Mixed Race Studies

Racist Hysteria to Pragmatic Rapprochement? The German Debate about Rhenish ‘Occupation Children’, 1920–30

Contemporary European History
Volume 22, Issue 2, May 2013
pages 155-180
DOI: 10.1017/S0960777313000039

Julia Roos, Associate Professor of History
Indiana University, Bloomington

This essay revisits 1920s German debates over the illegitimate children of the Rhineland occupation to examine hitherto neglected fluctuations in the relationship between nationalism and racism in Weimar Germany. During the early 1920s, nationalist anxieties focused on the alleged racial ‘threats’ emanating from the mixed-race children of colonial French soldiers. After 1927, plans for the forced sterilisation and deportation of the mixed-race children were dropped; simultaneously, officials began to support German mothers’ paternity suits against French soldiers. This hitherto neglected shift in German attitudes towards the ‘Rhineland bastards’ sheds new light on the role of debates over gender and the family in the process of Franco–German rapprochement. It also enhances our understanding of the contradictory political potentials of popularised foreign policy discourses about women’s and children’s victimisation emerging from World War I.

African Heritage and Memories of Slavery in Brazil and the South Atlantic World

Cambria Press
428 pages
2015-02-06
6 x 9 in or 229 x 152 mm Case Laminate
ISBN: 9781604978926

Edited by:

Ana Lucia Araujo, Professor of History
Howard University, Washington, D.C.

This book explores the history of African tangible and intangible heritages and its links with the public memory of slavery in Brazil and Angola. The two countries are deeply connected, given how most enslaved Africans, forcibly brought to Brazil during the era of the Atlantic slave trade, were from West Central Africa. Brazil imported the largest number of enslaved Africans during the Atlantic slave trade and was the last country in the western hemisphere to abolish slavery in 1888. Today, other than Nigeria, the largest population of African descent is in Brazil. Yet it was only in the last twenty years that Brazil’s African heritage and its slave past have gained greater visibility. Prior to this, Brazil’s African heritage and its slave past were completely neglected.

Even after the abolition of slavery in Brazil, African culture continued to be marginalized. Carnival, religious festivals, as well as Candomblé ceremonies, and capoeira (an Afro-Brazilian martial art) created important spaces of black assertion and insurgency. These cultural traditions were contested by white elites and public authorities, but starting in the 1930s, capoeira became a national symbol and Candomblé temples were gradually officially added to Brazil’s list of heritage sites.

In spite of these developments, the Atlantic slave past has remained absent from the public landscape of Brazilian and Angolan former slave ports, suggesting how difficult it is for these countries to address the painful legacies of slavery. African art and material culture also continued to be excluded from museums and other official institutions. In the rare instances that African artifacts were shown, they would be confined to only certain places dedicated to popular culture and associated with the religious sphere.

Even though public attention on slavery was growing internationally through national and international initiatives (e.g., The Slave Route Project by UNESCO), Brazil and Angola developed very few initiatives for the memorialization of slavery and the Atlantic slave trade. This has started to change slowly in the last decade as Brazil has begun engaging in more initiatives to memorialize slavery and underscore the importance of its African heritage.

Brazil’s slave past and African heritage are emerging gradually in urban and rural areas through different kinds of initiatives led not only by activists but also by scholars in association with black communities. Although in their early stages, most of these projects are permanent programs supported by official agencies. This new configuration suggests that––unlike the case in Angola––in Brazil, slavery and the Atlantic the slave trade are becoming recognized as foundational chapters of the country’s history.

This is the first book in English to focus on African heritage and public memory of slavery in Brazil and Angola. This interdisciplinary study examines visual images, dance, music, oral accounts, museum exhibitions, artifacts, monuments, festivals, and others forms of commemoration to illuminate the social and cultural dynamics that over the last twenty years have propelled––or prevented––the visibility of African heritage (and its Atlantic slave trade legacy) in the South Atlantic region.

The book makes a very important contribution to the understanding of the place of African heritage and slavery in the official history and public memory of Brazil and Angola, topics that remain understudied. The study’s focus on the South Atlantic world, a zone which is sparsely covered in the scholarly corpus on Atlantic history, will further research on other post-slave societies.

African Heritage and Memories of Slavery in Brazil and the South Atlantic World is an important book for African studies and Latin American studies. It is especially valuable for African Diaspora studies, African history, Atlantic history, history of Brazil, history of slavery, and Caribbean history.

Table of Contents

• List of Figures
• Introduction: Wounded Pasts: Memory of Slavery and African Heritage in Brazil (Ana Lucia Araujo)
• Chapter 1: Collectionism and Colonialism: The Africana Collection at Brazil’s National Museum (Rio de Janeiro) (Mariza de Carvalho Soares)
• Chapter 2: Race and Visual Representation: Louis Agassiz and Hermann Burmeister (Maria Helena Machado)
• Chapter 3: Counter-Witnessing the Visual Culture of Brazilian Slavery (Matthew Francis Rarey)
• Chapter 4: Angola in Brazil: The Formation of Angoleiro identity in Bahia (Matthias Röhrig Assunção)
• Chapter 5: Memories of Captivity and Freedom in São José da Serra Jongo Festivals: Cultural Heritage and Black Identity (1888–2011) (Martha Abreu and Hebe Mattos)
• Chapter 6: From Public Amnesia to Public Memory: Re-Discovering Slavery Heritage in Rio de Janeiro (André Cicalo)
• Chapter 7: Uncomfortable Pasts: Talking About Slavery in Angola (Marcia C. Schenck and Mariana P. Candido)
• Chapter 8: “Bahia is a Closer Africa”: Brazilian Slavery and Heritage in African American Roots Tourism (Patricia de Santana Pinho)
• Chapter 9: Preserving African Art, History, and Memory: The AfroBrazil Museum (Kimberly Cleveland)
• Chapter 10: The Legacy of Slavery in Contemporary Brazil (Myrian Sepúlveda dos Santos)
• Bibliography
• Index
• About the Contributors

The Lives of Frederick Douglass

Harvard University Press
February 2016
350 pages
5-1/2 x 8-1/4 inches
9 halftones
Hardcover ISBN: 9780674055810

Robert S. Levine, Professor of English and a Distinguished University Professor
University of Maryland

Frederick Douglass’s fluid, changeable sense of his own life story is reflected in the many conflicting accounts he gave of key events and relationships during his journey from slavery to freedom. Nevertheless, when these differing self-presentations are put side by side and consideration is given individually to their rhetorical strategies and historical moment, what emerges is a fascinating collage of Robert S. Levine’s elusive subject. The Lives of Frederick Douglass is revisionist biography at its best, offering new perspectives on Douglass the social reformer, orator, and writer.

Out of print for a hundred years when it was reissued in 1960, The Narrative of the Life of Frederick Douglass (1845) has since become part of the canon of American literature and the primary lens through which scholars see Douglass’s life and work. Levine argues that the disproportionate attention paid to the Narrative has distorted Douglass’s larger autobiographical project. The Lives of Frederick Douglass focuses on a wide range of writings from the 1840s to the 1890s, particularly the neglected Life and Times of Frederick Douglass (1881, 1892), revised and expanded only three years before Douglass’s death. Levine provides fresh insights into Douglass’s relationships with John Brown, Abraham Lincoln, William Lloyd Garrison, and his former slave master Thomas Auld, and highlights Douglass’s evolving positions on race, violence, and nation. Levine’s portrait reveals that Douglass could be every bit as pragmatic as Lincoln—of whom he was sometimes fiercely critical—when it came to promoting his own work and goals.

Table of Contents

• Introduction: Lives after the Narrative
• 1. The Massachusetts Anti-Slavery Society Narrative
• 2. Taking Back the Narrative: The Dublin Editions
• 3. Heroic Slaves: Madison Washington and My Bondage and My Freedom
• 4. Tales of Abraham Lincoln (and John Brown)
• 5. Thomas Auld and the Reunion Narrative
• Epilogue: Posthumous Douglass
• Notes
• Acknowledgments
• Index

Understanding Race on Black London history walk

Sociology in the City: blogging from Sociology at the University of Westminster
University of Westminster
London, United Kingdom
2015-02-20

Students of the first year module Understanding Race went on a walking tour this morning, led by the writer and historian Steve Martin.

Challenging the popular idea that race in Britain is a phenomenon of post-WW2 immigration, Steve gave us an insight into the longstanding presence of non-white people in London’s history, with a focus on people of African and African-Carribean heritage…

Read the entire article here.

Poet’s Muse: A Footnote to Beethoven

The New York Times
2009-04-02

Felicia R. Lee

Haydn almost certainly encountered him as a child in a Hungarian castle, where the boy’s father was a servant and Haydn was the director of music, and Thomas Jefferson saw him performing in Paris in 1789: a 9-year-old biracial violin prodigy with a cascade of dark curls. While the boy would go on to inspire Beethoven and help shape the development of classical music, he ended up relegated to a footnote in Beethoven’s life.

Rita Dove, the Pulitzer Prize-winning former United States poet laureate, has now breathed life into the story of that virtuoso, George Augustus Polgreen Bridgetower, in her new book, “Sonata Mulattica” (W. W. Norton). The narrative, a collection of poems subtitled “A Life in Five Movements and a Short Play,” intertwines fact and fiction to flesh out Bridgetower, the son of a Polish-German mother and an Afro-Caribbean father.

When he died in South London in 1860, his death certificate simply noted that he was a “gentleman.” Ms. Dove imagines, as she writes in her poem “The Bridgetower,” that “this bright-skinned papa’s boy/could have sailed his fifteen-minute fame/straight into the record books.”…

Read the entire review here.

In Search of the Black Mozart

BBC Radio 4
2015-07-19 and 2015-07-26

Sarah Taylor, Producer

Historian Steve Martin and Double Bassist Chi-chi Nwanoku

Chi-chi Nwanoku has spent her career travelling and performing in concert halls the world over as the principal double bassist of the Orchestra of the Age of Enlightenment. More recently, she’s been on a personal journey seeking out the lives and careers of black classical musicians from the eighteenth century who like her, played and composed music at the highest levels. In some cases, slivers of their lives are on record but you have to be quite determined to find out.

Chi-chi puts the record straight and with the help of some of the finest musical researchers around, she brings to the fore the music and lives of musicians like violinist/composer Joseph Emidy, virtuoso violinist George Bridgetower and composer Joseph Bologne, aka Chevalier de St-George who not only met Mozart in his lifetime, but who was known by all those who heard his music as the ‘Black Mozart’.

In today’s programme she visits the British Library to find our more about Ignatius Sancho – someone who was born into slavery and ended up being the first person of colour in Britain to have the vote. Also of interest to Chi-chi are his musical compositions which are held at the British Library. Together with music curator, Nicolas Bell and Sancho expert Professor Brychhan Carey the three of them assess Sancho’s musical ability and life.

In a more sinister turn of events, Chi-chi talks to Handel scholar, Dr. David Hunter who shares his research which reveals that Handel, whilst composing some of the most beautiful music around was an investor in slavery.

She also hears about the violinist and composer Joseph Emidy who became a musical star of Cornwall’s music scene and meets up with one of his musical ancestors.

Also features commentary from:

• Jeanne Lamon
• Allan Donald Jeffryes Badley
• Rachel Barton Pine
• Simon McVeigh
• Dominique-René de Lerma
• Shirley J. Thompson
• Steve Martin

Listen to episode 1 here. Listen to episode 2 here.

Victoria Bynum to speak on the “Free State of Jones” at the Lauren Rogers Museum

“Civil War Era Drawings from the Becker Collection” (2015-09-06 through 2015-11-15)
Lauren Rogers Museum of Art
565 N. Fifth Avenue
Laurel, Mississippi 39440
2015-09-10, 17:30 CDT (Local Time)

Vikki Bynum, Emeritus Professor of History
Texas State University, San Marcos

I’m pleased to announce that on September 10, 2015, I’ll be speaking on The Free State of Jones at the Lauren Rogers Museum in Laurel, Mississippi. The talk begins at 5:30 p.m.; open to the public, admission is free. Donations are accepted.

My talk is part of the museum’s exciting new exhibition, Civil War Era Drawings from the Becker Collection (see description below), which will run from September 6 through November 15, 2015. Hope to see you there!…

For more information, click here.

In Conversation: Quentin Tarantino

Vulture
2015-08-23

Lane Brown, Culture Editor

Midway through postproduction on his eighth movie, the Western THE HATEFUL EIGHT — about a band of outlaws trapped in a saloon during a blizzard — the director discusses the country’s legacy of white supremacy, Obama, and why he doesn’t worry about a Transformers future.

We’re five months from the release of The Hateful Eight. How close to finishing are you?

We’ve got a little bit more than an hour finished right now. I just got back from seeing an hour of the movie cut together…

…Hateful Eight uses the Civil War as a backdrop, sort of like how The Good, the Bad and the Ugly does.

The Good, the Bad and the Ugly doesn’t get into the racial conflicts of the Civil War; it’s just a thing that’s happening. My movie is about the country being torn apart by it, and the racial aftermath, six, seven, eight, ten years later.

That’s going to make this movie feel contemporary. Everybody’s talking about race right now.

I know. I’m very excited by that.

Excited?

Finally, the issue of white supremacy is being talked about and dealt with. And it’s what the movie’s about.

How did what’s happening in Baltimore and Ferguson find its way into The Hateful Eight?

It was already in the script. It was already in the footage we shot. It just happens to be timely right now. We’re not trying to make it timely. It is timely. I love the fact that people are talking and dealing with the institutional racism that has existed in this country and been ignored. I feel like it’s another ’60s moment, where the people themselves had to expose how ugly they were before things could change. I’m hopeful that that’s happening now.

You supported Obama. How do you think he’s done?

I think he’s fantastic. He’s my favorite president, hands down, of my lifetime. He’s been awesome this past year. Especially the rapid, one-after-another-after-another-after-another aspect of it. It’s almost like take no prisoners. His he-doesn’t-give-a-shit attitude has just been so cool. Everyone always talks about these lame-duck presidents. I’ve never seen anybody end with this kind of ending. All the people who supported him along the way that questioned this or that and the other? All of their questions are being answered now…

Read the entire interview here.

From Okinawa to Hawaii and Back Again

What It Means to Be American: Hosted by The Smithsonian and Zócalo Public Square
2015-08-31

Laua Kina, Vincent de Paul Professor of Art, Media, & Design
DePaul University, Chicago, Illinois

Kibei Nisei, 30 x 45 inches Oil on canvas (2012)

A Painter Follows the Currents of Her Family History

I am a hapa, yonsei Uchinanchu (a mixed-race, 4th-generation Okinawan-American) who was born in Riverside, California, in 1973 and raised in the shadow of the Cascade Mountains in Washington state. My mom’s roots stem from Spanish-Basque migrants in California and white southerners in Tennessee. My father is Okinawan from Hawaii. Because I don’t look quite white, people frequently ask, “What are you?” From an early age, even though Hawaii and Japan were enigmas to me, I have had to explain my relationship to these “exotic” places.

Growing up, we lived by my mother’s family and visited her parents weekly at their road-side motel near a Puget Sound ferry landing, but I knew little about my father’s childhood, an ocean away, on a Piihonua sugarcane plantation near Hilo. I got a glimpse on occasional vacations to visit family on the Big Island of Hawaii or my aunties in Los Angeles. The only other traces were evident in the Spam in our sushi, the fact that we called instant ramen noodles saimin, and in the echoes of Pidgin English in Dad’s accent that refused to be erased.

I am a painter, and at the heart of my paintings is the journey I’ve been on to understand how these different currents have formed my American experience. I’ve followed their flow back in time to the canefields of Territorial Hawaii and early 20th-century Okinawa, Japan…

Read the entire article here.

Rewriting the History of American Sociology

Northwestern University News
Evanston, Illinois
2015-08-26

Hilary Hurd Anyaso, Law and Social Sciences Editor

Groundbreaking book argues W.E.B. Du Bois is primary founder of modern sociology

EVANSTON, Ill. — In his groundbreaking new book, Northwestern University’s Aldon Morris has done no less than rewrite the history of sociology by making a compelling case that black sociologist and activist W.E.B. Du Bois was the primary founder of modern sociology in America at the turn of the 20th century. It is a sociology that bases its theoretical claims on rigorous empirical research.

Pulling from over a decade of research in primary sources such as personal letters, conference proceedings and scholarly writings, “The Scholar Denied: W.E.B. Du Bois and the Birth of Modern Sociology” (University of California Press, August 2015) argues that power, money, politics and the ideology of white supremacy led to W.E.B. Du Bois being “written out” of the founding of sociology. Moreover his intellectual breakthroughs were marginalized in the field for the last century.

Morris, the Leon Forrest Professor of Sociology and African American Studies at Northwestern’s Weinberg College of Arts and Sciences, argues that Du Bois’ pioneering work was often characterized in the academy as unscientific and politically motivated while systemic racial biases colored the intellectual work of leading white sociologists, even those with liberal bents throughout the 20th century.

In Morris’ gripping narrative, Robert E. Park, the white University of Chicago scholar considered to be one of the major architects of modern-day sociology, and Booker T. Washington, the most famous and powerful black man in America between 1895 and 1915, play a central role in marginalizing the pioneering work that Du Bois and other black scholars produced at Atlanta University, a historically black institution.

The Du Bois-Atlanta School profoundly influenced the discipline by laying the intellectual foundations of scientific sociology, Morris argues, noting that Max Weber, the famous German sociologist and philosopher, was significantly influenced by Du Bois’ work…

Read the entire article here.