Mixed Race Studies

Book review: The Black Irish Onscreen: Representing Black and Mixed-Race Identities on Irish Film and Television

Film Ireland
Temple Bar, Dublin, Ireland
2013-11-19

Sarah Griffin

Zélie Asava, The Black Irish Onscreen: Representing Black and Mixed-Race Identities on Irish Film and Television (Oxford, Bern, Berlin, Bruxelles, Frankfurt am Main, New York, Wien: Peter Lang, 2013)

Sarah Griffin welcomes Zélie Asava‘s book that applies divergent theoretical concepts of Irishness, whiteness, gender and the particular place of the ‘other’ to the ‘conceptual whiteness of Irishness itself’.

While the intricacies of white and non-white filmic representation has been a subject of much study, most particularly in relation to Hollywood’s output, there has been less focused investigation into the particular relationship Ireland has to its own ‘whiteness’ and how that translates on our big and little screens.  Zélie Asava does so here, bringing together theorists and researchers from disparate decades and tying their ideas to a particularly Irish situation—a country that has only begun to integrate the multicultural nature of a relatively recently expanded populace.  From Sigmund Freud’s ‘return of the repressed’, Julie Kristeva’s abjection, Richard Dyer’s seminal contributions to the study of whiteness, and Judith Butler’s performativity, to the more recent work of Diane Negra on ‘off-white Hollywood’ and a compendium of Irish contributors, Asava blends theorists and personal experience (as an Irish/Kenyan actor) to position herself at the front line.  This book provides a welcome opportunity to apply divergent theoretical concepts of Irishness, whiteness, gender and the particular place of the ‘other’ to, as she calls it, “the conceptual whiteness of Irishness itself”…

Read the entire review here.

Revolutionizing Romance: Interracial Couples in Contemporary Cuba [Williams Review]

Association for Feminist Anthropology
Book Reviews
2012-12-21

Erica Lorraine Williams, Assistant Professor of Anthropology
Spelman College, Atlanta, Georgia

Nadine T. Fernandez, Revolutionizing Romance: Interracial Couples in Contemporary Cuba (New Brunswick: Rutgers University Press, 2010)

In this insightful and well-written ethnography, Nadine Fernandez explores a central paradox: if mestizaje (racial mixing) is the “essence” of the Cuban nation, then why are interracial couples, the purported “engines of mestizaje” (184), still perceived with disdain? Why are interracial couplings – particularly those between black and white Cubans – so infrequent and often met with resistance? A deeply historical and ethnographic account, Revolutionizing Romance advances the compelling argument that “nowhere is race more salient than in romance” (50). Moreover, Fernandez argues that the conflicts surrounding interracial relationships actually highlight “the ideological aspects of racism at work” (53).

This important and timely book documents the shifting meanings of interracial relationships over time in Cuba. The first half of the ethnography provides the historical and conceptual background that sets the stage for the rest of the book by unpacking the history of whitening ideologies and the ideological construction of Cuba as a mestizo nation. Fernandez analyzes how the “revolution’s ideological insistence on ‘racelessness’…provided a sociocultural and ideological space for interracial couples” (68). For instance, Sofia, a mulata engineer and Fernando, a white art historian, are an interracial couple who were both born in the early 1950s and who met while studying in the former Soviet Union. Their families supported their relationship in part because of the color-blind ideology that the revolution had fostered. Interestingly, while race scholars are often dismissive of the concept of color-blindness (rightly so, I might add), Fernandez points out that in the context of Cuba, this concept has some redeeming qualities…

Read the entire review here.

A Racial Paradise? Race and Race Mixture in Henry Louis Gates’ Brazil

Latin American and Caribbean Ethnic Studies
Volume 8,  Issue 1, 2013
pages 88-91
DOI: 10.1080/17442222.2013.768464

Chinyere Osuji, Assistant Professor of Sociology
Rutgers, The State University of New Jersey, Camden

In this documentary, Henry Louis Gates explores the extent to which the notion of being a racial paradise applies to Brazil. He introduces Brazil’s contradictions of being the last country to abolish slavery’ in the New World in 1888, yet the first to declare that it was free of racism. He explores a variety of cities in Brazil in order to understand the history of early race mixture, contemporary valorization of Blackness, and attempts to address racial inequality. As a viewer, we watch how Gates’ fascination with the Brazil’s African heritage and race mixture at the beginning of the film turns into a questioning of the myth of racial democracy.

The film is useful in terms of providing a primer on race in Brazil for novices on race in Latin America. Geared towards the general public, this is a film that could be used in an introductory course for undergraduates about race in Brazil or Latin America more broadly. Its strengths are in illuminating the nature of slavery and race mixture in Brazil’s history while introducing the racial ideologies of whitening and racial democracy. Gates introduces scholars such as Manoel Querino and the more renowned Gilberto Freyre to discuss their scholarship on black contributions to Brazilian society. Gates’ film also has vibrant images of Carnaval, capoeira, and a Candomblé ceremony, providing opportunities for students to gain exposure to these African-influenced cultural practices.

This film is somewhat problematic in terms of illuminating racial and color categories in contemporary Brazil. Gates indirectly cites a 1976 Brazilian National Household Survey study that found people used over 100 terms to describe their color. Gates says: ‘In the U.S., a person with any African ancestry is legally defined as black. In Brazil, racial categories are on steroids.’ However, this perspective has been discredited by scholars who argue that most Brazilians only use a handful of terms to describe themselves. In fact, re-examinations of the same 1976 survey found that 95 percent of Brazilians used only six terms to describe themselves: branco, moreno, pardo, moreno-claro, preto and negro (Silva, 1987; Telles, 2004). The 10 most common terms were the aforementioned as well as amarela, mulata, clara, and morena-escura. All together, these 10 terms account for how 99 percent of all Brazilians think of their race/color. These findings have been replicated using more national survey data (Petruccelli, 2001; Telles, 2004). However, the myth of the hundreds of racial and color terms that Brazilians use to identify themselves will not die, and now Gates aids in perpetuating it…

Read or purchase the article here.

(1)ne Drop: Shifting the Lens on Race: A Review and Reflection

Andrew Joseph Pegoda, A.B.D.
2013-11-23

Andrew Joseph Pegoda
Department of History
University of Houston, Houston, Texas

Yaba Blay and Noelle Théard (dir. of photography), (1)ne Drop: Shifting the Lens on Race (Philadelphia: BLACKprint Press, 2013)

Yaba Blay’s (1)ne Drop: Shifting the Lens on Race (2014) is a beautiful, first-hand look at the true complexities surrounding the ways in which societies and peoples racialize one another and the ways in which these are institutionalized. Due to an ambiguous and vastly tangled web of psychological, historical, and countless other reasons, everyday life tends to be highly racialized.

The United States was built on a foundation of “White” being good and “Black” being bad. Of “White” meaning liberty and freedom and “Black” meaning enslavement. These assumptions and corresponding racism are so interwoven into every aspect of society (similar to a cake – the sugar, for example, is everywhere in the cake but not at all directly detectable) that they go largely unnoticed and unquestioned…

…These essays also show a rare sense of raw honesty, so to speak. Some of the writers, for example, discuss how they used society’s stereotypes or expectations of what White or Black meant to the exclusion of others. Essays strongly convey why and how people have a fear of Blackness, as some respond to someone saying “I’m Black” with “no, you’re not Black,” and essays also show how complicated manifestations of Whiteness and White Privilege really are. Some of the accounts explain how “race” changes according to how people fixes their hair, what country they are in, or by who they are specifically around at a given moment…

…The personal accounts answer much more than what it means to be Black. Indeed, the individuals in this book show how unsatisfactory the term Black really is. In the United States, all too often we consider in a highly subjective process anyone with skin of a certain hue to be an African American. This pattern of thinking is far too simple, and it is inaccurate…

…Scholars are sometimes (inappropriately) criticized for being activist at the same time they are scholars. More and more often it is accepted and embraced they not only can we be both but that we should be both: that being passionate about what we write about makes for better scholarship. Blay’s work is also an excellent example of how one can be both a scholar and an activists at the same time and be successful at both…

Read the entire review here.

All in the Family: Interracial Intimacy, Racial Fictions, and the Law

California Law Review Circuit
Volume 4 (November 2013)
pages 179-186

D. Wendy Greene, Professor of Law
Cumberland School of Law, Samford University, Birmingham, Alabama

Professor Wendy Greene highlights the continued importance of analyzing interracial relationships in the framework of the law in her review of Professor Angela Onwuachi-Willig’s book, According to Our Hearts: Rhinelander v. Rhinelander and the Law of the Multiracial Family. Professor Greene comments that given the Supreme Court’s continued interest in cases involving marital and racial equality, a study of the legal history of interracial marriage in America, like that done by Professor Onwuachi-Willig, is both relevant and essential for understanding fundamental rights jurisprudence.

Read the entire article here.

African Slavery: The New Hollywood Renaissance

Our Weekly: Los Angeles
2013-11-14

William Covington, Contributor

With the recent release of “12 Years A Slave” and “Django Unchained” and numerous slave genre movies awaiting release, it appears the slavery motif is possibly generating a new African American Renaissance in Hollywood.

According to Pasadena screenwriter Herman James, “Hollywood doesn’t care about educating the nation on the institution that built this country. They are taking the pulse and following the money.

Movies about slavery have become a niche genre that has a strong possibility of making money, and James says this has nothing to do with a Black president in the White House or the fact that the Civil War took place 150 years ago. Instead, he thinks the proliferation may be attributed to the fact that recently Hollywood discovered that movies about slavery and plantations are profitable. “They are the new race movies. However, if they flop they will vanish as easy as they have become big-screen entertainment.”…

The race movies that James refers to are early movies produced between 1915 and 1950 for Black audiences…

…In “The North Star,” the character Big Ben escapes a southern plantation and makes his way north to freedom by following the North Star. He ends up in Bucks County, Pennsylvania, where he is helped by local Quakers who are part of the Underground Railroad, a system of hiding places and trails for those escaping the horrors of slavery. This movie is currently in post production.

“Belle” is inspired by the true story of Dido Elizabeth Belle (Gugu Mabatha-Raw), the illegitimate mixed-race daughter of a Royal Navy Admiral. Raised by her aristocratic great-uncle Lord Mansfield (Tom Wilkinson) and his wife (Emily Watson), Belle’s lineage affords her certain privileges, yet the color of her skin prevents her from fully participating in the traditions of her social standing. Expected to be released in 2014.

In “The Keeping Room,” three Southern women—two sisters and one African American slave—left without men in the dying days of the Civil War, are forced to defend their home from the onslaught of a band of soldiers who have broken off from the fast-approaching Union Army. It is scheduled for release in 2014…

Read the entire article here.

Beyond Our Hearts: The Ecology of Couple Relationships

California Law Review Circuit
Volume 4, October 2013
pages 155-164

Holning Lau, Professor of Law
University of North Carolina School of Law

In his review of Professor Angela Onwuachi-Willig’s book, According to Our Hearts: Rhinelander v. Rhinelander and the Law of the Multiracial Family, Professor Holning Lau extends Professor Onwuachi-Willig’s analysis of how external support is instrumental to the success of relationships beyond multiracial couples. Arguing that ecological factors should play a larger role in policy discussions about marital relations, Professor Lau examines the debates surrounding same-sex marriage and the Healthy Marriage Initiative and concludes that policymakers should more carefully consider how exogenous circumstances affect the success of intimate relationships.   

Read the entire article here.

The Souls of Mixed Folk: Race, Politics, and Aesthetics in the New Millennium [Ibrahim Review]

Modern Language Quarterly
Volume 74, Number 4, December 2013
page 566
DOI: 10.1215/00267929-2153679

Habiba Ibrahim, Associate Professor of English
University of Washington

The Souls of Mixed Folk: Race, Politics, and Aesthetics in the New Millennium. By Elam Michele. Stanford, CA: Stanford University Press, 2011. viii + 277 pp.

Read or purchase the review here.

Review of Brazilian Telenovelas and the Myth of Racial Democracy by Samantha Nogueira Joyce

TriQuarterly: a journal of writing, art, and cultural inquiry from Northwestern University
Northwestern University, Chicago, Illinois
2013-10-01

Reighan Gillam, Postdoctoral Research Fellow
Department of Afroamerican and African Studies
University of Michigan

Telenovelas, or soap operas, are the main staple of television entertainment throughout Brazil and in many other Latin American countries. Unlike in the United States, where soap operas can run for decades, in Brazil telenovelas end after presenting their storyline over a six- to eight-month period. They are designed to attract men, women, and children as viewers and have dominated in television’s primetime slots for the last thirty years. Although the plotlines, characters, and settings are fleeting, telenovelas have remained Brazilians’ favorite form of primetime entertainment.

Often Latin American telenovelas have served as vehicles to introduce social issues by depicting a common problem, such as gender inequality or limited access for the disabled, in order to raise awareness and stimulate discussion. In Brazilian Telenovelas and the Myth of Racial Democracy, Samantha Nogueira Joyce takes one particular telenovela, Duas Caras (Two Faces), as her subject of study. Running for eight months in 2007–8, this telenovela deserves particular scrutiny because it was the first to include an Afro-Brazilian actor as the lead character and the first to make race relations and racism a constant theme. Joyce uses this telenovela as an opportunity to examine the role of television in contemporary currents of social change in Brazil. Through her analysis of Duas Caras, Joyce aims to demonstrate how “telenovelas are a powerful tool for introducing topics for debate and pro-social change, such as the instances where the dialogues openly challenge previously ingrained racist ideas in Brazilian society.”

The myth of racial democracy to which Joyce’s title refers is the Brazilian national narrative that defines the country’s citizens and identity as racially mixed. Put simply, it is generally thought that the Brazilian populace and culture emerged from a mixing of European, indigenous, and African people. Many believe that because there are no rigid racial lines that delineate black from white in Brazil, racism and racial discrimination do not exist there. In contrast to the “one-drop rule” of the United States, where “one drop of black blood” renders a person black, in Brazil, Joyce explains, “the racial blending has been validated not into a binary, but a ternary racial classification that differentiates the population into brancos (whites), pardos (multiracial individuals, also popularly known as mulatos), and pretos (blacks).”…

Read the entire review here.

Unbecoming blackness: the diaspora cultures of Afro-Cuban America [Review]

Ethnic and Racial Studies
Volume 37, Issue 5, 2014
pages 889-890
DOI: 10.1080/01419870.2013.847200

Nora Gámez Torres, Visiting scholar
Cuban Research Institute
Florida International University, Miami

Unbecoming Blackness: The Diaspora cultures of Afro-Cuban America, by Antonio López, New York, New York University Press, 2012, xi + 272 pp., (paperback), ISBN 978-0-8147-6547-0.

Unbecoming Blackness poses directly the question of an underdiscussed afrolatinidad in Cuban American Studies. The book opens up by analysing the lives and performances of key figures in the Afro-Cuban diaspora in the USA during the first half of the twentieth century: Alberto O’Farrill, a writer and blackface actor in the teatro bufo a theatrical Cuban genre he helped to export to New York: and Eusebia Cosme, a renowned performer of poesía negra (black poetry) and actress. This is the first significant accomplishment of the book, since these histories had to be carefully recovered and reconstructed by collecting disperse information, the ‘fragments attaches’ (14) common to black diasporas in the Americas.

The third chapter, examining the afrolatinidad and specific Puerto Rican identifications in the work of Cuban-born anthropologist Rómulo Lachatañeré and Cuban-descendent writer Piri Thomas, continues building the main theme of the book: how Afro-Cubans actively negotiate their racialization in the USA, by cither asserting or concealing their ‘Hispanic’ heritage through linguistic choices, or by forging alliances with black Americans and other Latin/o groups. In so doing, they enact an afrolatinidad that is malleable and transnational, and thus, unsettling for hegemonic Cuban and Cuban American identities, rooted in nationalism and whiteness. That performers such as Cosme and O’Farrill and scholars such as Lachatañeré travelled to the USA looking for better professional opportunities and decided to associate to ‘subaltern’ subjects such as black Americans and other Latino groups, generated an anxiety among Cuban writers and intellectuals of the time who defended the idea of mestizaje, as López shows in these chapters. The point of conflict is brilliantly captured in the following passage by Lopez: (the implication) ‘that Afro-Cubans are somehow ‘better off’ being in and belonging to an explicitly racist US nation rather than, it turns out, Cuba. This being and belonging is asserted against ‘the best interests’ of a postracial, mestizo, even negro island-Cuban nation—indeed, against the ‘best interests’ of Afro-Cubans themselves’ (9). To speak of an afrolatinidad in this context disrupts both Cuban American and Cuban fictions of national identity. Precisely due to the implications of the book for a critical debate on Cuban racial identities on and off the island, it would have been very useful for the leader to have a contextual analysis of what was happening in Cuba in different moments and in the different fields the author explores.

Less accomplished is the following chapter, in which López lacks the clarity to successfully connect ‘texts around 1979 in Miami and the overlapping histories of the illicit drug trade. African American uprising, Mariel migration‘ (16), to Cuban American reactions to the ‘blackening’ of their community after Mariel and the African Americans…

Read or purchase the article here.