maguire ruled that Chinese children must have access to public education: “To deny a child, born of Chinese parents in this state, entrance to the public schools would be a violation of the law of the state and the Constitution of the United States.”…

Read the entire article here.

Great Lakes Creoles A French-Indian Community on the Northern Borderlands, Prairie du Chien, 1750-1860 by Lucy Eldersveld Murphy (review)

Ohio Valley History
Volume 16, Number 1, Spring 2016
pages 81-83

Margo Lambert, Assistant Professor of History
Blue Ash College, University of Cinicinnati

Lucy Eldersveld Murphy. Great Lakes Creoles: A French-Indian Community on the Northern Borderlands, Prairie du Chien, 1750-1860. New York: Cambridge University Press, 2014. 326 pp. 25 b/w illus. 6 maps. 7 tables. ISBN: 9781107052864 (cloth), $94.99; 9781107674745 (paper), $34.99

Lucy Murphy adroitly focuses her lens on the complex tale of Prairie du Chien, Wisconsin, a community peopled by Native Americans, French-Canadian fur traders, British soldiers, and eventually Americans (and even a few African Americans) after the American Revolution. Europeans first entered the native world slowly, inter-marrying and establishing a multi-ethnic Creole community only to face further change when Anglo-Americans took control and eventually became the community’s majority. For Native American historians (and others) looking for a deeper glimpse into this world, Murphy’s probing analysis of the mixed multitudes of one small fur-trading community delivers. And, if that were not enough, Murphy adds another layer to her study: she compares this borderland to that of the American Southwest after the Mexican-American War—where the community’s pioneers became the political minority—and to that of the Métis culture that developed on the western Canadian border in the late nineteenth-century—there probing why that culture developed a clear indigenous ancestry, whereas south of the border in the Great Lakes area a similar culture never arose.

Murphy begins in the 1750s, tracing the community’s transition from Native American Meskwaki village to fur-trade enclave. By the early nineteenth-century the Meskwakis had relocated, although some remained behind, having intertwined their lives with European-descended fur traders and borne them children. With the establishment of the Northwest Ordinance of 1787 and the final showdown of the War of 1812, the United States government began to assert its control of the town. Government officials courted the Creole community they found there, recognizing Creole support would only aid United States’ control, legitimizing America’s domination and opening of the West to Anglo-American settlers. The most vital point, Murphy argues here, was that this courtship prompted the United States government to identify the Creole community as white.

Next, Murphy assesses the shifting political structure as Prairie du Chien came under United States’ control. Because of the region’s multi-ethnicity, U.S. officials—as a minority—had to tread carefully, identifying Creoles as white, evidenced by their voting and serving on juries. Native Americans were deliberately left out of this process, but even Creoles with Metis status and Metis wives still fell into the white political categorization. Murphy shows that Creoles exerted much agency politically in the early days, defending themselves against what they deemed inappropriate newcomer behaviors that did not mesh with their established ways. As American control solidified and relegated Creoles to minority status, the town’s Creoles managed to hold some strength within the new legal system, despite their mixed-race realities. However, the rising Anglo tide reduced Creole influence considerably by the 1830s. But Creoles’ “white status” labelled them to identify culturally rather than racially: as French, rather than Métis. Here was why most mixed Native American groups south of the border diverged from their northwestern neighbors in Canada.

Perhaps one of Murphy’s most striking contributions to Native American studies is her work on gender. The chapter “Public Mothers” describes a different gender world denied to Anglo women but open to the town’s Creoles. Many of the town’s Creole women managed to position themselves as cultural mediators, explaining Creole and Native ways to incoming Euro-Americans, especially via marriage, adoption, and traditional gender roles in areas of charity, hospitality, midwifery, and the like. Whereas Creole men were increasingly denied a political voice as American numbers rose, Creole women managed to meet on a middle ground with American women. They served as public mothers, Murphy asserts, mediating between the various ethnic groups and succeeding in connecting Creoles, Native Americans, African Americans, and Euro-Americans by shared women’s activities that aided both private and public spheres, the latter sought by traditional “female” activities noted above. Their mediation, Murphy argues, further solidified Creoles as “whites” in the…

Great Lakes Creoles: A French-Indian Community on the Northern Borderlands, Prairie du Chien, 1750–1860

Cambridge University Press
September 2014
326 pages
25 b/w illus. 6 maps 7 tables
236 x 157 x 22 mm
Hardback ISBN: 9781107052864
Paperback ISBN: 9781107674745
eBook ISBN: 9781139990660

Lucy Eldersveld Murphy, Professor of History
Ohio State University, Newark

A case study of one of America’s many multi-ethnic border communities, Great Lakes Creoles builds upon recent research on gender, race, ethnicity, and politics as it examines the ways that the old fur trade families experienced and responded to the colonialism of United States expansion. Lucy Murphy examines Indian history with attention to the pluralistic nature of American communities and the ways that power, gender, race, and ethnicity were contested and negotiated in them. She explores the role of women as mediators shaping key social, economic, and political systems, as well as the creation of civil political institutions and the ways that men of many backgrounds participated in and influenced them. Ultimately, The Great Lakes Creoles takes a careful look at Native people and their complex families as active members of an American community in the Great Lakes region.

• Builds upon recent research in gender, race, ethnicity, and politics
• Connects American Indian history with major historical themes
• Examines Native people and their complex families as active members of an American community in the Great Lakes region

Table of Contents

• List of Tables
• List of Figures
• Acknowledgments
• Introduction
• 1. ‘The rightful owners of the soil’: colonization and land
• 2. ‘To intermeddle in political affairs’: new institutions, elections, and lawmaking
• 3. ‘Damned yankee court and jury’: more new institutions, keeping order and peace
• 4. Public mothers: women, networks, and changing gender roles
• 5. ‘A humble type of people’: economic adaptations
• 6. Blanket claims and family clusters: autonomy, land, migration, and persistence
• Conclusion
• Epilogue
• Index

The Gilded Years, A Novel

Washington Square Press (an imprint of Simon & Schuster)
2016-06-07
384 pages
Paperback ISBN: 9781501110450
eBook ISBN: 9781501110467

Karin Tanabe
Washington, D.C.

Passing meets The House of Mirth in this “utterly captivating” (Kathleen Grissom, New York Times bestselling author of The Kitchen House) historical novel based on the true story of Anita Hemmings, the first black student to attend Vassar, who successfully passed as white—until she let herself grow too attached to the wrong person.

Since childhood, Anita Hemmings has longed to attend the country’s most exclusive school for women, Vassar College. Now, a bright, beautiful senior in the class of 1897, she is hiding a secret that would have banned her from admission: Anita is the only African-American student ever to attend Vassar. With her olive complexion and dark hair, this daughter of a janitor and descendant of slaves has successfully passed as white, but now finds herself rooming with Louise “Lottie” Taylor, the scion of one of New York’s most prominent families.

Though Anita has kept herself at a distance from her classmates, Lottie’s sphere of influence is inescapable, her energy irresistible, and the two become fast friends. Pulled into her elite world, Anita learns what it’s like to be treated as a wealthy, educated white woman—the person everyone believes her to be—and even finds herself in a heady romance with a moneyed Harvard student. It’s only when Lottie becomes infatuated with Anita’s brother, Frederick, whose skin is almost as light as his sister’s, that the situation becomes particularly perilous. And as Anita’s college graduation looms, those closest to her will be the ones to dangerously threaten her secret.

Set against the vibrant backdrop of the Gilded Age, an era when old money traditions collided with modern ideas, Tanabe has written an unputdownable and emotionally compelling story of hope, sacrifice, and betrayal—and a gripping account of how one woman dared to risk everything for the chance at a better life.

A Strange Emblem for a (Not So) White Nation: La Morocha Argentina in the Latin American Racial Context, c. 1900–2015

Journal of Social History
DOI: 10.1093/jsh/shw018
First published online: 2016-06-01

Ezequiel Adamovsky

This article explores the origins of La morocha argentina as an unofficial national emblem, the personification of the quintessential Argentinean woman, from its emergence in the early twentieth century to the present. A typical character of vernacular popular culture, the Argentinean “morocha” is compared to the “morenas” featured in other Latin American countries, to find similarities and differences. The racial uncertainty of the “morochas”—who, unlike the “morenas,” were not always marked as being of dark complexion—helped undermine the official discourses of the Argentinean nation, which described it as racially white and ethnically European. The ambivalence of the “morocha argentina” was crucial in contexts in which open challenges of that myth were still unfeasible. Thus, despite claims of racial exceptionalism, the making and trajectory of this emblem proves that Argentina’s racial regime is a variant of the Latin American “color-continuum” racial formations. By analyzing the Argentinean case in comparative perspective, this article also seeks to contribute to a better understanding of nonbinary racial models and, more generally, of ethnicity “beyond groupism”—to put it in Roger Brubaker’s terms. In other words, it aims to reconsider ethnicity as a process, the outcome of group-making projects, rather than (only) as the expression of preexisting ethnic entities.

Read or purchase the article here.

Interview with 39.4 Editor, Chelene Knight

Room: Literature, Art, and Feminism Since 1975
May 2016

Interview by Rebecca Russell

Chelene Knight

The Room Collective is very excited to have you on board as the new Managing Editor. How are you adjusting to the new role?

I was super excited when I was asked to step up as Managing Editor at Room. The mentoring I received from the previous Managing Editor, Rachel Thompson, has been the most amazing experience. She is one talented woman, and has done a lot to make Room such a great place for women to raise their voices. The entire Room Collective has been super supportive and I can honestly finally say I am doing what I love. This transition isn’t easy, that’s for sure! It’s been a big learning curve for me but there are also certain aspects of the job that are pretty darn rewarding, like working with such a talented group of women who all share a passion for the literary arts. The role itself is all encompassing and I feel like a huge tree with a million branches shooting out in multiple directions, and I am finally being challenged—this is a good thing…

…What can you tell us about the collection you’re currently working on, Dear Current Occupant?

It seems as though Dear Current Occupant has been in the works all my life. I had what you could call a “tough childhood,” and I wanted to write about it as a way of healing and as a way of setting things free into the world. It turned out to be a mixed-genre compilation of sonnets, prose, short story, erasure, and more. My first book, Braided Skin (Mother Tongue Publishing, 2015), told a story of race and the struggles of being of mixed-ethnicity, and focused on belonging and place in the racial/family sense, whereas Dear Current Occupant tackles the need for “home” and “place” in terms of the physical house. In the book, the narrator is a young adult looking back on the thirty homes she’s lived in as a child. She writes to the “current occupants” of these places to reflect on her own experiences when she was living there. She learns a lot about her “self” through this process. She opens doors, she unlocks and digs up things that were buried. The book also includes photos of the actual houses in various perspectives. The photography was done by Jade Melnychuk, and Rich Riordan. I am happy to say the manuscript is in my publishers’ hands as we speak…

Read the entire interview here.