Mixed Race Studies

Pelo Malo (Bad Hair)

Sudaca Films
2013
Venezuela
93 minutes
color

Written and Directed by Mariana Rondón
Produced by Marité Ugás

Starring

Samuel Lange as Junior
Samantha Castillo as Marta

Junior is nine years old and has “bad hair.” He wants to have it straightened for his yearbook picture, like a fashionable pop singer. This puts him at odds with his mother Marta. The more Junior tries to look sharp and make his mother love him, the more she rejects him, until he is cornered, face to face with a painful decision.

Director’s Note

Bad Hair is the intimate story of a nine-year old child’s initiation to life and his difficult journey marked by intolerance.

One of the first images that came to me for this movie was a large multi-family building and the thousands of stories that take place behind those walls: heat, nudity, precariousness, fragility, sensuality, sex, violence, family, mother, child. The little, intimate stories I imagined grew more complex and so my characters were born.

They are helpless characters. Wounded and hurtful adults, and children who are learning how to hurt. Marta, the mother, focused on survival, teaches her son Junior to survive just like her, without resources, without freedom. But Junior is different, he fights with everything he’s got for his desire: to straighten his hair and to dress as a singer for a picture he wants to give his mother: a picture that would show him as he wishes to be seen.

Caracas is also hostile to them, a city of urban, political and family violence. Dreams encapsulated in multi-family buildings- the result of Le Corbusier’s “Utopian city” project in the 50s—now turned into massive vertical hells.

I want to talk about intolerance in a social context that is riddled with dogmas, which don’t embrace otherness, where public affairs extend to the private life of its’ inhabitants, highlighting their differences, be they social, political or sexual.

For more information, click here.

Trans-American Modernisms: Racial Passing, Travel Writing, and Cultural Fantasies of Latin America

University of Southern California
August 2009
311 pages

Ruth Blandón

Dissertation Presented to the FACULTY OF THE GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (ENGLISH)

In my historical examination of the literary works of Nella Larsen, William Carlos Williams, Langston Hughes, James Weldon Johnson, Jessie Redmon Fauset, and Carl Van Vechten, I investigate U.S. modernists’ interest in Latin America and their attempts to establish trans-American connections. As they engage with and write about countries such as Brazil, Puerto Rico, the Dominican Republic, Cuba, Costa Rica, and Venezuela as utopian spaces, these writers often tend to relegate Latin America to the status of a useful trope, one that allows them to negotiate a variety of identitarian and sexual anxieties.

The domestic political landscape that informs the desire for migration to the Latin Americas—whether real or fantastical—in the early twentieth century leads to Johnson’s depiction of the savvy and ambitious titular character in his first and only novel, Autobiography of an Ex-Coloured Man, to Van Vechten’s, Larsen’s, and Fauset’s fantastical Brazil in their respective Nigger Heaven, Passing, and Plum Bun. Hughes’s translation of Cuban poet Nicolás Guillén’s poetry illustrates his straddling of national and color lines through the translation of language. These writers react to Jim Crow laws, one-drop rules, and color lines in their connections to and fantasies of the Latin Americas. What then of writers who make similar trans-American connections and constructions, but who write from a space of relative privilege, however resistant they are to that privilege? Consider William Carlos Williams, who negotiates the pressures of assimilation in the United States as he attempts to assert his Afro Puerto Rican and Anglo Dominican heritages. Although Williams is commonly recalled as an “all-American” poet, his works betray his constant attempts to harness three perpetually shifting and overlapping identities: that of a son of immigrants, of a first generation “American,” and of a son of the Americas.

The trans-American connections I reveal span the fantastical to the truly cross-cultural. In placing United States modernism and the Harlem Renaissance within a larger hemispheric context, I shift our sense of U.S. modernism in general, but also of the Harlem Renaissance’s place within U.S. modernism in particular.

Table of Contents

• Dedication
• Acknowledgments
• List of Figures
• Abstract
• Introduction
• Chapter One:
  • Reading, Misreading, and Language Passing in James Weldon Johnson’s The Autobiography of an Ex-Coloured Man and Along This Way
  • Blackness under the law
  • James Weldon Johnson’s Along This Way
  • The Autobiography of an Ex-Coloured Man
  • Conclusion
• Chapter Two:
  • Brazilian Schemes and Utopian Dreams in Nella Larsen’s Passing, Jessie Redmon Fauset’s Plum Bun, and Carl Van Vechten’s Nigger Heaven
  • Historical Context
  • From Liberia to Brazil—A Change of Venue
  • Carl Van Vechten’s Nigger Heaven
  • Jessie Fauset’s Plum Bun, “Home,” and Brazil
  • Larsen’s Passing and Brazil as Utopia/Dystopia
  • Conclusion: Utopia vs. Brazilian Reality
• Chapter Three:
  • All-American Me: William Carlos Williams’s Construction and Deconstruction of the Self
  • Cultural Context—Casta and Passing
  • Blurring Cultural Boundaries: “Only the whites of my eyes were affected.”
  • The Specter of Blackness: “I had visions of being lynched…”
  • In The American Grain: “I am—the brutal thing itself.”
  • Translation: “El que no a vista Sevilla, […] no a vista maravilla!”
  • Conclusion: “I’ll keep my way in spite of all.”
• Chapter Four:
  • “Look Homeward Angel Now”: Travel, Translation, and Langston Hughes’s Quest for Home
  • Langston Hughes in Mexico and Cuba—1907-1948: Mexico
  • Cuba
  • Langston Hughes and Nicolás Guillén in Spain
  • Translation, Analogy, and the “I”
  • Of Poetry, Jazz, Son, and Rumba
  • The Translations
  • Conclusion: Translating, Travel, and “Home”
• Bibliography

List of Figures

• Figure 1: James Weldon Johnson, photographed by Carl Van Vechten in 1932.
• Figure 2: “Les Demoiselles d’Avignon.” Pablo Picasso, 1907.
• Figure 3: “Noire et Blanche.” Man Ray, 1926.
• Figure 4: “Blues.” Archibald Motley, 1929.
• Figure 5: “An Idyll of the Deep South.” Aaron Douglas, 1934.
• Figure 6: Bessie Smith, photographed by Carl Van Vechten, 1936.
• Figure 7: Billie Holiday, photographed by Carl Van Vechten, 1949.
• Figure 8: The Williams Family
• Figure 9: “De Español y Mulata; Morisca.” [“From Spaniard and Mulatto, Morisca.”] Miguel Cabrera, 1763.
• Figure 10: “De Mestizo y d India; Coyote.”[“From Mestizo and Indian, Coyote.”] Miguel Cabrera, 1763.
• Figure 11: William Carlos Williams, circa 1903.
• Figure 12: Elena Hoheb Williams
• Figure 13: Langston Hughes
• Figure 14: Diego Rivera with Frida Kahlo, photographed by Carl Van Vechten, 1932.
• Figure 15: Nicolás Guillén

Read the entire dissertation here.

Gender Differences in Ancestral Contribution and Admixture in Venezuelan Populations

Human Biology
Volume 83, Number 3 (June 2011)
pages 345-361
E-ISSN: 1534-6617 Print ISSN: 0018-7143

D. Castro De Guerra
Instituto Venezolano de Investigaciones Científicas

C. Figuera Perez
Instituto Venezolano de Investigaciones Científicas

M. H. Izaguirre
Instituto Venezolano de Investigaciones Científicas

E. Arroyo Barahona
Universidad Central de Venezuela

A. Rodriguez Larralde
Instituto Venezolano de Investigaciones Científicas

M. Vivenes De Lugo
Universidad de Oriente

The origin of the contribution of uniparental heritage were analyzed in 615 samples of individuals proceeding from 13 towns classified according to historic differences in their emergence and development as African-derived, European-derived, and admixed/urban. Mitochondrial and Y-chromosome haplogroups were identified by PCR-restriction fragment length polymorphism. The results were compared with previous estimates of admixture made with autosomal markers and with historic aspects. The results show a predominantly indigenous genetic contribution through the female, being more prevalent in urban populations; the African contribution, although dispersed, presents a larger concentration in the African-derived towns, whereas the European contribution is limited to populations with this origin, reflecting isolation and the conservation of the distribution pattern of genes of the Colonial era. With regard to admixture through males, it is almost exclusively of European origin, whereas the African contribution is basically concentrated in the African-derived towns, and the Amerindian lineages are almost nonexistent. The genome of paternal heredity, as opposed to the autosomal and the mitochondrial, shows a homogeneous pattern of admixture that is independent of the origin of the population studied, suggesting that European genes have been introduced into the Venezuelan population through male immigrations, whereas the indigenous contribution has been preserved in the Venezuelan genetic pool through the women. These results provide evidence of the heterogeneity in the genetic origin of the Venezuelan population, which should be taken into account in forensic and epidemiologic genetic studies.

Read or purchase the article here.

Negotiating Honor: Women and Slavery in Caracas, 1750-1854

University of New Mexico, Albuquerque
May 2011
214 pages

Sue E. Taylor

A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in History

This study examines three interrelated groups—female slaves, female slave owners, and free women of African heritage—living in the city and state of Caracas, Venezuela from the middle of the eighteenth through the middle of the nineteenth centuries in order to improve our historical understanding of gender and slavery. Venezuela represented the largest and longest lasting slave-owning regime in Spanish South America. Slavery, as a system of labor, was an integral part of colonial Venezuelan society and affected all segments of the populace. Understanding gender relations within slavery is crucial to understanding the dynamics of gender, power, race, and sexuality in the society as a whole. Women of Spanish, African, and mixed descent were involved in and affected by slavery.

Each group of women had a concept of what honor meant for them and each sought to preserve honor by demanding fair and humane treatment, to be treated with respect and dignity, and to protect their reputations. They also expected those people who had control over them to behave with honor. Sometimes honor, as seen in the cases and as demanded by slave and free black women, corresponded to traditional concepts of honor as birthright as defined by elite members of society and other times not. In other examples, women of color used honor along the lines of Stewart’s concept of honor as the entitlement of treatment as a worthwhile person. By looking beyond honor as birthright, the women in my study also invoked honor in their expectation that they be treated with dignity and respect and be able to preserve their reputations in society and with their peers. Slave owners, on the other hand, were sensitive to accusations of being overly harsh in their treatment of their human possessions. Their good reputation required both paternalism and firm control. Slave litigants tested the boundaries of appropriate coercion and restraint in their suits against abusive or unreasonable slave owners. They also showed a sophisticated understanding of legal codes and institutions.

Table of Contents

• List of Tables
• Introduction
  • Honor, women, and slavery
  • Historiography
  • Literature on gender and slave women
  • Literature on Honor
  • Honor in Latin America
  • Methodology and Sources
  • Organization of Chapters
• Part I: Redefining Honor
  • Chapter 2: Mistreatment as an indicator of dishonor
    • Protecting honor through the court
    • Conclusion
  • Chapter 3: Redefining Sexual Honor: Broken Promises and Respectable Work
    • Broken Promises
    • Respectable Work and Honor
    • Conclusion
• Part II: The slave family
  • Chapter 4: Slave and free black families as seen through Church documentation
    • The Parish of San Pablo
    • Marriage
    • Baptisms
    • Matriculas
  • Chapter 5: Preserving the Family
    • Children and Childhood
    • Enslaved Children: Achieving Freedom
    • The death of an owner
    • Marriage and Honor
    • Families and use of the law
• Part III: Slavery, freedom, and emancipation in the post-independence Liberal State
  • Chapter 6: Slavery and Independence
    • Venezuela moves toward revolution
    • The Junta de Secuestros
    • Revolution, slaves, and free blacks
    • Slavery in the republic of Venezuela
    • Freedom in the post-independence state
    • Conclusion
  • Chapter 7: Conclusion
• Bibliography

List of Tables

• Table 1: Slave and Free Black Marriages, San Pablo Parish
• Table 2: Slave Marriages
• Table 3: Free Black and slave/manumiso baptisms by year
• Table 4: Slave and Manumiso Baptisms
• Table 5: Slave and manumiso baptisms 1752-1852 by gender and status
• Table 6: Godparents
• Table 7: Heads of Household by race & marital status
• Table 8: Single heads of household
• Table 9: Slave Ownership
• Table 10: Slave Distribution
• Table 11: Slave Statistics
• Table 12: Overview of San Pablo Parish

Chapter 1: Introduction

Venezuela represented the largest and longest lasting slave-owning regime in Spanish South America. Slavery, as a system of labor, was an integral part of colonial Venezuelan society and affected all segments of the populace. Understanding gender relations within slavery is crucial to understanding the dynamics of gender, power, race, and sexuality in the society as a whole. Women of Spanish, African, and mixed descent were involved in and affected by slavery.

My study examines three interrelated groups—female slaves, female slave owners, and free women of African heritage—living in the city and state of Caracas, Venezuela from the middle of the eighteenth through the middle of the nineteenth centuries in order to improve our historical understanding of gender and slavery. This study aids in our understanding of gender and power relations within late colonial Venezuela and beyond, and will contribute to our knowledge of slavery in Latin America more broadly. The intersection of power, gender, race, and sexuality is especially important to this study. By power, I mean the socially sanctioned coercion of one category of person over another that permitted domination of masters over slaves, men over women, etc. Gender refers to socially constructed assumptions regarding behaviors, values, and societal roles assigned to men and women; it serves as a lens through which we can study the experiences and actions of historical actors. How power was mediated between masters and slaves and men and women, including female slave owners is a central concern of this study…

…Winthrop Wright’s monograph on race and class in Venezuela studies the changes in racial attitudes from the colonial period through the first half of the twentieth-century. Wright argues that the cash crop economy and resultant labor arrangements determined the nature of Venezuela’s colonial two-tiered society. The nature of colonial society in Venezuela—relatively under-populated, rural, at the fringe of the empire, with a majority of the population of African descent – mandated racial mixing, according to Wright. However, because miscegenation did not break down the barriers between the elite and the lower classes, race became a “systemic factor in the division of colonial society into distinct castes.” This colonial order persisted until black and mixed race troops were included in the independence movement.

A useful gender study that transcends race and class boundaries is Verena Stolcke’s (Martinez-Alier) 1974 monograph, Marriage, Class and Colour in Nineteenth-Century Cuba. She uses marriage, specifically deviations from the norm, as a lens to assess nineteenth-century Cuban society. Stolcke examines cases of parents opposed to their child’s marriage, cases of elopement, and instances of interracial marriage, arguing that these deviations not only highlight conflicts within the system, but more importantly, make the norms even more apparent. This book deals specifically with interracial marriage within a slave-owning society. The fact that a large portion of the Cuban population were slaves, ex-slaves, or descendants of slaves is crucial to her argument. Her work raises important issues to colonial Cuban society and gender that are applicable to my case.

Finally, my study examines free African and mixed-race women living during the era of slavery to discover how their lives, occupations, opportunities, religious practices, and family relationships may have differed from those of their enslaved counterparts. Because slavery continued to expand in Venezuela through the end of the eighteenth century, the free population of color was sizeable, numbering nearly 200,000 free people of color, or forty-six percent of the population, by the end of the century…

Read the entire dissertation here.

Representing gods in a mixed-race society: Images, rituals and politics in María Lionza’s cult (Venezuela)

University of St. Andrews, Scotland, United Kingdom
Centre for Amerindian, Latin American and Caribbean Studies (CAS)
Social Anthropology Seminar Room (Room 50, St Salvator’s Building)
2010-03-17, 15:00Z to 17:00Z

Roger Canals
University of Barcelona

Roger Canals, University of Barcelona, will speak on ‘Representing gods in a mixed-race society. Images, rituals and politics in María Lionza‘s cult (Venezuela)’.

Rethinking Mestizaje: Ideology and Lived Experience

Journal of Latin American Studies
2005
Number 37, Issue 2
Pages 239–257
DOI: 10.1017/S0022216X05008990

Peter Wade, Professor of Social Anthropology
University of Manchester

The ideology of mestizaje (mixture) in Latin America has frequently been seen as involving a process of national homogenisation and of hiding a reality of racist exclusion behind a mask of inclusiveness. This view is challenged here through the argument that mestizaje inherently implies a permanent dimension of national differentiation and that, while exclusion undoubtedly exists in practice, inclusion is more than simply a mask. Case studies drawn from Colombian popular music, Venezuelan popular religion and Brazilian popular Christianity are used to illustrate these arguments, wherein inclusion is understood as a process linked to embodied identities and kinship relations. In a coda, approaches to hybridity that highlight its potential for destabilising essentialisms are analysed.

Rethinking mestizaje as embodied experience

This article explores a key concept in the complex of ideas around race, nation and multiculturalism in Latin America, that of mestizaje – essentially the notion of racial and cultural mixture. I address mestizaje not just as a nation-building ideology – which has been the principal focus of scholarship on the issue, but also as a lived process that operates within the embodied person and within networks of family and kinship relationships. I consider how people live the process of racial-cultural mixture through musical change, as racially identified styles of popular music enter into their performing bodies, awakening or engendering potentialities in them; through religious practice, as racialised deities possess them and energise a dynamic and productive embodied diversity ; and through family relationships, as people enter into sexual and procreative relations with others identified as racially-culturally different, to produce ‘mixed’ children.

This approach emphasises the ways in which mestizaje as a lived process, which encompasses, but is not limited to, ideology, involves the maintenance of enduring spaces for racial-cultural difference alongside spaces of sameness and homogeneity. Scholars have recognised that mestizaje does not have a single meaning within the Latin American context, and contains within it tensions between sameness and difference, and between inclusion and exclusion.  Yet a scholarly concern with mestizaje as ideology has tended to privilege two assumptions: first, that nationalist ideologies of mestizaje are essentially about the creation of a homogeneous mestizo (mixed) future, which are then opposed to subaltern constructions of the nation as racially culturally diverse ; and second, that mestizaje as a nationalist ideology appears to be an inclusive process, in that everyone is eligible to become a mestizo, but in reality it is exclusive because it marginalises blackness and indigenousness, while valuing whiteness…

Read the entire article here.

Danzas Nacionalistas: The representation of history through folkloric dance in Venezuela

Critique of Anthropology
(2002)
Vol. 22, No. 3
pages 257-282
DOI: 10.1177/0308275X02022003758

Iveris Luz Martínez
Johns Hopkins University

In this article I argue that the nation is not only invented or imagined, but depends on activities and practices in order to be invented and imagined. Here, the focus is on dance in Venezuela, where a number of groups use what they call `folkloric dance’ to construct and depict the national `culture’. This article considers the case of Danzas Típicas Maracaibo (DTM), a dance company founded in 1976 under the auspices of the government of the state of Zulia in Venezuela. DTM presented a carefully crafted and selective stylized repertoire of `folk’ dances from throughout the country. These re-created dances are called danzas nacionalistas, although the dances are often interchangeably referred to as `folkloric’. They are used to make statements about ethnic and cultural authenticity, and in their own way contribute to the discourse of mestizaje. In Venezuela, as in much of Latin America, there is entwined in nationalist rhetoric the idea of `race’ and cultural mixing, or mestizaje. Here, mestizaje does not only or necessarily imply a `racial’ mixing or a mixing of `blood’, but it also refers to `culture’. History, and discourses of the past generally, are especially implicated in these activities and representations.