Mixed Race Studies

New Yale award to honor high school juniors for community engagement

Yale News
New Haven, Connecticut
2016-06-15

This photograph of Ebenezer Bassett is part of the collection in the Yale Library’s Department of Manuscripts and Archives.

Select high school juniors across the nation will be honored for their public service through the Yale Bassett Award for Community Engagement, established by Yale’s Center for the Study of Race, Indigeneity, and Transnational Migration (RITM). The first awards will be presented in the spring of 2017 to high school students in the Class of 2018.

The new award honors the legacy of influential educator, abolitionist, and public servant Ebenezer Bassett (1833-1908), the United States’ first African American diplomat.

“Ebenezer Bassett is an exemplar of so many qualities we seek to foster in all Yale students,” said Yale President Peter Salovey. “He was a superb intellectual who used the fruits of his education to serve his fellow global citizens and contribute to a more unified world. We are proud to bring heightened awareness of his name and legacy to those who follow in his footsteps today — and particularly to do so by recognizing outstanding young people who are tomorrow’s college students.”.

Professor Stephen Pitti, director of the RITM Center, added: “The faculty in the Center for the Study of Race, Indigeneity, and Transnational Migration established this award to honor emerging leaders who, like Ebenezer Bassett in the 19th century, bring under-recognized perspectives to the public sphere, think hard about our collective futures, work on behalf of others, and exemplify intelligence and courage.”

How Pat Cleveland Conquered Racism to Become the World’s First Black Supermodel

Harper’s Bazaar
2016-06-15

Kate Storey, News Edtor

Photograph: Kathryn Wirsing

Pat Cleveland was 16 years old when she was told she would never make it as a model.

It was the late Sixties, and Cleveland, who had just signed with Ford Models, was sitting nervously in a large leather chair in the agency’s intimidating Manhattan office. Co-founder Eileen Ford had requested to see the lanky teenager for some “real” talk.

“Patricia, we have very few colored girls in our agency. And do you know why?” Cleveland remembers Ford saying. “Because there is no work for colored girls. The only reason I took you is because [photographer] Oleg Cassini recommended you. But I really think you will never make it in the modeling business.”…

Read the entire article here.

Part-Latinos and Racial Reporting in the Census: An Issue of Question Format?

Sociology of Race and Ethnicity
July 2016, Volume 2, Number 3
pages 289-306
DOI: 10.1177/2332649215613531

Michael Hajime Miyawaki, Assistant Professor of Sociology
Hendrix College, Conway, Arkansas

In this study, the author examines the racial reporting decisions of the offspring of Latino/non-Latino white, black, and Asian intermarriages, focusing on the meanings associated with their racial responses in the 2010 census and their thoughts on the separate race and Hispanic origin question format. Through interviews with 50 part-Latinos from New York, the findings demonstrated that their racial responses were shaped largely by question design, often due to the lack of Hispanic origins in the race question. Many added that their responses did not reflect their racial identity as “mixed” or as “both” Latino and white, black, or Asian. Most preferred “Latino” racial categories, and when given the option in a combined race and Hispanic origin question format, they overwhelmingly marked Latino in combination with white, black, or Asian. Part-Latinos’ preference for “Latino” racial options may stem from the racialization of Latinos as nonwhite and their desire to express all aspects of their mixed heritage identity. Moreover, the contrast in racial reporting in the 2010 census and the Census Bureau’s recently proposed “race or origin” question for the 2020 census could result in different population counts and interpretations of racial statistics.

Read or purchase the article here.

Brazil, Mixture Or Massacre? Essays in the Genocide of a Black People

The Majority Press
1989
214 pages
5.5 x 0.4 x 8.5 inches
Paperback ISBN: 978-0912469263

Abdias do Nascimento (1914-2014)

Translated by Elisa Larkin Nascimento

Nascimento explodes the myth of a “racial democracy” in Brazil. The author is a major figure in Afro-Brazilian arts, politics and scholarship. He founded the Black Experimental Theatre in Rio de Janeiro in 1944 and was an elected member of the Brazilian Congress from 1982 to 1986.

Theatre Review: ‘An Octoroon’ at Woolly Mammoth Theatre Company

Maryland Theatre Guide
2016-06-05

Jennifer Minich

We need to talk about An Octoroon: a razor-sharp, thought-provoking, radical, comical blast from the past. Playwright and DC native (bonus points) Branden Jacobs-Jenkins returns to Woolly Mammoth for the DC premiere of An Octoroon, an adaption of the 1859 melodrama, The Octoroon, by Anglo-Irish playwright Dion Boucicault.

The Octoroon is set at Terrebonne, a Louisiana plantation on the brink of financial ruin. When the new owner, George Peyton (Jon Hudson Odom), takes ownership of Terrebonne, he falls in love with his uncle’s illegitimate, one-eighth black daughter, Zoe (Kathryn Tkel). When the flailing plantation goes up for auction, and Zoe along with it, violence and chaos ensue…

Read the entire review here.

Considering Brazil’s Racial Heritage

Hyperallergic
2014-12-15

Laura C. Mallonee

The 18th-century Brazilian sculptor Aleijadinho was the mixed-race son of a black slave and one of his country’s most legendary artists. In the gold-rich state of Minas Gerais, where millions lost their lives in the mines, tourists still pay to visit the immaculate baroque churches he embellished. Though leprosy took his fingers, rumor has it he continued chiseling away with tools tied to the stumps of his hands.

Aleijadinho’s enigmatic life married two contrasting subjects that have preoccupied Adriana Varejão for the past 20 years: the oft-forgotten history of Brazil’s mestizo identity, and the dramatic baroque art of the colonial period. These underpin series like Tongues and Incisions (1997–2003) and more recently Polvo (2013–2014), both which are currently featured in Adriana Varejão at the Institute of Contemporary Art in Boston — the artist’s first U.S. solo museum show.

Varejão spoke with us recently from her studio in Rio de Janeiro about her childhood in Brasilia, why she is drawn to painting meat, and how she feels about being a “Latin American artist.”

Laura C. Mallonee: Your family lived in Brasilia when you were very young, because your father was a pilot in the air force. That would have been less than a decade after the city was completed in 1960. What was it like?

Adriana Varejão: Just emptiness. No history. Very red, because the earth is red, and there was a lot of earth around because there was not much vegetation. They’d just built everything. This crazy president had decided to build a capital in the middle of nowhere. They called many people from all over Brazil to build Brasilia, so there was a huge amount of immigrants. Black people, Indian people, very mixed race. Very, very poor people. And they built these satellite cities where these people used to live. They were miserable cities. My mother used to work with child malnutrition in a hospital in one of them. I remember the kids with those huge bellies…

…LCM: How do you view yourself racially?

AV: I am as Portuguese as I am Indian as I am black. I believe in building a mestizo identity, which means to have everything together with balance. When people come to Brazil, they forget their ancestral identity. They tend to. So Brazilians become Brazilians very quick. People don’t say here, “I’m Afro-this and this.” Or, “I’m Portuguese this and this.” No, they say, “I’m Brazilian.” This is a good point about us…

Read the entire interview here.

Pat Cleveland: Early Supermodel and Author With Many Tales

The New York Times
2016-06-15

Guy Trebay, Chief Menswear Critic

The fashion model Pat Cleveland in her home studio in New Jersey. Credit Chad Batka for The New York Times

WILLINGBORO, N.J. — The peacocks were rooting around in the bushes, strutting and pecking and ruffling their trains. Occasionally, one — Boy or Big Boy, say, or Snow White — struck a pose, tipping its beak up to emit a banshee shriek.

“They’re just a bunch of drama queens, honey,” said Pat Cleveland, as she sat in the backyard of her house in a rural part of New Jersey, sipping on a sinister-looking juice drink the color and texture of algae. Drama queens, as it happens, is a topic on which Ms. Cleveland has some stories to tell.

This she does in “Walking with the Muses,” a picaresque new memoir about a tall, skinny mixed-race girl (“not black enough to be black or white enough to be white”) hailing from a section of East Harlem that she terms the Golden Edge.

In her 1950s childhood, Ms. Cleveland writes, that neighborhood was still representative of a now largely bygone city, a place where “the Jews, the blacks, the Irish and the Puerto Ricans all had a corner of their own.”…

…American fashion, in particular, during the era when Ms. Cleveland first appeared, was also more porous and racially diverse than it would be in the subsequent decades. Success in the business was measured in those days not by social media metrics but by an ability to bewitch the cognoscenti, to make yours a name they whispered about.

And seemingly Ms. Cleveland has been an object of fascination for those around her almost from the time she was born 65 years ago to a white Swedish saxophonist and an African-American artist from the South. Soon after, Ms. Cleveland’s father, Johnny Johnston, returned to Sweden, leaving her mother, Lady Bird Cleveland, to raise her freckle-faced young daughter alone.

“If you’re a single black woman and have a Swedish lover, life is never going to be easy, and Lady Bird didn’t have the opportunities in life,” Ms. Cleveland said. “But her lesson to me was always, whatever your circumstances are, it’s up to you to create your own world.”…

…At the height of her powers, that same skinny girl from Harlem was transformed into a star on the evening of Nov. 28, 1973, when she — one of 30 black models chosen to participate in a benefit runway show held at the Palace of Versailles outside Paris — took to the stage in front of 800 guests, many of them prominent or titled, and, spinning and twirling, left little doubt in the minds of observers that the immediate future of fashion belonged not to the Old World but to the New…

Read the entire article here.

Becoming Black Political Subjects: Movements and Ethno-Racial Rights in Colombia and Brazil

Princeton University Press
2016
328 pages
6 x 9
Hardcover ISBN: 9780691169385
eBook ISBN: 978140088107

Tianna S. Paschel, Assistant Professor of African American Studies
University of California, Berkeley

After decades of denying racism and underplaying cultural diversity, Latin American states began adopting transformative ethno-racial legislation in the late 1980s. In addition to symbolic recognition of indigenous peoples and black populations, governments in the region created a more pluralistic model of citizenship and made significant reforms in the areas of land, health, education, and development policy. Becoming Black Political Subjects explores this shift from color blindness to ethno-racial legislation in two of the most important cases in the region: Colombia and Brazil.

Drawing on archival and ethnographic research, Tianna Paschel shows how, over a short period, black movements and their claims went from being marginalized to become institutionalized into the law, state bureaucracies, and mainstream politics. The strategic actions of a small group of black activists—working in the context of domestic unrest and the international community’s growing interest in ethno-racial issues—successfully brought about change. Paschel also examines the consequences of these reforms, including the institutionalization of certain ideas of blackness, the reconfiguration of black movement organizations, and the unmaking of black rights in the face of reactionary movements.

Becoming Black Political Subjects offers important insights into the changing landscape of race and Latin American politics and provokes readers to adopt a more transnational and flexible understanding of social movements.

Table of Contents

• List of Organizations
• 1. Political Field Alignments
• 2. Making Mestizajes
• 3. Black Movements in Colorblind Fields
• 4. The Multicultural Alignment
• 5. The Racial Equality Alignment
• 6. Navigating the Ethno-Racial State
• 7. Unmaking Black Political Subjects
• 8. Rethinking Race, Rethinking Movements
• Methodological Appendix
• Notes
• References
• Acknowledgments
• Index

Editorial Observer; Back When Skin Color Was Destiny — Unless You Passed for White

The New York Times
2003-09-07

Brent Staples

The New Yorker was trying not to speak ill of the dead when it described Anatole Broyard as the ”famously prickly critic for the Times, a man who demanded so much from books that it seemed he could never be satisfied.” From his early reviews for The Times in the 1960’s up to his death in 1990, Mr. Broyard was often gratuitously cruel and clever at the author’s expense.

The novelist Philip Roth was one of the favored few. Mr. Broyard praised him in the column ”About Books” and seemed to see his life through Mr. Roth’s work. When Mr. Broyard was diagnosed with cancer, for example, he compared his symptoms to those of Portnoy, Mr. Roth’s fictional alter ego in ”Portnoy’s Complaint.”

The comparison made perfect sense. Mr. Roth’s great theme was his own struggle to preserve selfhood against the smothering pressures of ethnic identity. That, in a nutshell, was Mr. Broyard’s life. He was a light-skinned black man born in New Orleans in 1920 into a family whose members sometimes passed as white to work at jobs from which black people were barred. The largest private employer of black labor at the time was the Pullman Company, which sought college-educated black men to work essentially as servants on train cars that accommodated white travelers only…

Read the entire article here.

Racial identity: Henry Louis Gates Jr. and Anatole Broyard

The Globe and Mail
1999-11-23

Robert Fulford

For many years, Anatole Broyard of The New York Times was a dashing figure in literary New York, a critic of exceptional charm and wit. He was said to be one of those people who talk spontaneously in well-shaped and often funny sentences. After his death in 1990, at the age of 70, a friend remarked in an obituary, “When Anatole entered, the room would light up.”

His essays were full of engaging ideas, but it turned out that his life was even more interesting. He had a secret that even his wife wasn’t allowed to mention. As they used to say, he was “passing.”…

Read the entire article here.