Mixed Race Studies

Passing

Third World Newsreel
1995
Black & White
9 minutes
United States

Kym Ragusa

The videomaker’s grandmother recounts the tale of a trip she and her lover took through the segregated South of the 1950s. As her story unfolds—revealing as much in silences and gaps as it does in its actual narrative—a blues and gospel soundtrack provides other tales of miscegenation and resistance. The story is full of tensions around race, class and color and the anxieties produced by the racial climate and violent history of the South.

Screenings

• Charlotte Film/Video Festival 1997
• Reel New York, WNET-TV

Awards

• Women in the Director’s Chair, Juror’s Prize

For more information, click here.

Fuori/Outside

Third World Newsreel
1997
Color
12 minutes
United States

Kym Ragusa

In Fuori/Outside the videomaker, a woman of African American and Italian American descent, examines her relationship with her Italian American grandmother. The lives of the two women are inextricably linked to local geographies; family stories embedded in the walls of tenement buildings and suburban landscapes. Personal memories overflow into public spaces, contradictions around race within the family are contextualized within larger conflicts between Italian Americans and African Americans. The foundation of Fuori/Outside is the powerful bond between the two women, marginalized by color and age, that survives the instability of family, class and ethnic identity.

Awards
Best Video, South Bronx Film and Video Festival, 1997

For more information, click here.

Documenting Race and Gender: Kym Ragusa Discusses “Passing” and “Fuori/Outside”

Women’s Studies Quarterly
Volume 30, Numbers 1/2, Looking Across the Lens: Women’s Studies and Film (Spring – Summer, 2002)
pages 213-220

Livia Tenzer, Managing Editor
Social Text

In her two award-winning short documentaries Passing (1996) and Fuori/Outside (1997), New York-based filmmaker Kym Ragusa explores the limits of the documentary genre in order to portray the centrality of race and ethnicity in U.S. women’s experience. Employing the narrative techniques of storytelling and the imagery of personal memory, Ragusa’s films relate a past that is broadly historical, yet anchored in the intimate relationships between a granddaughter and her grandmothers. Each film emerges from Ragusa’s research into the life of one of her grandmothers and reveals the social pressures and prejudices the older woman confronted. As her grandmothers’ lives connect to the present through the filmmaker, their stories provide crucial insight into how race and ethnicity continue to shape identity both inside and outside the family.

Passing records a story told to Ragusa by her African American grandmother about an incident that occurred in 1959 during a trip she took from New York City to Florida. Using still images, archival footage, and a soundtrack that mixes blues and gospel, Ragusa evokes the racial tensions of the time and creates a multilayered narrative around gender, class, and color. Traveling with an African American male friend (her then lover), the grandmother encounters the segregated and racially hostile South for the first time when her companion sends her into a diner in North Carolina to purchase food for a picnic. Inside, two white male customers repeatedly confront her with the question “What side of the tracks are you from?” When she realizes that they are asking her race, Ragusa’s light-skinned grandmother also realizes that her companion has presumed that she will be able to “pass.” Her courageous response to the people in the diner carries with it an aftermath of fear—will the two white men pursue them?—and unsettling questions about the supposed community among people categorized as racial outsiders by white social norms.

In Fuori/Outside Ragusa depicts the life of her Italian American grandmother, the person in her family who most resisted accepting…

The Afro-Latin@ Reader: History and Culture in the United States

Duke University Press
2010
584 pages
9.1 x 6.1 x 1.3 inches
Cloth ISBN: 978-0-8223-4558-9
Paperback ISBN: 978-0-8223-4572-5

Edited by:

Miriam Jiménez Román, Visiting Professor of Africana Studies
New York University

Juan Flores, Professor of Social and Cultural Analysis
New York University

The Afro-Latin@ Reader focuses attention on a large, vibrant, yet oddly invisible community in the United States: people of African descent from Latin America and the Caribbean. The presence of Afro-Latin@s in the United States (and throughout the Americas) belies the notion that Blacks and Latin@s are two distinct categories or cultures. Afro-Latin@s are uniquely situated to bridge the widening social divide between Latin@s and African Americans; at the same time, their experiences reveal pervasive racism among Latin@s and ethnocentrism among African Americans. Offering insight into Afro-Latin@ life and new ways to understand culture, ethnicity, nation, identity, and antiracist politics, The Afro-Latin@ Reader presents a kaleidoscopic view of Black Latin@s in the United States. It addresses history, music, gender, class, and media representations in more than sixty selections, including scholarly essays, memoirs, newspaper and magazine articles, poetry, short stories, and interviews.

While the selections cover centuries of Afro-Latin@ history, since the arrival of Spanish-speaking Africans in North America in the mid-sixteenth-century, most of them focus on the past fifty years. The central question of how Afro-Latin@s relate to and experience U.S. and Latin American racial ideologies is engaged throughout, in first-person accounts of growing up Afro-Latin@, a classic essay by a leader of the Young Lords, and analyses of U.S. census data on race and ethnicity, as well as in pieces on gender and sexuality, major-league baseball, and religion. The contributions that Afro-Latin@s have made to U.S. culture are highlighted in essays on the illustrious Afro-Puerto Rican bibliophile Arturo Alfonso Schomburg and music and dance genres from salsa to mambo, and from boogaloo to hip hop. Taken together, these and many more selections help to bring Afro-Latin@s in the United States into critical view.

Contributors: Afro–Puerto Rican Testimonies Project, Josefina Baéz, Ejima Baker, Luis Barrios, Eduardo Bonilla-Silva, Adrian Burgos Jr., Ginetta E. B. Candelario, Adrián Castro, Jesús Colón, Marta I. Cruz-Janzen, William A. Darity Jr., Milca Esdaille, Sandra María Esteves, María Teresa Fernández (Mariposa), Carlos Flores, Juan Flores, Jack D. Forbes, David F. Garcia, Ruth Glasser, Virginia Meecham Gould, Susan D. Greenbaum, Evelio Grillo, Pablo “Yoruba” Guzmán, Gabriel Haslip-Viera, Tanya K. Hernández, Victor Hernández Cruz, Jesse Hoffnung-Garskof, Lisa Hoppenjans, Vielka Cecilia Hoy, Alan J. Hughes, María Rosario Jackson, James Jennings, Miriam Jiménez Román, Angela Jorge, David Lamb, Aida Lambert, Ana M. Lara, Evelyne Laurent-Perrault, Tato Laviera, John Logan, Antonio López, Felipe Luciano, Louis Pancho McFarland, Ryan Mann-Hamilton, Wayne Marshall, Marianela Medrano, Nancy Raquel Mirabal, Yvette Modestin, Ed Morales, Jairo Moreno, Marta Moreno Vega, Willie Perdomo, Graciela Pérez Gutiérrez, Sofia Quintero, Ted Richardson, Louis Reyes Rivera, Pedro R. Rivera , Raquel Z. Rivera, Yeidy Rivero, Mark Q. Sawyer, Piri Thomas, Silvio Torres-Saillant, Nilaja Sun, Sherezada “Chiqui” Vicioso, Peter H. Wood

Table of Contents

• Acknowledgments
• Editorial Note
• Introduction
• I. Historical Background before 1900
  • The Earliest Africans in North America / Peter H. Wood
  • Black Pioneers: The Spanish-Speaking Afroamericans of the Southwest / Jack D. Forbes
  • Slave and Free Women of Color in the Spanish Ports of New Orleans, Mobile, and Pensacola / Virginia Meacham Gould
  • Afro-Cubans in Tampa / Susan D. Greenbaum
  • Excerpt from Pulling the Muse from the Drum / Adrian Castro
• II. Arturo Alfonso Schomburg
  • Excerpt from Racial Integrity: A Plea for the Establishment of a Chair of Negro History in Our Schools and Colleges / Arturo Alfonso Schomburg
  • The World of Arturo Alfonso Schomburg / Jesse Hoffnung-Garskof
  • Invoking Arturo Schomburg’s Legacy in Philadelphia / Evelyne Laurent-Perrault
• III. Afro-Latin@s on the Color Line
  • Black Cuban, Black American / Evelio Grillo
  • A Puerto Rican in New York and Other Sketches / Jesus Colon
  • Melba Alvarado, El Club Cubano Inter-Americano, and the Creation of Afro-Cubanidades in New York City / Nancy Raquel Mirabel
  • An Uneven Playing Field: Afro-Latinos in Major League Baseball / Adrian Burgos Jr.
  • Changing Identities: An Afro-Latino Family Portrait / Gabriel Haslip-Viera
  • Eso era tremendo!: An Afro-Cuban Musician Remembers / Graciela Perez Gutierrez
• IV. Roots of Salsa: Afro-Latin@ Popular Music
  • From “Indianola” to “Ño Colá”: The Strange Career of the Afro-Puerto Rican Musician / Ruth Glasser
  • Excerpt from cu/bop / Louis Reyes Rivera
  • Bauzá-Gillespie-Latin/Jazz: Difference, Modernity, and the Black Caribbean / Jairo Moreno
  • Contesting that Damned Mambo: Arsenio Rodriguez and the People of El Barrio and the Bronx in the 1950s / David F. Garcia
  • Boogaloo and Latin Soul / Juan Flores
  • Excerpt from the salsa of bethesda fountain / Tato Laviera
• V. Black Latin@ Sixties
  • Hair Conking: Buy Black / Carlos Cooks
  • Carlos A. Cooks: Dominican Garveyite in Harlem / Pedro R. Rivera
  • Down These Mean Streets / Piri Thomas
  • African Things / Victor Hernandez Cruz
  • Black Notes and “You Do Something to Me” / Sandra Maria Esteves
  • Before People Called Me a Spic, They Called Me a Nigger / Pablo “Yoruba” Guzman
  • Excerpt from Jíbaro, My Pretty Nigger / Felipe Luciano
  • The Yoruba Orisha Tradition Comes to New York City / Marta Moreno Vega
  • Reflections and Lived Experiences of Afro-Latin@ Religiosity / Luis Barrios
  • Discovering Myself / Un Testimonio / Josefina Baez
• VI. Afro-Latinas
  • The Black Puerto Rican Woman in Contemporary American Society / Angela Jorge
  • Something Latino Was Up with Us / Spring Redd
  • Excerpt from Poem for My Grifa-Rican Sistah, or Broken Ends Broken Promises / Mariposa (María Teresa Fernandez)
  • Latinegras: Desired Women—Undesirable Mothers, Daughters, Sisters, and Wives / Marta I. Cruz-Janzen
  • Letter to a Friend / Nilaja Sun
  • Uncovering Mirrors: Afro-Latina Lesbian Subjects / Ana M. Lara
  • The Black Bellybutton of a Bongo / Marianela Medrano
• VII. Public Images and (Mis)Representations
  • Notes on Eusebia Cosme and Juano Hernandez / Miriam Jimenez Roman
  • Desde el Mero Medio: Race Discrimination within the Latino Community / Carlos Flores
  • Displaying Identity: Dominicans in the Black Mosaic of Washington, D.C. / Ginetta E. B. Candelario
  • Bringing the Soul: Afros, Black Empowerment, and Lucecita Benítez / Yeidy M. Rivero
  • Can BET Make You Black? Remixing and Reshaping Latin@s on Black Entertainment Television / Ejima Baker
  • The Afro-Latino Connection: Can this group be the bridge to a broadbased Black-Hispanic alliance? / Alan Hughes and Milca Esdaille
• VIII. Afro-Latin@s in the Hip Hop Zone
  • Ghettocentricity, Blackness, and Pan-Latinidad / Raquel Z. Rivera
  • Chicano Rap Roots: Afro-Mexico and Black-Brown Cultural Exchange / Pancho McFarland
  • The Rise and Fall of Reggaeton: From Daddy Yankee to Tego Calderon and Beyond / Wayne Marshall
  • Do Platanos Go wit’ Collard Greens? / David Lamb
  • Divas Don’t Yield / Sofia Quintero
• IX. Living Afro-Latinidads
  • An Afro-Latina’s Quest for Inclusion / Yvette Modestin
  • Retracing Migration: From Samana to New York and Back Again / Ryan Mann-Hamilton
  • Negotiating among Invisibilities: Tales of Afro-Latinidades in the United States / Vielka Cecilia Hoy
  • We Are Black Too: Experiences of a Honduran Garifuna / Aida Lambert
  • Profile of an Afro-Latina: Black, Mexican, Both / Maria Rosario Jackson
  • Enrique Patterson: Black Cuban Intellectual in Cuban Miami / Antonio Lopez
  • Reflections about Race by a Negrito Acomplejao / Eduardo Bonilla-Silva
  • Divisible Blackness: Reflections on Heterogeneity and Racial Identity / Silvio Torres-Saillant
  • Nigger-Reecan Blues / Willie Perdomo
• X. Afro-Latin@s: Present and Future Tenses
  • How Race Counts for Hispanic Americans / John R. Logan
  • Bleach in the Rainbow: Latino Ethnicity and Preferences for Whiteness / William A. Darity Jr., Jason Dietrich, and Darrick Hamilton
  • Brown Like Me? / Ed Morales
  • Against the Myth of Racial Harmony in Puerto Rico / Afro-Puerto Rican Testimonies Project
  • Mexican Ways, African Roots / Lisa Hoppenjans and Ted Richardson
  • Afro-Latin@s and the Latino Workplace / Tanya Kateri Hernandez
  • Racial Politics in Multiethnic America: Black and Latina/o Identities and Coalitions
  • Afro-Latinism in United States Society: A Commentary / James Jennings
• Sources and Permissions
• Contributors
• Index

Negra & Beautiful: The Unique Challenges Faced By Afro-Latinas

Latina
2011-11-29

Damarys Ocaña, Freelance Journalist

The frustrating ironies of being Afro-Latina hit Yuly Marshall with stunning regularity: At work at a Miami hospital, Hispanic patients of the Cuban-born radiology technician usually assume she’s African American, asking her, “Where did you learn to speak Spanish like that?” and expressing shock—even skepticism—that she’s really Latina. Other times, fellow Latinos will disparage African Americans in front of her with phrases like, “What can you expect from negros?” and then turn around and tell her, as if paying her a compliment, “But you’re not like that. You’re one of us.”
 
When Marshall talks about race issues with African American coworkers, they often tell her she has no idea what it’s really like to be black. Yet a few years ago, when Marshall dated a lighter-skinned black Latino, his parents persuaded him to break it off because of her dark skin. “They told him to find a white girl so he could adelantar la raza,” Marshall says, using a phrase that roughly means to ‘push the race forward’ by marrying a light-skinned person and producing children lighter than yourself.

“Sometimes I think, ‘When is this going to end?’” says Marshall, 31. “But I love my skin color. God created me this way, and I’m just as good as any other person.”…

…“People are increasingly identifying as Afro-Latino,” says Miriam Jiménez Román, who edited The AfroLatin@ Reader: History and Culture in the United States, a collection of essays by Afro-Latino writers that recently won the American Book Award. “They’re aware now that such an identity is a possibility.”
 
If it sounds strange that some young Latinas don’t know that it’s okay to be black and Latina, it’s because of the barrage of mixed messages young Afro-Latinas get.
 
Of the estimated 11 million enslaved Africans brought to the New World from the late 1400s to the 1860s, most were taken to Latin America and the Caribbean, with only some 645,000 landing in the United States. “So when you’re talking about blackness, you’re really talking about Latin America,” Jimenez says…

…Many Latin American countries have de-emphasized race for another reason, says Arlene Davila, Ph.D., a New York University professor of anthropology. “National identity was supposed to trump racial identity,” she says, supposedly making everyone equal. Black Latinos were made to feel as if trumpeting their race made them less Cuban, for example, though in reality, the political and economic power lay with light-skinned citizens…

Read the entire article here.

“White Slaves” and the “Arrogant Mestiza”: Reconfiguring Whiteness in The Squatter and the Don and Ramona

American Literature
Volume 69, Number 4 (December, 1997)
pages 813-839

David Luis-Brown, Associate Professor of Cultural Studies and English
Claremont Graduate University, Claremont, California

In Helen Hunt Jackson’s Ramona (1884) and The Squatter and the Don (1885) by Maria Amparo Ruiz de Burton are indisputably political novels, representing conflicts over land, class position, and racial status in California in the 1870s. These novels represent Anglos, Californios, and Indians as struggling for social position following the U.S. annexation of one-half of Mexico as a result of the Mexican War of 1846-1848. However, although most critics view these texts as political, their insufficient historicization of narrative form has led them to misconstrue as antagonistic the relationship between form and reform in these novels. Despite the canon-expanding feminist criticism of Lauren Berlant, Ann Douglas, Jane Tompkins, and others, which has allowed us to read as politically engaged the previously marginalized genres of melodrama and romance, Michael Dorris associates melodrama in Ramona with improbable events, simplistic characterization, and chaste love; Rosaura Sánchez and Beatrice Pita split Squatter into “two tracks, one historical and one romantic.” Sánchez and Pita view the romance as a love story inadequate to Squatter’s historical content—conflicts over racial caste. According to the logic of such constricting definitions of romance, a politically engaged, protofeminist nineteenth-century sentimental text would be a contradiction in terms, a clearly untenable conclusion given recent feminist scholarship.

Feminist scholarship on sentimentalism has allowed us to grasp the point of view expressed by José Martí, an early admirer of Ramona. In the prologue to his 1888 translation of Ramona, Martí argues that Ramona’s sentimental qualities constitute its political strength…

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“The Case Was Very Black against” Her: Pauline Hopkins and the Politics of Racial Ambiguity at the “Colored American Magazine”

American Periodicals
Volume 16, Number 1 (2006)
pages 52-73

Sigrid Anderson Cordell, Librarian for History, American Literature, and American Culture
University of Michigan

When Pauline Hopkins’s short story. “Talma Gordon,” appeared in the October 1900 issue of the Colored American Magazine, it ran opposite a photograph of a young smiling African-American boy balancing an American flag across one arm with the other arm raised in a salute (Figure 1). By linking the black child and the American flag, this picture, entitled “The Young Colored American.” attempts to align U.S. interests with those of the black community and reflects the magazine’s aim to recover the role of African Americans in American history. The figure of the child evokes both a sense of optimism and an historical link to America’s infancy. Likewise, the photograph of the  “Young Colored American” echoes the revisionist themes of “Talma Gordon.” a story which calls into question the hagiography of the American elite and instead celebrates the figure of a mixed-race woman who has been scorned by her white father, a scion of New England society. In this story. Hopkins reflects the Colored American Magazine’s mission to “perpetuat[e] … a history of the negro race” and re-write the triumphal narratives of traditional American history. As I will argue, however, the interweaving of gender and racial politics in the narrative structure of this story both reflects and complicates the politics of the journal itself.

Throughout her literary career. Pauline Hopkins (1859-1930) deliberately incorporated politics into her work and claimed a voice for African Americans, particularly African-American women. Rather than publishing in the mainstream literary journals such as Harper’s and the Atlantic that dominated the American cultural scene at the turn of the twentieth century, Hopkins wrote for periodicals specifically targeted to the black community, such as the Colored American Magazine. What sets her fiction and journalism apart from that of her female contemporaries—both black and white—is her blunt depiction…

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A Jazz Celebration – Remembering the Life of Philippa Schuyler

Southbank Centre
London, England
The Clore Ballroom
2012-01-27, 17:30Z

The Abram Wilson Quartet

Charismatic New Orleans trumpeter and vocalist Abram Wilson debuts original music inspired by the life of the Harlem born, mixed race classical piano prodigy, Philippa Schuyler, who died tragically young in 1967.

Wilson and his band of musicians explore new compositional ground with music ranging from the roughest blues to the most melodic swing. Soulful trumpet playing complements the vocals as Wilson tells the sensitive story of an extraordinary and gifted musician’s troubled life.

With a band featuring Alex Davies (bass), Dave Hamblett (drums) and Reuben James (piano), the multi-award winning Wilson has created a unique style of melodic compositions that swing and groove. His sound is reminiscent of Freddie Hubbard, Miles Davis and Wynton Marsalis.

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Public Mothers: Native American and Métis Women as Creole Mediators in the Nineteenth-Century Midwest

Journal of Women’s History
Volume 14, Number 4, Winter 2003
Special Issue: Revising the Experiences of Colonized Women: Beyond Binaries

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

During the early nineteenth century, the largely Francophone, mixed ancestry residents of the western Great Lakes region were faced with massive immigration of Anglophone whites who colonized the region, imposing a new U.S. government, economy, and legal system on the old Creole communities. Many of these immigrants from different cultural backgrounds in the eastern United States brought their prejudices and fears with them, attitudes that had the power to alienate and marginalize the old residents. This article explores the ways in which some women of color found techniques to mediate between cultural groups, using hospitality, charity, and health care to negotiate overlapping ideals of womanhood common to both Anglos and Native-descended people. In so doing, they won praise from both new and old neighbors, as they used Creole patterns of network-building to smooth community relations.

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Foucault, Bakhtin, Ethnomethodology: Accounting for Hybridity in Talk-in-Interaction

Forum Qualitative Sozialforschung / Forum: Qualitative Social Research
Volume 8, Number 2, Article 10
May 2007
18 pages

Shirley Anne Tate, Senior Lecturer and Director of Studies
Centre for Interdisciplinary Gender Studies
University of Leeds

Theorising hybridity within Postcolonial Studies is often done at a level which seems to exclude the everyday with the exception of its relevance for the cultural productions of migrants and dominant culture’s “eating the other”. This article uses the exploration of hybridity as an everyday interactional achievement within Black “mixed race” British women’s conversations on identity to look at the production of an analytic method as process based on the task of the analyst as translator. This method as process thinks the links between FOUCAULT and BAKHTIN in the emergence of an ethnomethodologically inclined discourse analysis (eda) which is called on to make sense of a hybridity of the everyday where Black women reflexively translate discourses on identity positions in order to construct their own identifications in conversations. FOUCAULT’s discourses and BAKHTIN’s heteroglossia and addressivity allow us to theorise this movement in the talk which ethnomethodological transcription and theory enables us to first pinpoint occurring. The article begins by looking at first, how hybridity as identification emerges in talk-in-interaction through both speaker and analyst translations. Having established this, it then goes on to look at the theoretical convergences and divergences between FOUCAULT and BAKHTIN on the subject, identity and discourses in the eda enterprise. Looking at data through the lens of eda means that we must be aware of the subject positions which speakers identify as having the effect of constraining or facilitating particular actions and experiences and there is always the possibility for challenge to subjectification.

Table of Contents

• 1. Introduction
• 2. Method as Process—Talk, Hybridity, Translation
• 3. Blurring the Line Between Theory and Story
• 4. Discourses, Translation as Reflexivity and Dialogism in Talk on Identification
• 5. FOUCAULT and BAKHTIN—”Race”, Discourses and Dialogics
• 6. FOUCAULT and BAKHTIN: Ethnomethodology, Discourse Analysis and the Membership Category “Black Woman”
• 7. Conclusion
• Acknowledgements
• References
• Author
• Citation

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