Mixed Race Studies

Can ‘Belle’ End Hollywood’s Obsession with the White Savior?

The Daily Beast
2014-05-04

Keli Goff

The black characters in films like ‘The Help’ and ’12 Years A Slave’ always seem to need a white knight. But the black protagonist in ‘Belle,’ a new film about racism and slavery in England, takes matters into her own hands.

The film Belle, which opens this weekend in limited release stateside, is inspired by a true story, deals with the horrors of the African slave trade, and its director is black and British. For these reasons, comparisons to the recent recipient of the Best Picture Oscar, 12 Years a Slave, are inevitable

But there are some notable differences.

Among them, Belle is set in England, while 12 Years a Slave is set in America. 12 Years a Slave depicts—in unflinching detail—the brutalities of slavery, while Belle merely hints at its physical and psychological toll. But the most significant deviation is this: whereas 12 Years a Slave faced criticism for being yet another film to perpetuate the “white savior” cliché in cinema, in Belle, the beleaguered black protagonist does something novel: she saves herself.

“Belle marks the first film I’ve seen in which a black woman with agency stands at the center of the plot as a full, eloquent human being who is neither adoring foil nor moral touchstone for her better spoken white counterparts,” the novelist and TV producer Susan Fales-Hill told The Daily Beast…

Read the entire article here.

Almost Free: A Story about Family and Race in Antebellum Virginia

University of Georgia Press
June 2012
192 pages
6 b&w photos, 1 map
Trim size: 5.5 x 8.5
Cloth ISBN: 978-0-8203-3229-1
Paper ISBN: 978-0-8203-3230-7
Ebook ISBN: 978-0-8203-4364-8

Eva Sheppard Wolf, Associate Professor of History
San Francisco State University

In Almost Free, Eva Sheppard Wolf uses the story of Samuel Johnson, a free black man from Virginia attempting to free his family, to add detail and depth to our understanding of the lives of free blacks in the South.

There were several paths to freedom for slaves, each of them difficult. After ten years of elaborate dealings and negotiations, Johnson earned manumission in August 1812. An illiterate “mulatto” who had worked at the tavern in Warrenton as a slave, Johnson as a freeman was an anomaly, since free blacks made up only 3 percent of Virginia’s population. Johnson stayed in Fauquier County and managed to buy his enslaved family, but the law of the time required that they leave Virginia if Johnson freed them. Johnson opted to stay. Because slaves’ marriages had no legal standing, Johnson was not legally married to his enslaved wife, and in the event of his death his family would be sold to new owners. Johnson’s story dramatically illustrates the many harsh realities and cruel ironies faced by blacks in a society hostile to their freedom.

Wolf argues that despite the many obstacles Johnson and others faced, race relations were more flexible during the early American republic than is commonly believed. It could actually be easier for a free black man to earn the favor of elite whites than it would be for blacks in general in the post-Reconstruction South. Wolf demonstrates the ways in which race was constructed by individuals in their day-to-day interactions, arguing that racial status was not simply a legal fact but a fluid and changeable condition. Almost Free looks beyond the majority experience, focusing on those at society’s edges to gain a deeper understanding of the meaning of freedom in the slaveholding South.

Exploring the Political Exploitation of Blood Quantum in the U.S.

Indian Country Today Media Network
2013-05-17

Vincent Schilling, Executive Vice President
Schilling Media, Inc.

Arica L. Coleman is an assistant professor of Black American Studies at the University of Delaware. She is African American and Native American (Rappahannock), which may help explain why she has conducted research for the past 12 years on what she calls the “intersections between Native American, African American and European peoples in the southeastern United States with a focus on the etymology of race, the ideology of racial purity and its historical and contemporary effects on racial and identity formation.” In non-academic terms, that means she has done a lot of thinking about the relations and interactions of blacks, Indians and whites on the East Coast, primarily in Virginia.

Coleman has turned her Ph.D. dissertation into an upcoming book, That the Blood Stay Pure: African Americans, Native Americans and the Predicament of Race and Identity in Virginia, and agreed to talk with ICTMN about her experiences as an African American woman who gets a lot of grief for also being an American Indian.

Wouldn’t you say that back in the day, American Indians and African Americans all went to the same parties?

Yes, we went to the same parties and we also worked the slave plantations together. This is what a lot of people do not understand when you talk about slavery. My African American brothers and sisters will have a problem with this because they like to look at slavery only in terms of black and white. The truth is—and specifically in Virginia—there was Indian slavery. The first slaves in the Americas were Native American and this business that the Native Americans died off as a result of disease and war [is inaccurate]—those were not the only reasons for their demise, there was the Indian slave trade, which is something we do not discuss a lot.

When you had people of African descent being brought across the Atlantic to the Americas, you also had Native American people throughout the Americas being dispersed throughout the world, including portions of South Africa and Angola. When you look at the records of the South—and specifically in Virginia—they talk about Indian, Negro and mulatto slaves…. From the 16th century through the 19th century, you had Native American peoples identified as Negro and as mulatto.

When you look in those records and see these terms you cannot automatically assume that these folks were African, because they could have been a mix of Native American or European as well. Racial labels have never been constant or used with consistency…

Read the entire interview here.

That the Blood Stay Pure: African Americans, Native Americans, and the Predicament of Race and Identity in Virginia

Indiana University Press
2013
328 pages
12 b&w illustrations
6 x 9
Cloth ISBN: 978-0-253-01043-8

Arica L. Coleman, Assistant Professor of Black American Studies
University of Delaware

A Choice Outstanding Academic Title for 2014

That the Blood Stay Pure traces the history and legacy of the commonwealth of Virginia’s effort to maintain racial purity and its impact on the relations between African Americans and Native Americans. Arica L. Coleman tells the story of Virginia’s racial purity campaign from the perspective of those who were disavowed or expelled from tribal communities due to their affiliation with people of African descent or because their physical attributes linked them to those of African ancestry. Coleman also explores the social consequences of the racial purity ethos for tribal communities that have refused to define Indian identity based on a denial of blackness. This rich interdisciplinary history, which includes contemporary case studies, addresses a neglected aspect of America’s long struggle with race and identity.

Table of Contents

• Acknowledgments
• Foreword
• Author’s Note
• Introduction
• Part 1: Historicizing Black—Indian Relations in Virginia
  • Prologue: Lingering at the Crossroads: African-Native American History and Kinship Lineage in Armstrong Archer’s A Compendium on Slavery
  • 1. Notes on the State of Virginia: Jeffersonian Thought and the Rise of Racial Purity Ideology in the Eighteenth Century
  • 2. Redefining Race and Identity: The Indian-Negro Confusion and the Changing State of Black-Indian Relations in the Nineteenth Century
  • 3. Race Purity and the Law: The Racial Integrity Act and Policing Black/Indian Identity in the Twentieth Century
  • 4. Denying Blackness: Anthropological Advocacy and the Remaking of the Virginia Indians (The Other Twentieth Century Project)
• Part 2: Black-Indian Relations in the Present State of Virginia
  • 5. Beyond Black and White: Afro-Indian Identity in the case of Loving V. Virginia
  • 6. The Racial Integrity Fight: Confrontations of Race and Identity In Charles City County, Virginia
  • 7. Nottoway Indians, Afro-Indian Identity, and the Contemporary Dilemma of State Recognition
• Epilogue: Afro-Indian Peoples of Virginia: The Indelible Thread of Black and Red
• Appendix: Racial Integrity Act Text
• Notes
• Selected Bibliography
• Index

Portrait of the mystery lady: The incredible story behind the 18th-century painting that inspired a new movie

The Daily Mail
2014-05-03

Paula Bryne

Attributed to Johann Zoffany (circa 1778)

Until recently, little was known about the mixed-race girl in an 18th-century painting associated with Kenwood House in London. But a new book and film reveal that Dido Elizabeth Belle was, in fact, the illegitimate daughter of a slave whose privileged upbringing helped change racial injustices for ever

The artist must have known that it was an unusual commission. The double portrait has a long and distinguished tradition. Typically, the subject would be a husband and wife, a mother and child, or sisters. The composition above conforms to that of a portrait of sisters but, as far as we know, this is the only portrait of its era to show a white and a black girl together in a sisterly pose.

The portrait was commissioned in the late 1770s or early 1780s by the 1st Earl of Mansfield, William Murray, who as Lord Chief Justice was the most admired judge in 18th-century Britain. His name by this time was irrevocably linked with the rights of slaves as a result of his judgment in the infamous Somerset case of 1772.

But these are not his daughters. He and his wife were childless. The girl in the foreground is Lady Elizabeth Murray, his great niece, who was brought up at Kenwood House on the edge of London’s Hampstead Heath, where this portrait was painted, after the death of her mother when she was a young child. It was believed until the 1980s that the other girl was some kind of household servant. She was, in fact, a blood relative of the girl in pink and the Mansfield family and her name was Dido Elizabeth Belle, now the subject of a major new film…

Read the entire article here.

Fathers of Conscience with Bernie D. Jones [Part 2]

Research at the National Archives & Beyond
Blogtalk Radio
2014-05-08, 21:00 EDT (2014-05-09, 02:00Z)

Bernice Bennett, Host

Bernie D. Jones, Associate Professor of Law
Suffolk University, Boston, Massachusetts

Join Author Bernie D. Jones for an engaging discussion about her book – Fathers of Conscience – Mixed-Race Inheritance in the Antebellum South.

Fathers of Conscience examines high-court decisions in the antebellum South that involved wills in which white male planters bequeathed property, freedom, or both to women of color and their mixed-race children. These men, whose wills were contested by their white relatives, had used trusts and estates law to give their slave partners and children official recognition and thus circumvent the law of slavery. The will contests that followed determined whether that elevated status would be approved or denied by courts of law.

For more information, click here.

To the Manner Born?

The New York Times
2014-05-01

Manohla Dargis

‘Belle’ Centers On a Biracial Aristocrat in the 18th Century

No bodices seem to have been harmed, much less ripped, during the making of “Belle,” a period film at once sweeping and intimate, about an 18th-century Englishwoman who transcends her historical moment. Even so, peekaboo bosoms tremble throughout the movie amid the rustle of luxurious gowns and the gasps of polite company as conventions are crushed underfoot. Melodramatic and grounded in history, “Belle” is enough of an old-fashioned entertainment that it could have been made in classic Hollywood. Well, except for one little thing that would have probably given old studio suits apoplexy: The movie’s prettily flouncing title character is biracial.

You meet her as a child, just as she’s being taken by her father, a navy captain, Sir John Lindsay (Matthew Goode), from some shadowy mystery hovel to a large country manor. There, in an elegantly appointed room, the kind that announces the refinement of its inhabitants and whispers their entitlement, Sir John formally claims the child as his own and promptly hands her over to his uncle, Lord Mansfield (Tom Wilkinson, very good), and Lady Mansfield (a dry, funny Emily Watson). The Lord and Lady keep their lips, necks and manners stiff, but take the girl in and raise her as their own — or almost. Soon she’s laughing in the garden, and then she’s a genteel beauty (a fine Gugu Mbatha-Raw) facing life as a black woman in a slave-trading country.

She’s based on Dido Elizabeth Belle (1761-1804), the daughter of an African woman, Maria Bell, who was probably enslaved and maybe captured off a ship by Sir John. The details of their association and Bell’s life are murky, but when Dido was young, Sir John took her to Lord Mansfield, who raised her alongside another grandniece, Elizabeth Murray (played by a strong Sarah Gadon). In one account, Thomas Hutchinson, a governor of Massachusetts, described visiting the family: “a Black came in after dinner and sat with the ladies” and later walked arm in arm with one. “She had a very high cap, and her wool was much frizzled in her neck,” Hutchinson wrote, “but not enough to answer the large curls in fashion. She is neither handsome nor genteel — pert enough.”…

Read the entire review here and watch an anatomy of a scene here.

“Split At The Root”: The Reformation of The Mulatto Hero/Heroine

AmeriQuests (Online)
Vanderbilt University
Volume 6, Number 1
2008-11-18

Tia L. Gafford, Assistant Professor of English and Africana Studies
Mercer University

Frances E. W. Harper’s Iola Leroy offers a valuable insight on the development of a holistic and natural model for patriarchy in the 19th century. Harper combines normally diametrically opposed ideologies of masculinity and femininely in the characters of Dr. Frank Latimer and Iola Leroy who become cultural heros/heroines by embracing a Black consciousness. By addressing what she considers to be a more cohesive productive society, Harper contextualizes the mulatto racial and social visions against the backdrop of the post-Reconstruction South. Within this new radical mixed race, Dr. Latimer and Iola Leroy rescues this normative stereotypical version and redefines them as the pre-cursors of Alain Locke’s “New Negro.” By rejecting whiteness as a mean to emancipate themselves out of an otherwise racial bondage, Iola Leroy and Dr. Latimer embrace the “one drop” rule. By “casting themselves” into the racial “pot,” Harper sets the mulatto up to ideally “work for the people.”

Read the entire article in HTML or PDF format.

Opinion: Supreme Court ruling upholds America’s mixed view

Cable News Network (CNN)
2014-04-24

Martha S. Jones, Arthur F Thurnau Professor, Associate Professor of History and Afroamerican and African Studies
University of Michigan

(CNN) — I didn’t expect to find the specter of the mixed-race person making an appearance in Tuesday’s Supreme Court decision that upheld Michigan’s ban on affirmative action.

But there it was.

In Schuette v. Coalition to Defend Affirmative Action, Justice Anthony Kennedy, writing for the plurality, cast doubt upon the court’s capacity to deliberate over race cases — and mixed-raced people were said to be the culprits.

Kennedy wrote that “not all individuals of the same race think alike.” Fair enough. But then he went on to suggest that mixed-race people confound the court’s capacity to “define individuals according to race.”

He continued (PDF), “In a society in which those lines are becoming more blurred, the attempt to define race-based categories also raises serious questions of its own.”

When we blur the lines, as mixed-race people like me are said to do, are we really undermining the court’s capacity to determine questions about the equal protection of the laws?

Kennedy’s view feels familiar: There is nothing new about regarding mixed-race people as a problem in the United States.

We can trace this idea to the earliest lawmaking in British colonial America. The first laws to regulate race were those that prohibited sex and marriage across the color line…

Read the entire opinion piece here.

Josephine Baker’s Rainbow Tribe

Slate
2014-04-18

Rebecca Onion

To prove that racial harmony was possible, the dancer adopted 12 children from around the globe—and charged admission to watch them coexist.

Beginning in 1953, almost 30 years after her first successful performances on the Paris stage, the singer and dancer Josephine Baker adopted 12 children from different countries, ranging from Finland to Venezuela. She installed what she called her “Rainbow Tribe” in a 15th-century chateau in the South of France and charged admission to tourists who came to hear them sing, to tour their home, or to watch them play leapfrog in their garden.

This little-known chapter in Baker’s life is an uncomfortable one. “I would begin to tell the story of Josephine Baker, and people would start to laugh,” says Matthew Pratt Guterl, the author of a new book on Baker’s later life, Josephine Baker and the Rainbow Tribe. “And I would start to wonder what that laughter signified.” Guterl, a professor of Africana studies and American studies at Brown University, has in essence written two books in one: the story of Baker’s family, and a meditation on the meaning of that laughter…

Read the entire review here.