Mixed Race Studies

The Law Could Make You Rich

Common-Place
A Common Place, An Uncommon Voice
Extra Issue: Volume 13, Number 3.5 (June 2013)

Jared Hardesty
Department of History
Boston College

Jared Hardesty is a PhD candidate in history at Boston College and is currently writing a dissertation on slavery, freedom, and unfreedom in eighteenth-century Boston

Julie Winch, The Clamorgans: One Family’s History of Race in America. New York: Hill & Wang, 2011. 432 pp.

Governor Riggins, a leader of Boston’s nineteenth-century black community, once publicly admonished a fellow person of color, William Patterson, and took the opportunity to offer a lesson to the community at large. Patterson had purchased unlicensed liquor for some fellow African Americans, and the authorities in Boston caught him red-handed. In the midst of dressing Patterson down, Riggins expressed the hope that the “law will make you smart.” His proclamation to his fellow Afro-Bostonians—the law could be a source of empowerment for African Americans—may have been lost on Patterson, but it was a message that blacks across the United States heard loud and clear. Half a continent away in St. Louis, Missouri, the mixed-race grandsons of Jacques Clamorgan geared up to file suit and lay claim to their grandfather’s extensive lands. For them, Riggins’s message carried special resonance and an additional caveat. For the Clamorgan men, the law not only made them smart, but could also make them rich…

Read the entire review here.

Navigating Multiple Identities: Race, Gender, Culture, Nationality, and Roles ed. by Ruthellen Josselson and Michele Harway (review)

The Review of Higher Education
Volume 36, Number 4, Summer 2013
pages 565-566
DOI: 10.1353/rhe.2013.0038

Sarah Rodriguez

In their edited book, Navigating Multiple Identities: Race, Gender, Culture, Nationality, and Roles, Ruthellen Josselson and Michele Harway explore the ways in which individuals navigate across their multiple identities and achieve personal integration in the context of our increasingly complex, globalized world. Josselson, Professor of Clinical Psychology at Fielding Graduate University, along with her co-editor Michele Harway, Faculty Research Specialist in the School of Psychology at Fielding Graduate University, bring to the table extensive experience in examining human development in the areas of research and practice, particularly regarding issues of gender development and the intersection of multiple identities.

The book is intended to examine how individuals balance changes in their personal and social location, while integrating and balancing various aspects of their personal and social selves. Approaching their topic from a psychological standpoint, the authors are particularly interested in the personal psychological processes in which individuals engage in order to shift from or transition between multiple identity intersections. Although Josselson and Harway’s explicit interest is in the personal processes of identity navigation, the various authors recognize the significant impact of the social world on internal dialogues and subsequent development across multiple identities. The authors are transparent regarding their positionality on identity as a fluid, socially constructed idea that reflects the social and historical context of our world. These constructs, which were salient across all chapters of the book, serve as a way to connect the wide spectrum of explorations of development that unfold within this text.

To explore the navigation of multiple identities, this book centers on individuals who are navigating across five identity structures: (a) racial minority status and majority status, particularly as it relates to life in the United States; (b) cultures with different values of collectivism versus individualism (or other culturally related values), with examinations of both internal and external conflict; (c) gender identities, including the masculine, feminine, and transgender experiences; (d) roles, particularly as they are related to socially constructed ideas of gender; and (e) cultural expectations versus individual definitions and how those two are often pitted against each other throughout one’s identity development.

The 13 chapters of the book are organized into three loose thematic sections. The first section, consisting of Chapters 2 and 3, considers development both theoretically and phenomenologically in order to address the ways in which current theory can be utilized to understand the navigation of multiple identities. The second section of the book, Chapters 4-8, illuminates the identity navigation process through examples of several groups within the United States, particularly focusing on issues related to masculine and feminine experiences and the multiple identities of women and transgender individuals as well as the duality experienced in Japanese American identity development. Given the background of the authors in issues of gender development, I was not surprised by the heavy influence of gender that can be seen in these chapters and elsewhere within the book.

Chapters 4 and 7, particularly, are important given the growing interest in examining the intersectional nature of masculine and transgender experiences. Section 3, Chapters 9-13, considers a series of cross-cultural populations, including areas relating to Black identity, mixed identity in the context of long-term committed relationships, intersectionality of immigrant males, discourse analysis of multiple identities, and transnational development.

Overall, the text is written from a predominantly psychological approach and is intended as an introduction to multiple identities—€”perfect for graduate students studying identity development in a variety of fields. It has the potential to be used in such fields as psychology, social work, gender studies, and higher education. The authors write in an inviting, easily accessible style, and the editors have organized the material lucidly. Although it is an edited book, it remains true to the theme throughout, even though the theme of navigating multiple identities is very loose and often lends itself to diffused exploration. I appreciated the diverse nature of identities presented in this book, which included race, gender, culture, nationality, and roles. This text provided…

Tragic Mulatto Girl Wonder: The paradoxical life of Philippa Duke Schuyler

QBR The Black Book Review
February/March 1996

Lise Funderburg

Composition in Black and White: The Life of Philippa Schuyler. By Kathryn Talalay. Illustrated. 317 pp. New York: Oxford University Press. ISBN 0-19-509608-8.

As a child prodigy, pianist and composer, Philippa Duke Schuyler incited both awe and envy. Performing at the 1939 New York World’s Fair when she was just eight, she seemed to live a charmed life, full of whirlwind concert tours in distant lands, where she met politicians, artists and royals. But while she was known as a gifted and serious musician and, later, a journalist, she was also viewed as the quintessential tragic mulatto. (Her father was the conservative black journalist and satirical novelist George Schuyler; her mother, a rebellious white Southern belle who married across the color line.) She seemed trapped at times by her talents and the constraints of relentlessly watchful parents whose aspirations for her were often suffocating. She acquired a reputation both as a temptress whose greatest interest in life was men and sex and as a perpetually frightened child. When she died in 1967, at age 35, in a helicopter crash in Vietnam during a war-orphan airlift, she met with a final irony. For all her achievements and worldliness, she could not swim to save her life…

Read the entire review here.

Marriage, Melanin, and American Racialism

Reviews in American History
Volume 41, Number 2, June 2013
pages 282-291
DOI: 10.1353/rah.2013.0048

Heidi Ardizzone, Assistant Professor of American Studies
St. Louis University, St. Louis, Missouri

Adele Logan Alexander, Parallel Worlds: The Remarkable Gibbs-Hunts and the Enduring (In)significance of Melanin. Charlottesville: University of Virginia Press, 2010. 375 pages. Photographs, notes, bibliography, and index.

Fay Botham, Almighty God Created the Races: Christianity, Interracial Marriage, and American Law. Chapel Hill: University of North Carolina Press, 2009. 288 pages. Notes, bibliography, and index.

Peggy Pascoe, What Comes Naturally: Miscegenation Law and the Making of Race in America. Oxford, New York: Oxford University Press, 2008. Photographs, maps, notes, bibliography, and index.

The development of the multidisciplinary field of Mixed Race Studies over the last few decades has focused new attention on patterns of cross-racial unions and the experiences of people of mixed ancestry in the U.S. and elsewhere. Historians bring to this endeavor a rich understanding of the long history of racial mixing, documenting the tremendous variety of contexts for consensual and nonconsensual interracial sex, the diversity of cultural attitudes and policies towards such relationships, and the resulting spectrums of identity and social standing available to the children, families, and communities that resulted from these unions. While pundits and intellectuals debate the significance of the emergence of multiracial families and identities in the U.S., historians can attest that there is little new here. As George Sánchez has put it from the vantage point of Latino and Latin American history, “Welcome to the Americas!”€  The American past is full of examples of cross-cultural unions, people and communities of mixed ancestry, and marked shifts in racial and ethnic categories in response to demographic, economic, and political changes. So, too, new U.S. scholarship is providing rich contributions to ongoing debates of the meaning of race, racial identity, and racial mixing in the twentieth century and beyond.

The three scholars considered here span this latest surge in U.S. historical studies of racial mixing and mixedness. Adele Logan Alexander is a pioneer in the field. Parallel Worlds: The Remarkable Gibbs-Hunts and the Enduring (In) significance of Melanin joins her previous books in focusing on communities and families of mixed—€”primarily black and white—€”ancestry. In her latest offering, Alexander rescues to historical memory the fascinating political careers of Ida Gibbs (1862-1957) and William Henry Hunt (1863-1951), whose activist and diplomatic work, respectively, brought them into close, if sometimes ambivalent, connection with African American and Pan-African communities in the late nineteenth through the early twentieth century. Like Alexander’s earlier works, Parallel Worlds spans multiple methodologies, this time offering a rich entre into an international world of shifting racial identities and political loyalties. Faye Botham’s Almighty God Created the Races: Christianity, Interracial Marriage, and American Law, on the other hand, is her first academic book, reworking a religious studies dissertation. Botham identifies a large and significant gap in historians’€™ collective approach to interracial marriage and its accompanying concerns with racial identity and categorization; social constructions of gender, race, and sexuality; and civil rights. Her work models a new direction of inquiry into the role of religious ideology and influence on what Peggy Pascoe calls miscegenation law, particularly the distinctive Catholic doctrine on marriage as a sacrament. In turn, Pascoe’€™s research for her recent publication spans this new age of historical scholarship. Begun in the early 1990s with a few pieces published as articles, the long-awaited and much celebrated What Comes Naturally: Miscegenation Law and the Making of Race in America is a multilayered cultural, social, and legal history of post-Civil War legal prohibitions against interracial marriages and the enduring significance of the laws.

The books by Botham and Pascoe share an interest in legal and cultural sanctions against interracial marriage, but each author comes to the subject from vastly different training and experience. (Pascoe was a member of Botham’s dissertation committee, and that difference in academic maturity is evident in their works as well.) Botham’€™s analysis of the impact of American Catholic and Protestant theology on race and interracial marriage is strongest in her treatment of the Perez v. Lippold case (better known as Perez v. Sharp), which ultimately overturned California’s anti-intermarriage laws. Botham is especially interested in the longer history of Catholic influence on both Perez and the later Loving v. Virginia case, which respectively offer evidence of American Catholics’€™ support for and opposition to interracial marriage. The prominence of Catholics in bringing and opposing these legal challenges to laws against interracial marriage is most central to her analysis. But she returns to a focused treatment of the Perez case several…

Becoming Indian: The Struggle over Cherokee Identity in the Twenty-First Century by Circe Sturm (review)

The American Indian Quarterly
Volume 37, Numbers 1-2, Winter/Spring 2013
pages 269-272
DOI: 10.1353/aiq.2013.0006

Miguel A. Maymí

Circe Sturm’s book Becoming Indian: The Struggle over Cherokee Identity in the Twenty-First Century is an insightful view into the motivations of those who began identifying as Cherokee on the US census in recent years. There has been an explosion in the number of Americans now self-identifying as Native American (an increase of 647 percent from 1960 to 2000), an overwhelming majority of whom identify specifically as Cherokee. Circe Sturm, herself a Mississippi Choctaw descendant, set out to discover who these “racial shifters” were and why they had suddenly decided to become Indian. She also set out to discover what the politics and sentiments citizen Cherokees held for those “racial shifters.”

Sturm’s analysis is very ambitious. She sets out to answer a great deal of questions that vary from social, economic, and political implications of racial shifting for both those making the shift and citizen Cherokees, as well as theoretical and analytical practices and understandings in the field sites. However, the overriding question she asks is, Why are so many people shifting from simply claiming family ties to identifying as a more explicitly Native American ethnicity (8)? She strives to uncover the underlying motivations surrounding these decisions and considers whether they are mostly part of an attempt to reap the perceived financial and institutional benefits or whether there is an emotional reason behind the shift.

From the outset of the book, Sturm makes a clear dichotomy, which she puts in constant conversation throughout the work: the essentially “authentic” citizen Cherokee and the racial shifters. Citizen Cherokees are those who have legal, federal recognition as being Cherokee, whereas racial shifters are “individuals who have changed their self-identification on the U.S. census from non-Indian to Indian in recent years” (5). Sturm also delves into the discussion of white privilege as an essential differentiator between race shifters and those who were born Cherokee, the establishment of Cherokee neotribal sects and the perceived threats to the federally recognized tribes they impose, and the greater implications of a country whose citizens are increasingly abandoning their white identity in preference for a less privileged and more discriminated Indian race.

Sturm’s book is derived from primarily three sources. First, she conducted both formal and informal research with the three nationally recognized tribes: the Cherokee Nation, the Eastern Band of Cherokee Indians, and United Keetoowah band of Cherokee Indians. Second, Sturm’s data are based on a survey she mailed out to leaders of prominent self-identified and state-recognized Cherokee groups; she received only a limited number in return from primarily retired and older members. Finally, much of Sturm’s information comes from interviews with racial shifters conducted by her research assistant, Jessica Walker Blanchard, who was sent to Alabama, Arkansas, Texas, and Oklahoma to conduct interviews with racial shifters. That Dr. Sturm is three times removed (and her reader four times) from the interviews with racial shifters attained by her assistant is inherently fraught and problematic (I will discuss this issue below).

Becoming Indian is divided into two parts, split down Strum’s dichotomous line of the race shifter and the citizen Cherokee. Part 1 is an analysis of the motivations and undercurrents of the migration of racial shifter identity. The first chapter of part 1 (chapter 2) explores the stories that commonly mark the impetus for change for many racial shifters. She states that from the interviews we can see that “race shifting is always a narrative act,” that in the stories racial shifters tell we can see the changing of self. Sturm identifies a common thread in the narratives, that of hiding, passing, and persecution. She ends the chapter by discussing the apparent need for racial essentialism, which plays out in these stories through the trope of Indian blood. Chapter 3 analyzes the inescapable whiteness that is inherent in racial shifters. That white privilege enables them to choose their ethnicity and thus is part of their identity. She nevertheless discusses how many racial shifters consciously attempt to completely…

Prodigy and Prejudice

The New York Times
1995-12-10

Phyllis Rose

Composition in Black and White: The Life of Philippa Schuyler. By Kathryn Talalay. Illustrated. 317 pp. New York: Oxford University Press

This enthralling, heartbreaking book restores to attention Philippa Schuyler, child prodigy of the 1930′s, pianist, composer, Harlem’s Mozart, “the Shirley Temple of American Negroes.” Her father was George Schuyler, a well-known black journalist. Her mother was Josephine Cogdell Schuyler, the white daughter of a Texas rancher. Insisting that her daughter was the normal product of “hybrid vigor” and good nutrition, Jody Schuyler dedicated her to the cause of integration: Philippa’s brilliance would break down racial barriers in America. Instead, as Kathryn Talalay tells this important story, racial barriers and a manipulative, demanding mother broke Philippa.

Based on fascinating family papers in New York’s Schomburg Center for Research in Black Culture, “Composition in Black and White: The Life of Philippa Schuyler” begins by plunging us into a 1920′s world of race enthusiasm: “Nordics” go to Harlem for the night life and white girls date black men to rattle their families and prove to themselves they have interesting lives. Josephine Cogdell arrived in New York in 1927, wanting to write. She had contributed pieces to The Messenger, a left-wing black publication whose editor was George Schuyler. They met and were immediately attracted to each other.

A fanatic diarist, Jody even described their first kiss, revealing (or boasting) that she found George’s lips “softer and more sensuous than white lips.” Her primitivist ideas — the flip side of racism—glorified everything African and saw salvation in miscegenation. She encouraged herself to marry Schuyler with the thought that “the white race . . . is spiritually depleted and America must mate with the Negro to save herself.”…

…From the age of 8, Philippa concertized constantly, a darling of both the black and the white press, a role model in black communities throughout America. Her visibility was achieved through George’s press connections and Jody’s tireless management. At 15, she soloed with the New York Philharmonic at Lewisohn Stadium before an audience of 12,000, in a program that included one of her own compositions. (A symphony she wrote at 13 was, Virgil Thomson said, as interesting as the symphonies Mozart wrote at that age.)

But some thought her playing had been undermined by her relentless performance schedule, and the older she got the more it seems emotional turmoil prevented her from being a great artist. She made the transition from child prodigy to concert pianist, but by her mid-teens, whether because of her own inadequacies or racial barriers or both, she had gone as far as she would go as a performer in America—she was a success with black audiences, but of limited appeal to whites…

Read the entire review here.

Imperfect Unions: Staging Miscegenation in U.S. Drama and Fiction by Diana Rebekkah Paulin (review)

Theatre Journal
Volume 65, Number 2, May 2013
pages 304-306
DOI: 10.1353/tj.2013.0048

Martine Kei Green-Rogers, Post Doctorate Fellow
University of Utah

Imperfect Unions: Staging Miscegenation in U.S. Drama and Fiction by Diana Paulin is a multidisciplinary examination of how fictionalized versions of miscegenation both obfuscated and unmasked aspects of the complex black/white binary that shaped racial histories in the United States during the nineteenth and twentieth centuries. By combining literary and historical approaches from the fields of theatre, performance studies, race and ethnic studies, American studies, and trans-hemispheric studies to works that were disseminated through the popular press and performance, Paulin illustrates the epistemological influence that stories of miscegenation had on the term “race” and the white versus black paradigm that created a racial divide in the United States.

Using a comparative approach, Paulin typically pairs a work of fiction with a drama in each chapter, organizing her materials chronologically. Thus, for example, the first chapter, “Under the Covers of Forbidden Desire: Interracial Unions as Surrogates,” examines Dion Boucicault’s The Octoroon (1859) alongside Louisa May Alcott’s “M.L.” and “My Contraband” (1863). Paulin begins with Boucicault’s play, she explains, because it offers “a representative sample of the common tropes and themes used in narratives about interracial unions: forbidden love, the tragic death of the mulatta, and the simultaneous appeal and repulsion of black blood” (5). Both The Octoroon and Alcott’s stories served as historical and sociological precedents, voicing the idea that children of miscegenistic unions would always lead tragic lives that often ended in violence—either self-inflicted, due to the emotional burden of their mixed-race heritage in a society defined by a racial binary, or at the hands of others, given the threat they posed to the black versus white paradigm. Paulin argues that although these “multivalent figures” call into question the logic of the binary paradigm, ultimately their tragic fates reinforce the dominant values of the larger historical and social context in which these characters were created (9).

Chapter 2, “Clear Definitions for an Anxious World: Late Nineteenth-Century Surrogacy,” discusses Bartley Campbell’s play The White Slave (1882) and William Dean Howells’s novel Imperative Duty (1892). Here, Paulin analyzes these two works in relation to the Chicago World’s Fair of 1893, finding that both literature and culture “marginalized blackness and glorified the past greatness of white society” (57). While Boucicault’s and Alcott’s works insinuate “democratic ideas” into their treatment of the tragic mulatta, Campbell’s play and Howells’s novel portray “unclassifiable person[s]” as objects of fear (61). Paulin explains that, in their works, such figures exceed the clearly defined boundaries of racial division and thus tap a growing fear that freed slaves would likewise exceed the boundaries of social divisions. She adds that this fear was especially trained on “intimate social spaces previously reserved for bourgeois whites, such as their parlors and bedrooms” (59). Paulin’s argument is intriguing because Campbell’s “unclassifiable” character is of European heritage (which is racially defined as “Other”) and of illegitimate birth, and within the world of the novel she is passed off as the daughter of an “octoroon.” As such an example illustrates, the fluidity of racial categories could be used paradoxically to reinforce societal structures that depended on a definitive line between “white” and everything else.

Chapter 3, “Staging the Unspoken Terror,” juxtaposes Charles Chesnutt’s novel The Marrow of Tradition (1901) with Thomas Dixon’s play The Clansman (1905), which the author adapted from his novel of the same name and which became the basis of D. W. Griffith’s 1915 film The Birth of a Nation. Although these works espouse drastically different views—€”Dixon’s play seeks the “reestablishment of white domination,” while Chesnutt’s novel critiques the “corruption and hypocrisy of southern white-supremacist ‘tradition’ and government” (106)— Paulin notes that both rely upon the assumption that women are responsible for maintaining racial purity. Both also address racial violence: if, in Dixon, it can be stopped if the threat of miscegenation is eradicated, in Chesnutt it is an inevitable consequence of white power.

Chapter 4, “The Remix: Afro-Indian Intimacies,” addresses an often ignored topic in the discourse of miscegenation because it exists outside of the black/white binary: the legal…

Passing Strange: Shakespeare, Race, and Contemporary America by Ayanna Thompson (Klett review)

Theatre Journal
Volume 65, Number 2, May 2013
pages 303-304
DOI: 10.1353/tj.2013.0043

Elizabeth Klett, Assistant Professor of Literature
University of Houston, Clear Lake

Ayanna Thompson’s exciting book analyzes a wide variety of sites for performing, interrogating, and dismantling Shakespeare and race in contemporary American popular culture. Arguing that “Shakespeare’s American cultural value and legacy cannot be weighed through performances in traditional venues only” (7), Thompson extends her purview beyond expected forms (such as professional theatre productions and literary and film adaptations) to include nontraditional modes of performance (such as YouTube videos and prison and youth-oriented productions). The book as a whole provides a fascinating and multilayered appraisal of the uses (and misuses) of race in American appropriations of Shakespeare and his plays.

One of the most notable aspects of Thompson’s book is her ability to work with conflicting statements and oppositional ideas, which she often presents, at least initially, as epigraphs to her chapters. For example, she tackles the debate over so-called color-blind casting by foregrounding the very different views of August Wilson and Robert Brustein. Similarly, the book revisits the eternal tensions between universalizing and historically particularist interpretations of Shakespeare, suggesting that Shakespeare is both freeing and something from which one must be freed. Thompson does not attempt to resolve these kinds of contradictions and instabilities; instead, she revels in them, exploring what they reveal about contemporary American culture and its preoccupations with Shakespeare and race. She does take sides, however; as her first chapter warns, the book is occasionally polemical, “because this is a project that requires action and not just passive reflection” (14). Her main goal is “to bring contemporary race studies and contemporary Shakespeare studies into an honest and sustained dialogue,” contending that many performances, citations, and analyses of Shakespeare ignore or elide racial issues (3).

The second and third chapters focus on two films and a young adult novel that engage with Shakespeare and race in varied ways. Thompson’s analysis of each is intriguing and made me want to watch the films and read the novel for myself. In Suture (1993), a film noir about two brothers, one white and one black, Thompson finds a vexed “desire for colorblindness in contemporary American life” (27); although the film strategically ignores the racial differences between them, it also exposes the seam of the racial divide in a culture that elevates stereotypically white standards of beauty. Her argument is fascinating, but the connection to Shakespeare (cited several times in the film) feels somewhat tenuous. Her analysis of Bringing Down the House (2003), a studio vehicle for Steve Martin and Queen Latifah, however, is brilliant. Unpacking the meanings implicit in the character of “William Shakespeare,” a dog owned by a rich conservative, played by Joan Plowright, Thompson concludes that in this satirical film, “Shakespeare represents the epitome of Western culture because he represents the exclusivity of white culture” (37). Targeting both bardolatry and the false universality of whiteness, this big-budget film thus reveals larger ideas circulating in American culture about the meanings of Shakespeare and race and justifies Thompson’s choice of popular materials for her analysis. She goes on to place a more obscure source, the 1992 novel Black Swan by Farrukh Dhondy, in the context of other writers (such as Maya Angelou) who have imagined a black Shakespeare. While she argues that the novel “asks the reader to interrogate if/how the identity and race of Shakespeare impact one’s understanding of the plays,” she also notes that reviewers of the novel tend to whitewash the main characters’ racial identities (55).

Thompson’s fourth chapter is one of the strongest, offering an intelligent discussion and analysis of cross-racial casting. In it, she analyzes the rhetoric employed by classical theatre companies, such as the Oregon Shakespeare Festival (OSF), to describe their approach to race and casting practices, revealing how these companies attempt to yoke Shakespearean universality and multiculturalism together to create “relevant” performances (73). Thompson does not find the results wholly satisfactory, even at well-intentioned companies like OSF. Her “holistic” approach to multicultural casting would incorporate “diversity initiatives” at every level of production to ensure…

Casta Paintings: Images of Race in Eighteenth-Century Mexico by Ilona Katzew; Imagining Identity in New Spain: Race, Lineage, and the Colonial Body in Portraiture and Casta Paintings by Magali M. Carrera

The Art Bulletin
Volume 88, Number 1 (March, 2006)
pages 185-189

Thomas B.F. Cummins, Dumbarton Oaks Professor of Pre-Columbian and Colonial Art
Harvard University

Ilona Katzew, Casta Paintings: Images of Race in Eighteenth-Century Mexico, New Haven: Yale University Press, 2004. 256 pp.; 127 color ills., 143 b/w.

Magali M. Carrera, Imagining Identity in New Spain: Race, Lineage, and the Colonial Body in Portraiture and Casta Paintings, Austin: University of Texas Press, 2003. 188 pp.; 12 color ills., 60 b/w.

In eighteenth-century New Spain (Mexico), a genre of painting appeared, the likes of which had never been seen before. Called casta paintings in English, this new genre took as its subject the colonial issue of race (raza), racial intermarriage, and their offspring. Almost always painted in a series of approximately sixteen canvases, they depict a mother, father, and child, each of whom represents a different category within the sistema de castas, or racial lineages. For example, the first painting in the series normally represents a Spaniard, an Indian, and their child, a mestizo. These remarkable paintings have become increasingly the subject of studies and exhibitions in the last twenty years. (1) These recent books by Ilona Katzew and Magali M. Carrera add greatly to our knowledge about this unique and fascinating genre, and they demonstrate at the same time the growth of the field of Latin American colonial art history in the United States. More important, their work demonstrates that scholars in the United States are no longer interested only in the art and architecture of the sixteenth century, an area first plowed by George Kubler (to use his metaphor), Harold We they, and George MacAndrew in the United States and by a much larger contingent of scholars from Mexico, Argentina, Peru, Ecuador, and Spain. New and careful studies in the United States by such scholars as Jaime Lara, Jeanette Peterson, Elizabeth Boone, and Barbara Mundy concerning the sixteenth century have been published. New and important work also is being published in Peru, Argentina, Ecuador, Colombia, and Mexico, and a list would be too long to mention the outstanding research that has enlivened the sixteenth-century colonial art studies in the past twenty years. It is, in fact, now possible to teach an early Spanish colonial art history course using a wide range of material published in English. But now, as this area matures, some art historians throughout the Americas are looking to the seventeenth and eighteenth centuries as fertile fields of inquiry, and not only in areas of religious art–although the production of religious art certainly predominates in all colonial periods–but also in the study of secular works such as maps, textiles, silver-work, portraits, and casta paintings.

The two books by Carrera and Katzew are additions to this growing area. While their almost simultaneous publication on the same eighteenth-century genre may seem imbalanced in light of how much other work remains to be done in the field of eighteenth-century Mexican art and architecture, their efforts might be best understood as a consequence of the tremendous attraction exerted by casta paintings. Beyond their aspect as visually arresting paintings, these works, unlike any other genre of painting in Western art, deal directly and concretely with the visualization of racial categories within the colonial context of a broad racial discourse. As such, casta paintings resonate in various ways with modern sensibilities about race; it should be no surprise that the recent exhibition of casta paintings curated at the Los Angeles County Museum of Art by Ilona Katzew drew a very large, enthusiastic, and diverse public. In fact, any American viewer of today–and by American I mean anyone in the Americas–who looks at these paintings must come face-to-face with the roots of racialized America. Casta paintings, as both Katzew and Carrera point out, constitute a pivotal part of the formation of racial categories and how they are registered in Mexico. The paintings visually order the interracial marriages of New Spain, beginning with a marriage between a Spaniard (Espanol) and an Indian (Indios); a Spaniard and a Negro (Negros); a Negro and an Indian. These marriages are compounded in racial diversity by the marriages of their children (mestizos, mulattoes, and so on). The progression has infinite possibilities in terms of the degree of mixture. However, casta paintings are organized in a predetermined sequence, often numbered from one to sixteen, so that the order cannot be altered. It therefore composes a closed series in which is found a bewildering and ultimately fictitious set of categories for the descending categories of racial mixing. For example, from the marriage between an Espanol (Spaniard) and torna atras (literally, return backward, who is the offspring of the marriage of a Spaniard and albino) is born a tenete en el aire (hold-yourself-in-midair). This immediately poses the question: What racial category is an albino in the system of castas in Mexico? To arrive at the category of albino in the casta series there must first be a marriage between a Spaniard and a mulata, the child of whom is called a morisco. The morisco in turn must marry a Spaniard, whose child is termed an albino. Of course, in reality, not all moriscos and Spaniards have albino children and not all albino children are born to morisco and Spanish parents. The system of castas is not, however, about such logic. Casta paintings as a series present a clear causal progression that includes the albino as a predicable and known casta. Neither author ever thoroughly addresses this category in terms of the casta series, although Katzew offers an interesting discussion of the albino as described by two Spanish authors in relation to “whiteness and blackness” (pp. 47-48)…

Read the entire review of both books here.

LAAPFF 2013: Mix-cultural Asians Find Their Roots

8Asians
2013-05-20

Shako Liu

One common theme that has been echoing in some of the documentaries presented in Los Angeles Asian Pacific Film Festival is that mix-raced Asians either in the states or in an Asian country, or Asian immigrants are trying to find out who they are and what country they represent. The identity searching is a ever-green theme in the Asian American community which has 60 percent first-generation immigrants and the largest percentage of interracial marriage.

In the documentary Hafu, it explored the life of mix-raced Japanese in Japan. The film showed that about 2 million foreigners were living in Japan in 2010, constituting around 30,000 international marriages. Children from these marriages are called Hafu, a Japanese word evolved from the English word “half,” indicating half Japanese and half foreigner.

Japan strictly upholds the ideology of “one nation, one culture, one race.” It outcasts the mix-raced Japanese, who grew up there and speak the language perfectly. The film has profiled different mix-raced Japanese from all kinds of racial combination, background, age and both genders. It provides a deep and well-rounded view about the struggle they have and the questions they raise about their country and themselves. All of their stories are revolving around one question–“Who am I?”…

Read the entire article here.