Mixed Race Studies

Fifteenth Union: A Melungeon Gathering

Melungeon Heritage Association
Carolina Connections: Roots and Branches of Mixed Ancestry Communities
Warren Wilson College
Swannanoa, North Carolina
2011-07-14 through 2011-07-16

MHA is delighted to announce that this year our annual Union will be celebrated at Warren Wilson College in Swannanoa, NC, July 14-16, 2011. This will be our first Union in the Carolinas, states of primary significance to the history of mixed ancestry communities across America. Melungeon roots in the Carolinas have been prominent topics of discussion in past Unions, and MHA welcomes the opportunity to celebrate and study our heritage on this historic and beautiful campus. Warren Wilson College is located a few miles from Asheville in a scenic area near the highest mountains in the East. It has historic connections to the Melungeon community of Vardy, which the Union will celebrate.

We will have speakers on a wide variety of genealogical and historical topics. The program is still being developed, but two distinguished authors have agreed to discuss their new books at the Union. Each book breaks new ground in the literature of mixed ancestry in the United States.

The Invisible Line: Three American Families and the Secret Journey from Black to White (Penguin, 2011) tells three stories that will be especially meaningful to MHA readers. Author Daniel J. Sharfstein is an associate professor of law at Vanderbilt University. Within a month of publication, his new book was acclaimed in the New York Times as “astonishingly detailed rendering of the variety and complexity of racial experience in an evolving national culture moving from slavery to segregation to civil rights.” This study of the Gibson, Spencer, and Wall families has the potential to change the national conversation about race, and MHA is honored by Mr. Sharfstein’s participation in 15th Union.

Lisa Alther is an acclaimed author of bestselling fiction whose most recent book was a nonfiction investigation of Melungeon ancestry entitled Kinfolks: Falling off the Family Tree. She returns to fiction with Washed in the Blood, forthcoming this fall from Mercer University Press. Alther’s new novel portrays the early history of the southern Appalachians. It tells the story of several generations of the Martin family, from the arrival of Diego Martin as a hog drover with a Spanish exploring party in the 16th century, describing his descendants’ struggles to survive and gain acceptance down through the early 20th century.  In this new novel, Alther connects Melungeon history to early settlement of the Southeastern US, and thus to the theme of 15th Union…

For more information, click here.

White Skin, White Masks: The Creole Woman and the Narrative of Racial Passing in Martinique and Louisiana

University of North Carolina, Chapel Hill
2006
83 pages

Michael James Rulon

A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Curriculum of Comparative Literature

Through an examination of two Creole passing subjects from literary passing narratives of the twentieth century, this thesis simultaneously treats two problems that have been largely overlooked by contemporary scholarship: the role of the Creole racial identity in the genre of the passing narrative, as well as the possibility of racial passing within the context of a Creole society. In Walter White’s 1926 novel, Flight, and Mayotte Capécia’s 1950 novel, La négresse blanche, the protagonists’ difficulties in negotiating a stable racial identity reveal the inherent weakness of the racial binary that is essential to the very notion of racial passing, and they also show that Creoleness has failed to establish itself as a stable racial identity in the societies represented in both novels.

Table of Contents

• 1. Pawòl Douvan/Some Opening Words
• 2. Nwè, Blan èk Kréyòl/Black, White, and Creole
• 3. Mimi èk Isaure/Mimi and Isaur
• 4. Pasé pou Blan, Pasé pou Nwè/Passing for White, Passing for Black
• 5. Ovwè tè kréyòl/Goodbye, Creole Land
• 6. Conclusion: Èk alòs… /And so
• WORKS CITED

Read the entire dissertation here.

Virginia’s Attempt to Adjust the Color Problem

The American Journal of Public Health
Volume 15, Number 2 (1925)
pages 111-115

W. A. Plecker, M.D., Fellow A.P.H.A.
State Registrar of Vital Statistics, Richmond, Virginia

Read at the joint session of the Public Health Administration and Vital Statistics Sections of the American Public Health Association at the Fifty-third Annual Meeting at Detroit, Michigan, October 23, 1924.

The settlers of North America came not as did the Spanish and Portuguese adventurers of the southern continent, without their women, bent only on conquest and the gaining of wealth and power; but bringing their families, the Bible, and high ideals of religious and civic freedom.

They came to make homes, to create a nation, and to found a civilization of the highest type; not to mix their blood with the savages of the land; not to originate a mongrel population combining the worst traits of both conquerors and conquered.

All was well until that fateful day in 1619 when a Dutch trader landed twenty negroes and sold them to the settlers, who hoped by means of slave labor to clear the land and develop the colony more quickly.

Few paused to consider the enormity of the mistake until it was too late. From this small beginning developed the great slave traffic which continued until 1808, when the importation of slaves into America was stopped. But there were already enough negroes in the land to constitute them the great American problem. Two races as materially divergent as the white and the negro, in morals, mental powers, and cultural fitness, cannot live in close contact without injury to the higher, amounting in many cases to absolute ruin. The lower never has been and never car be raised to the level of the higher.

This statement is not an opinion based on sentiment or prejudice, but is an unquestionable scientific fact. Recently published ethnological studies of history lead to this conclusion, as do the psychologic tests of negro and negroid groups, especially the tests made by the United States Army for selective service in the World War. It is evident that in the hybrid mixture the traits of the more primitive will dominate those of the more specialized or civilized race. It is equally obvious that these culturally destructive characteristics are hereditary, carried in the germ plasm, and hence they cannot be influenced by environmental factors such as improved economic, social and educational opportunities. On the contrary, such opportunities often accelerate the inevitable decadence. Dr. A. H. Estabrook in a recent study, made for the Carnegie Foundation, of a mixed group in Virginia many of whom are so slightly negroid as to be able to pass for white, says, ” School studies and observations of some adults indicate the group as a whole to be of poor mentality, much below the average, probably D or D- on the basis of the army intelligence tests. There is an early adolescence with low moral code, high incidence of licentiousness and 21 per cent of illegitimacy in the group.”

When two races live together there is but one possible outcome, and that is the amalgamation of the races. The result of this will be the elimination of the higher type, the one on which progress depends. In the mixture the lower race loses its native good qualities which may be utilized and developed in the presence of a dominant race…

…Let us return now to our own country, and, as we are considering Virginia, to that state in particular. There are about twelve million negroes of various degrees of admixture in the Union today. Of the population of Virginia, nearly one-third is classed as negro, but many of these people are negroid, some being near-wnite, some having actually succeeded in getting across into the white class.

The mixed negroes are nearly all the result of illegitimate intercourse. The well known moral laxity resulting from close contact of a civilized with a primitive race makes illegitimate intermixture an easy matter. This is illustrated by the fact that the illegitimate birth-rate of Virginia negroes is thirty-two times that of Rhode Island, while the District of Columbia rate is thirty-seven times, and that of Maryland forty-six times.

In the days when slavery was still a blight upon our state, it was quite a common occurrence for white men to father children born to the negro servants. The history, as related to me, of at least one colony of people known as “Issue” or ” Free Issue,” now spread over several counties, is that they originated in part in that manner.

It was considered undesirable to retain these mulattoes on the place, bearing the family name, and a number from one county were given their freedom and colonized in a distant county. These intermarried amongst themselves and with some people of Indian-negro-white descent, and received an additional infusion of white blood, either illegitimately or by actual marriage with low-grade whites…

…In the lifetime of some now living we may expect the present twelve million colored population to increase to twenty or possibly thirty millions, and that perhaps to one hundred millions during the next century, to say nothing of the prolific Mongolians who are already firmly established upon our western coast. With the competition of this large number of people of low ideals and low standards of living, and the great effort to secure the means of maintaining a family up to the desired standard, the white population will to that extent be crowded out.

Virginia has made the first serious attempt to stay or postpone the evil day when this is no longer a white man’s country. Her recently enacted law “for the preservation of racial integrity” is, in the words of Major E. S. Cox, “the most perfect expression of the white ideal, and the most important eugenical effort that has been made during the past 4,000 years.” Of course this law will not prevent the illegitimate mixture of the races, although a law requiring the father to share with the mother the responsibility of the birth would have a deterring effect. When more than one man is involved, all should be held equally responsible in sharing the cost, as I am informed is the case in Norway.

But it is possible to stop the legal intermixture, and that Virginia has attempted to do in the above mentioned law, which defines a white person as one with “no trace whatsoever of blood other than Caucasian,” and makes it a felony punishable by confinement for one year in the penitentiary to make a willfully false statement as to color.

Clerks are not permitted to grant licenses for white persons to marry those with any trace of colored blood. It is needless to call attention to the sad plight of a white person who is thus imposed upon or of a white woman who under such circumstances would give birth to a child of marked negro characteristics, as will occur from time to time under Mendel’s law.

The new law places upon the office of the Bureau of Vital Statistics much additional work, but we believe it will be a strong factor in preventing the inter’marriage of the races and in preventing persons of negro descent from passing themselves off as white…

Read the entire article here.

Interracial Relationships and Loving v. Virginia

CityLine Boston
WCVB Boston
2011-06-15

Karen Holmes Ward, Director of Public Affairs and Community Services; Host and Executive Producer of CityLine

Marcia Alesan Dawkins, Visiting Scholar
Brown University

Ken Tanabe, President and Founder
LovingDay.org

Dr. Dawkins discusses the ongoing impact of interracial romantic relationships, multiracial identities and passing in the United States with Loving Day founder Ken Tanabe and CityLine host Karen Holmes Ward.

Notes by Steven F. Riley: There are several significant inaccuracies in this video.

1. Interracial marriage was in fact legal, not illegal, in most states 44 years ago.  Only 16 states had bans on interracial marriage at that time.
2. Ms. Ward’s comment, “No steps were taken to change the law until one appropriately named couple fought for their rights…” is grossly inaccurate.  There was no one “law” to ban such marriages in the United States. Each state had its own anti-miscegenation statute.  Most importantly, the battle to end anti-miscegenation (anti-interracial marriage) laws in the United States was a 50 year struggle which included such landmark cases like California Supreme Court: Perez v. Sharp (1948), U.S. Supreme Court: McLaughlin v. Florida (1964) and ending of course, with Loving v. Virginia (1967).
3. Mr. Tanabe’s comment, “After the case, for the first time, interracial marriage was legalized in the United States.” is incorrect.  Loving v. Virginia did not legalize interracial marriage in the United States.  It legalized interracial marriage only in the remaining 15 states (Maryland repealed its law during the case) that still had bans on such marriages.  In fact, there were 10 states that never enacted any bans on interracial marriage. Mr. Tanabe seems to have forgotten that Mildred and Richard Loving (the plaintiffs in the case) were legally married in Washington, D.C. in June of 1958, six months before they were arrested for violating the section of the law which prohibited interracial couples from being married out of state and then returning to Virginia.

To get a comprehensive view of anti-miscegenation laws and their impact on race relations in the United States, please read Peggy Pascoe’s multiple award winning book, What Comes Naturally, Miscegenation Law and the Making of Race in America. Also, please read my thoughts about the misreprentation of the Loving v. Virginia case in contemporary discourses.

Henry Ossawa Tanner’s Negotiation of Race and Art: Challenging “The Unknown Tanner”

Journal of Black Studies
Published online before print 2011-03-17
DOI: 10.1177/0021934710395588

Naurice Frank Woods, Visiting Assistant Professor of African American Studies
University of North Carolina, Greensboro

This essay is a response to an article recently published by Will South titled “A Missing Question Mark: The Unknown Henry Ossawa Tanner” in the journal Nineteenth-Century Art Worldwide. Tanner was the foremost African American artist of the late 19th century. He has emerged as an exemplar of Black achievement in the arts and is now included in the canon of American art of that period. While Tanner labored to remove the equation of race as the defining factor for his artistic output, he never lost sight of his racial identity. South’s article suggests otherwise and he reconstructs Tanner as a “tragic mulatto” who, on several occasions, passed as White to advance his career and social standing. South’s conclusion seriously jeopardizes Tanner’s hard-fought reputation and greatly diminishes his celebrated cultural significance. I weigh South’s evidence against documented sources and conclude that Tanner unabashedly affirmed his “Blackness” throughout his life and art.

Read or purchase the article here.

Affirming Blackness: A Rebuttal to Will South’s “A Missing Question Mark: The Unknown Henry Ossawa Tanner”

Nineteenth-Century Art Worldwide: a journal of ninetheenth-century visual culture
Volume 9, Issue 2 (Autumn 2010)

Naurice Frank Woods, Visiting Assistant Professor of African American Studies
University of North Carolina, Greensboro

George Dimock, Associate Professor of Art History
University of North Carolina, Greensboro

Will South’s recent article proposing a heretofore “unknown” Henry Ossawa Tanner who was conflicted about his African American identity and who, while in France, sought to pass as white demonstrates an impressive mastery of archival sources and a flair for persuasive re-interpretation. It is all the more problematic therefore that he misinterprets the available evidence and thereby diminishes the cultural significance of Tanner’s work. Most ingeniously, South builds an elaborate yet spurious argument by restoring a question mark to Tanner’s declaration “Now am I a Negro?” in a famous epistolary exchange with art critic Eunice Tietjens in 1914. In so doing he refashions the foremost African American artist of the nineteenth century as a tragic mulatto—a man who saw himself “as mostly white,” who worked while in France to “systematically…remove race from the equation of his life,” and was willing “to conceal the African American component of his extraction.” South concludes with a critical appraisal that undermines the integrity of Tanner’s art by claiming that “his achievements, ultimately, were grounded in a life of complex compromise lived in between his blackness and his whiteness.”

With or without the missing punctuation, Tanner’s response to Tietjens resounds as his most important statement on race. It reflects his utter frustration with America’s practice of applying a rule of hypodescent (the “one-drop rule“) that defined him as an innately inferior being and constricted his opportunities as artist and citizen. What Tanner was rejecting in his response to Tietjens was not his race but the American art establishment’s continual labeling of him as “Negro” whenever his talent was evaluated. By way of contrast, the Paris art world showed “steadily increasing interest” in his work, linking him with his fellow countrymen, James McNeill Whistler and John Singer Sargent, without “slight[ing] his art in the exploitation of his race” as was the custom in the U.S. press. Tanner considered himself principally an American artist and he affirmed his right to join the ranks of the cultural elite based on artistic merit and racial equality. Tanner’s life and art challenged his nation’s disingenuous notions of race. When taken in context, his question to Tietjens, “Now am I a Negro?” is far from being a renunciation of his black ancestry and heritage as South would have it. Rather it functions rhetorically as sardonic irony in response to the cruelties and stupidities of white racism…

Read the entire article here.

The First Black Prairie Novel: Chief Buffalo Child Long Lance’s Autobiography and the Repression of Prairie Blackness

Journal of Canadian Studies/Revue d’études canadiennes
Volume 45, Number 2 (Spring 2011)
pages 31-57
E-ISSN: 1911-0251; Print ISSN: 0021-9495
DOI: 10.1353/jcs.2011.0022

Karina Vernon, Assistant Professor of English
University of Toronto

This essay situates Chief Buffalo Child’s Long Lance: The Autobiography of a Blackfoot Indian Chief (1928) within the cultural context of its production, the anti-Black racial climate of the Canadian Prairies in the early part of the twentieth century, in order to analyze the textual repression of its author’s Blackness. Although the Autobiography has been discredited as a fraud because, as Donald B. Smith discovered, Long Lance was not in fact Blackfoot as the Autobiography claims, but “mixed blood” from North Carolina, this essay reclaims it as the first novel penned on the Prairies by a Black author, for it tells a true—more metaphorical and allegorical than factual—story about the desire on the part of displaced “new” world Blacks for Indigenous status and belonging. This essay examines the implications of claiming the Autobiography as the first Black prairie novel and explores how reading it as fiction rather than autobiography extends our understandings of “passing,” racial identification and transformation.

Cet article situe l’autobiographie Long Lance: The Autobiography of a Blackfoot Indian Chief (1928) du Chef Buffalo Child dans le contexte culturel de sa production—le climat racial anti-Noirs des Prairies canadiennes au début du XX^e siècle—afin d’analyser la répression textuelle de son auteur noir. Donald B. Smith a par la suite considéré cette autobiographie comme une imposture, ayant découvert que Long Lance ne faisait pas partie de la confédération des Pieds-Noirs, mais était plutôt un « sang-mêlé » de la Caroline du Nord. Cependant, l’auteur du présent article considère cette autobiographie comme le premier roman écrit dans les Prairies par un Noir puisqu’il raconte une histoire vraie—quoique plus métaphorique et allégorique que factuelle—du désir des Noirs déplacés du « Nouveau » Monde d’acquérir le statut d’indigène et d’appartenir à leur monde. L’article examine les conséquences de la classification de cette pseudo-autobiographie comme le premier roman des Prairies écrit par un Noir et explore les manières dont sa lecture en tant qu’œuvre de fiction plutôt qu’autobiographie nous aide à mieux comprendre le concept de « passage », d’identification et de transformation raciales.

Read or purchase the article here.

‘Kissing the rod that chastised me’: Scarlett, Rhett and Miscegenation in Margaret Mitchell’s Gone With the Wind (1936)

Irish Journal of American Studies
Volume 13/14, (2004/2005)
pages 123-137

Sinéad Moynihan, Lecturer in English
University of Exeter

“It’s all so mixed up,” Cindy muses in a 2001 parody of Gone With the Wind, as she imaginatively revisits the turbulent years of her life spanning 1845 to 1873 (Randall 44). Cindy, the narrator of The Wind Done Gone, is the illegitimate daughter of Planter (Gerald O’Hara’s proxy) and Mammy. The world she describes is indeed “mixed up” and Alice Randall’s parody is an attempt to redress what some critics perceive to be glaring omissions from Margaret Mitchell’s original text, namely the racial chaos engendered by generations of miscegenation (as well as other taboos, such as incest and homosexuality). Here, the myth of pure, white Southern blood is exposed in all  its multicoloured g[l]ory: Cindy’s half-sister, Other (Scarlett’s surrogate), is racially mixed by virtue of her mother, the quintessential Southern lady; Dreamy Gentleman (Ashley Wilkes) is romantically involved with a male slave, and so on. Curiously, in so far as the reader is aware, the bloodline of R.[hett Butler], with whom Cindy is having an affair, remains pristinely white. In Gone With the Wind however, Margaret Mitchell presents a compelling basis for arguing that Rhett is mixed race and “passing” for white. If this is indeed the case, then surely it is time to revise charges of Mitchell’s “lack of critical vision” and “blindness” concerning the “realities of slavery” and to acknowledge our own critical myopia in relation to her treatment of miscegenation (Faust 13).

If Mitchell’s romantic hero is passing as white, race is indisputably central to the action of the novel, though, of course, not in an unproblematic way. In arguing that Rhett Buder is a free mulatto passing for white, I wish to add my voice to those recent critics that refute the long-established consensus on the “relegation of race relations to the periphery of the novel’s action” (O’Brien 165). In so doing, this paper builds upon two strands of existing scholarship on Gone With the Wind. The first of these critical strands is the counterpart to the provocative fictional reconsideration of Gone With the Wind in The Wind Done Gone namely the interrogation of Rhett’s racial ambiguity in Gone With the Wind Joel Williamson asks “How Black was Rhett Butler?” (87), to which Diane Roberts adds her own question: “How white is Scarlett?” (171). For Elizabeth Young, Mitchell “symbolically darkens” (237) the “literally white” Rhett (257), thus rendering his marriage to Scarlett a “metaphorically interracial romance” (237). Young’s insistence on the “metaphorical” and “symbolic” character of Rhett’s blackness (261, 263) is matched only by Joel Williamson’s curious reluctance to articulate the term “passing,” especially given his discover)- of an actual interracial relationship in an early work by Margaret Mitchell. In 1926, Mitchell penned a Reconstruction-set 15,000-word…

Marginal Man and Hard-Boiled Detective: Racial Passing in Robert Skinner’s Wesley Farrell Series

Clues: A Journal of Detection
Volume 26, Number 3 (Spring 2008)
pages 56-69
DOI: 10.3172/CLU.26.3.56

Sinéad Moynihan, Lecturer in English
University of Exeter

The author argues that tropes of detection and racial passing are mutually compatible in Robert Skinner’s six New Orleans-set mysteries. Set in the 1930s, they feature Wesley Farrell, a businessman-turned-sleuth who is passing as white. A passing plot coupled with a murder mystery foreground the issues of detection, evidence and clues, guilt, confession, exposure, and the often gross disparity between law and justice.

Passing into the present: Contemporary American Fiction of Racial and Gender Passing

Manchester University Press
2010-07-01
256 pages
216 x 138mm
Hardback ISBN: 9780719082290

Sinéad Moynihan, Senior Lecturer in English
University of Exeter

• Discusses wider themes including class, gender, sexuality, and religious identity
• Focuses on Philip Roth’s ‘The Human Stain‘, Louise Eridich’s ‘Tracks’ Percival Everett’s ‘Erasure’ and Paul Beatty’s ‘The White Boy Shuffle‘
• Looks at a wide rage of contemporary writers that represent the theme of gender and racial passing

This book is the first full-length study of contemporary American fiction of ‘passing’. Its takes as its point of departure the return of racial and gender passing in the 1990s in order to make claims about wider trends in contemporary American fiction.

The book accounts for the return of tropes of passing in fiction by Philip Roth, Percival Everett, Louise Erdrich, Danzy Senna, Jeffrey Eugenides and Paul Beatty. These writers are attracted to the trope because passing narratives have always foregrounded the notion of textuality in relation to the (il)legibility of black subjects passing as white. The central argument of this book, then, is that contemporary narratives of passing are concerned with articulating and unpacking an analogy between passing and authorship.

Aimed at students and researchers, it promises to inaugurate dialogue on the relationships between identity, postmodernism and authorship in contemporary American fiction.

Table of Contents

• 1. Introduction: ‘Passing’ into the present: passing narratives then and now
• 2. Living parchments, human documents: passing, racial identity and the literary marketplace
• 3. The way of the cross(-dresser): Catholicism, gender and race in two novels by Louise Erdrich
• 4. (W)Rites-of-passing: shifting racial and gender identities in Caucasia and Middlesex
• 5. Bodies / texts: passing and writing in The White Boy Shuffle and The Human Stain
• 6. Conclusion: ‘Passing’ fads?: recent controversies of authenticity and authorship
• Bibliography