Uniting Blacks in a Raceless Nation: Blackness, Afro-Cuban Culture, and Mestizaje in the Prose and Poetry of Nicolás Guillén

Posted in Books, Caribbean/Latin America, Literary/Artistic Criticism, Media Archive, Monographs on 2016-07-04 21:01Z by Steven

Uniting Blacks in a Raceless Nation: Blackness, Afro-Cuban Culture, and Mestizaje in the Prose and Poetry of Nicolás Guillén

Bucknell University Press
May 2016
274 pages
Size: 6 x 9
Hardback ISBN: 978-1-61148-758-9
eBook ISBN: 978-1-61148-759-6

Miguel Arnedo-Gómez, Senior Lecturer
Spanish and Latin American Studies Program
Victoria University of Wellington, New Zealand

The Cuban writer Nicolás Guillén has traditionally been considered a poet of mestizaje, a term that, whilst denoting racial mixture, also refers to a homogenizing nationalist discourse that proclaims the harmonious nature of Cuban identity. Yet, many aspects of Guillén’s work enhance black Cuban and Afro-Cuban identities. Miguel Arnedo-Gómez explores this paradox in Guillén’s pre-Cuban Revolution writings placing them alongside contemporaneous intellectual discourses that feigned adherence to the homogenizing ideology whilst upholding black interests. On the basis of links with these and other 1930s Cuban discourses, Arnedo-Gómez shows Guillén’s work to contain a message of black unity aimed at the black middle classes. Furthermore, against a tendency to seek a single authorial consciousness – be it mulatto or based on a North American construction of blackness – Guillén’s prose and poetry are also characterized as a struggle for a viable identity in a socio-culturally heterogeneous society.

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Living Portraits: Carl Van Vechten’s Color Photographs of African Americans, 1939-1964

Posted in Arts, Media Archive, United States on 2012-09-17 23:57Z by Steven

Living Portraits: Carl Van Vechten’s Color Photographs of African Americans, 1939-1964

Beinecke Rare Book & Manuscript Library
Yale University, New Haven, Connecticut

Carl Van Vechten (1880-1964), photographer, promotor of literary talent, and critic of dance, theater, and opera, had an artistic vision rooted in the centrality of the talented person. He cherished accomplishment, whether in music, dance, theater, fine art, literature, sport, or advocacy. He began to make photographic portraits in 1932; in 1939 he discovered newly available color film. For a quarter century, he invited friends and acquaintances, well-known artists, fledgling entertainers, and public intellectuals to sit for him, often against backdrops reminiscent of the vivid colors and patterns of a Matisse painting. Among his subjects are a very young Diahann Carroll, Billie Holiday in tears, Paul Robeson as Othello, Althea Gibson swinging a tennis racquet, and a procession of opera stars, composers, authors, musicians, activists, educators, and journalists who made notable contributions to the cultural and intellectual life of the country. Also included are brilliant color images of notable and everyday places: Fisk University in Nashville, Tennessee; the wedding of friends; pushcarts and street scenes of Harlem; children at play in a housing project’s yard.

The Collection

Color slides of Blacks.
1,884 color Kodachrome slides, 2 x 2 inches each

[Note from Steven F. Riley] Also includes photographs of: Peter Abrahams, Prince Etuka Okala Abutu, Armenta Adams, Adele Addison, Alvin Ailey, Betty Allen, Sanford Allen, Martina Arroyo, William Attaway, Ethel Ayler, Pearl Bailey, James Baldwin, Harry Belafonte, Roy Thompson Beresford, Mary McLeod Bethune, Charles Blackwell, McHenry Boatwright, Margaret Allison Bonds, Paul Bontemps, William Stanley Braithwaite, Carol Brice, Jonathan Brice, Maurice Brooks, Anne Wiggins Brown, Debria Brown, Roscoe Lee Browne, Joyce Bryant, Ralph J. Bunche, Dan Burley, Miriam Burton, John Carlis, Thelma Carpenter, Diahann Carroll, John Carter, Shirley Verrett Carter, Horace Cayton, Omar Clay, Ladybird Cleveland, Leo Coleman, Durward B. Collins, Janet Collins, Zebedee Collins, Clayton Corbin, Edna Cordoza, Eldzier Corter, Robert Curtis, Jimmy Daniels, Ossie Davis, Gloria Davy, Ruby Dee, William Demby, Beauford Delaney, Inez Dickerson, Hugh Dilworth, Mattiwilda Dobbs, Owen Dodson, W. E. B. DuBois, Todd Duncan, Roy Eaton, Bobby Evans, Martha Flowers, Benny Garland, Althea Gibson, Richard Gibson, John Birks “Dizzie” Gillespie, Shirley Graham, Reri Grist, Nicolas Guillen, Juanita Hall, Bertha “Chippie” Hill, Ramon Blancos Habana, Frank Harriott, Afrika Hayes, Marion Hayes, Roland Hayes, Chester Eugene Haynes, Godfrey Headley, Bomar Himes, Geoffrey Holder, Leo Holder, Charlotte Holloman, Nora Holt, Marilyn Horne, Langston Hughes, Phillipa Husley, Earle Hyman, Ivie Jackman, Annette Jackson, Mahalia Jackson, Raymond Jackson, Louise E. Jefferson, Charles Johnson, Hal Johnson, Hylan “Dots” Johnson, Marie Johnson, (Everett) LeRoi Jones , James Earl Jones, Laurence Clifton Jones, Ulysses Kay, William Melvin Kelly, Eartha (Mae) Kitt, George Lamming, Carmen De Lavallade, Everett Lee, Henry Lewis, Powell Lindsay, James Lowe, Robert Keith McFerrin, Claudia McNeil, Geraldyn (Gerri) Hodges Major, Claude Marchant, William Marshall, Mabel Mercer, Lizzie Miles, Arthur Mitchell, Edgar Mittelholzer, Mollie Moon, Linwood Morris, Willard Motley, Lorenzo Newby, Maidie Norman, Godfrey Nurse, Frederick O’Neal, Leonard de Paur, Louise Parker, Louis Peterson, Julius Perkins Jr., Mildred Perkins, Charles Perry, Ann Petry, Evelyn La Rue Pittman, Leontyne Price, Bertice Reading, Guy Rodgers, Percy Rodriguez, Pearl Showers, Edith Spurlock Sampson, Diana Sands, Harold Scott, George Shirley, Bobby (Robert Waltrip) Short, Merton Simpson, Noble Sissle, Clarence Smith Jr., William Gardner Smith, Rawn Spearman, Melvin Stewart, William Grant Still, Billy Strayhorn, Howard Swanson, Archie Savage, Wesley Tann, Ellen Tarry, Dorothy Taylor, Claude Thompson, Veronica Tyler, Margaret Tynes, Henry Van Dyke, Elaine Vance, William Warfield, Dorothy West, Moran Weston, Clarence Cameron White, Josh White, Lindsay H. White, Roy Wilkins, Billy Dee Williams, Camilla Williams, John Alfred Williams, Maurice Williford, Ellis Wilson, John W. Work, and Dale Wright.

To view the collection, click here.

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“Our America” That is Not One: Transnational Black Atlantic Disclosures in Nicolás Guillén and Langston Hughes

Posted in Articles, Caribbean/Latin America, Literary/Artistic Criticism, Media Archive, United States on 2012-08-26 17:12Z by Steven

“Our America” That is Not One: Transnational Black Atlantic Disclosures in Nicolás Guillén and Langston Hughes

Discourse: Journal for Theoretical Studies in Media and Culture
Volume 22, Number 3 (Fall 2000)
pages 87-113
DOI: 10.1353/dis.2000.0007

Monika Kaup, Associate Professor of English
University of Washington

In the past two decades, discontent with the exclusions operative in nationalist frameworks of American and Latin American Studies has placed issues of transnationalism, hybridization, and a diasporic view of cultures at the center of attention. As a provisional academic base for this desire to think more globally, scholars have invented a new tradition, so to speak the transnational and burgeoning field of hemispheric American Studies. Thus, the recent collection, José Martí’s “Our America”: From National to Hemispheric Cultural Studies, calls for such a change of paradigms. In their introduction, the editors single out Cuba, the birthplace of poet and revolutionary José Martí, as a fertile location for their project:

For Cuba lies at the intersection of Our America’s two principal transnational cultural formations: the geocultural system we have come to know as the Black Atlantic and the complex region of interactions among the Spanish, Native American, and English peoples (extending from the Caribbean to California) that we have come to call the Latino Borderlands. (Belnap and Fernández 11)

Cuba’s nationalism, from José Martí and Cuba’s late-19th century Wars of Independence to post-1959 formations under Castro, has always been a mestizo and mulato nationalism. One reason was that in Cuba abolition was not a consequence, but a condition of independence (Sommer, Foundational Fictions 125): in contrast to the U.S. and most of Latin America with the exception of Puerto Rico, Cuba achieved independence only in 1898, thanks to the full participation of Afro-Cubans in the anti-colonial wars against Spain, whose investment in Cuban independence was motivated by their desire for racial justice. Indeed, Cuba’s population in the modern era, “slightly over half Spanish in origin and slightly under half black or mulatto, with a small number of Chinese” (Bethell 20), suggests an encounter of the two distinct NewWorld diasporas known as the “Black Atlantic” and Martí’s Spanish-speaking “Our America” on equal terms.

While the discourse of mestizaje and racial amalgamation nourishes Cuba’s nationalism, and while the notion of cubanidad is built on the myth of racial synthesis, this symbolic reconciliation has repressed actual and continuing conflicts of race and their memory. Indeed, 20th century Cuban history, culture, and literature bear testimony to the uncanny reassertion of resistant diasporic black voices sublated into the dominant mestizaje nationalism. One major purpose of this essay is to examine the relationship between the Black Atlantic and José Martí’s “Our America” cultural formations intersecting in Cuba, as pointed out in the passage quoted above as a troubled and unstable one. Whereas “Our America” stands for the homecoming of Blacks in the interracial nationalism of Martí’s Latin America, the Black Atlantic stands for the continuing homelessness of Blacks in the Americas, and the memory of exile, displacement, and the violence of the Middle Passage

Read the entire article here.

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Measures of Equality: Social Science, Citizenship, and Race in Cuba, 1902-1940

Posted in Anthropology, Books, Caribbean/Latin America, History, Law, Media Archive, Monographs, Social Science on 2011-11-25 02:43Z by Steven

Measures of Equality: Social Science, Citizenship, and Race in Cuba, 1902-1940

University of North Carolina Press
November 2003
256 pages
6.125 x 9.25, 8 illus., notes, bibl., index
Paper ISBN  978-0-8078-5563-8

Alejandra Bronfman, Professor of History
University of British Columbia

In the years following Cuba’s independence, nationalists aimed to transcend racial categories in order to create a unified polity, yet racial and cultural heterogeneity posed continual challenges to these liberal notions of citizenship. Alejandra Bronfman traces the formation of Cuba’s multiracial legal and political order in the early Republic by exploring the responses of social scientists, such as Fernando Ortiz and Israel Castellanos, and black and mulatto activists, including Gustavo Urrutia and Nicolás Guillén, to the paradoxes of modern nationhood.

Law, science, and the social sciences—which, during this era, enjoyed growing status in Cuba as well as in many other countries—played central roles in producing knowledge and shaping social categories in postindependence Cuba. Anthropologists, criminologists, and eugenicists embarked on projects intended to employ the tools of science to rid Cuba of the last vestiges of a colonial past. Meanwhile, the legal arena created both new freedoms and new modes of repression. Black and mulatto intellectuals and activists, working to ensure that citizenship offered concrete advantages rather than empty promises, appropriated changing social scientific and legal categories and turned them to their own uses. In the midst of several decades of intermittent racial violence and expanding social and political mobilization by Cubans of African descent, debates among intellectuals and activists, state officials, and legislators transformed not only understandings of race, but also the terms of citizenship for all Cubans.

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