Quote: Ibram X. Kendi

"Hate and ignorance have not driven the history of racist ideas in America. Racist policies have driven the history of racist ideas in America. And this fact becomes apparent when we examine the causes behind, not the consumption of racist ideas, but the production of racist ideas. What caused US senator John C. Calhoun of South Carolina in 1837 to produce the racist idea of slavery as a positive good, when he knew slavery's torturous horrors? What caused Atlanta newspaper editor Henry W. Grady in 1885 to produce the racist idea of "separate but equal," when he knew southern communities were hardly separate or equal? What caused think tankers after the presidential election of Barack Obama in 2008 to produce the racist idea of postracial society, when they knew all those studies had documented discrimination? Time and again, racist ideas have not been cooked up from the boiling pot of ignorance and hate. Time and again, powerful and brilliant men and women have produced racist ideas in order to justify the racist policies of their era, in order to redirect the blame for their era's racial disparities away from those policies and onto Black people.

"I was taught the popular folktale of racism: that ignorant and hateful people had produced racist ideas, and that these racist people had instituted racist policies. But when I learned the motives behind the production of many of America's most influentially racist ideas, it became quite obvious that this folktale, though sensible, was not based on a firm footing of historical evidence. Ignorance/hate-->racist ideas-->discrimination: this causal relationship is largely ahistorical. It has actually been the inverse relationship--racial discrimination led to racist ideas which led to ignorance and hate. Racial discrimination-->racist ideas-->ignorance/hate: this is the causal relationship driving America's history of race relations."

-- Ibram X. Kendi, from "Prologue," in Stamped from the Beginning: The Definitive History of Racist Ideas in America, New York: Nation Books, 2016. (This book received the 2016 National Book Award for Nonfiction.)

Quote: Christina Sharpe

"What does it mean to return? Is return possible? Is it desired? And if it is, under what conditions and for whom? The haunt of the ship envelops and persists in the contemporary. French President François Hollande 'returned' when he began his trip to the Antilles on May 10, 2015, with a visit to Guadeloupe for the opening ceremony and the dedication of a 'museum and memorial site to honour the memory of slaves and their struggles in the French Caribbean island Guadeloupe,' the 'first of its kind by France to remember those who suffered during the slave trade.' The Memorial ACTe, housed in a former sugar factory in the Guadeloupian city of Pointe-à-Pitre, is called 'a place of remembrance and reconciliation' and described as 'a Caribbean centre on the expression and memory of slavery and the slave trade.'"

"Hollande's visit to the site spotlighted, for those who would not and did not know, the ongoing reparation claims made by descendants of enslaved peoples in Guadeloupe, in Haiti, Cuba, and all over the Caribbean. And while in 2013, Hollande acknowledged France's 'debt' to Africa because of slavery and the 'baneful role played by France,' he added that this history 'cannot be the subject of a transaction.' Unless, of course, that transaction benefits France (like the indemnity Haiti was forced to pay) through trade and other contracts and 'investments.' But what is a moral debt? How is it paid? Is it that Black people can only be the objects of transactions and not the beneficiares of one, historical or not?"
-- Christina Sharpe, from In the Wake: On Blackness and Being, Durham: Duke University Press, 2016, p. 60.

Art & Context Interview with Mendi + Keith Obadike

In addition to being friends Mendi + Keith Obadike are among my favorite contemporary artists. At one of their online sites, BlackArtNet, has been part of my blogroll for a decade now, and I have had the pleasure of writing about them critically in a paper set to appear later this spring. Collaborators and partners in life and art, and true multidisciplinary visionaries, Mendi+Keith have created a series of iconic artworks and performances across a range of platforms for over a decade and a half.

Recently, at Art & Context, Erin Sickler interviewed them about their work and lives, and the interview is full of insights on their practice, their aesthetics, and their goals.

Here are some quotes:

We moved through many zones to arrive at this sound centered practice that we have today. When we began we wanted to find our own way for music, language, and media to work together. We thought we might make a new kind of opera. We started talking about this around 1993, but we were already heavily involved in separate practices. Informed by a lot of experimental music and video work from the 60s & 70s and our experience with computers, we started seriously working online in the mid 90s. Working online was a simple way for us to combine our work in music, art and literature in one accessible frame. We were not living in New York at the time, so it was also a way for us present our projects to a large audience little or no institutional support. As we learned the language and nuances of the early world wide web, we began to explore all of the ways one might perform in this new space. We did live streams, animated gifs, text-based email projects, and sound pieces. All of those lessons (about communicating scale, giving a sense of register/tone, and projecting your energy in media) informed and enabled the work we would later do in brick and mortar spaces.

And:

In the 1990s we began calling the technologies of race (among other things) “social filters,” to think through the ways that technological and social dynamics on Internet and in digital culture were grounded in older cultural patterns. While racial discourse is of course implicated in our projects about social filters, we have always been interested to think about who gets to belong and who does not and what the barriers are to belonging. Race is one of the many technologies that delimit this belonging, but because our work is sometimes allegorical, there are also other issues explored in the work. That said, we’re often using the resources offered by African diasporic thinkers -- Igbo, African-American and other African writers.

And finally:

We think in times like these it becomes even more important to choose your media and limit your intake carefully. The flow of bad news can be overwhelming if you forget to step out of the stream. We stay focused because we know we are here to do this work. We know what art can do, and we are empowered by the lasting energy of the folks who came before us.

Do read the entire interview too, and don't miss them if they are speaking, performing or part of an exhibition near you.

Here are three videos featuring their work, including 2015's "Blues Speaker [for James Baldwin]," at the New School for Social Research.

Mendi + Keith Obadike's "4 Electric Ghosts" (2009)

Mendi + Keith Obadike's "The Earth (for Audre Lorde and Marlon Riggs)," Obadike Studio (Side A: "If the Heavens Don't Hear (A Roller Skating Jam for Marian Anderson)" + remix by Gordon Voidwell, and Side B: "The Earth Will Hear (for Audre Lorde and Marlon Riggs)"

Resurfacing + More Brown & Black Brazilians + DR to Change Racial ID Categories + Rita Indiana's "Da Po La Do"

Surfacing finally and temporarily, from the bogs or thickets or trenches, or whatever is lined with pages and pages of prose! Today was the first day where I could actually take a long, deep breath and inhale the now chilly Chicago air. Over the next few days I'll try to finish the few stubs I began over the last few weeks, on many different topics, ranging from Christian Bök's visit to the university, to the most recent gathering of the Human Micropoem at Occupy Chicago.  And I'll try to finish my posts on some other thoughts as well.

***

Brazilian actor Lázaro Ramos

I saw today, on Mediatakeout.com, of all places, a link to this BBC article announcing that in Brazil, based on 2010 census numbers, a majority of the population now defines itself as either Pardo (brown/mixed) or Preto (black), which is a remarkable milestone given that country's (like most of the hemisphere's) centuries-long history of racist-inflected racial formation.  Reggie H. sent me another link, from AtlanticCities, on the same news. Out of 190 million Brazilians, 91 million self-identified as white, 82 million as mixed race and 15 million as black. "Whites fell from 53.7% of the population in 2000 to 47.7% last year," while the number of people self-identifying as "black" rose from 6.2% to 7.6%, while the number self-identifying mixed-race people rose from 38.5% to 43.1%.  As the Atlantic's Nate Berg writes

Race campaigners welcomed the growing number of self-declared African-Brazilians, but the census also underlined how the vast social divide between Brazil's white and non-white populations persists.

The 2010 census – a massive operation which involved about 190,000 census takers visiting 58m homes – found that in major cities white inhabitants were earning about 2.4 times more than their black counterparts.

(I'm not sure what a "race campaigner" is, but consider the source.)

In Brazil, which has the largest numerical black population outside Africa, unlike the US, there was more open racial and ethnic mixing from the initial arrival of the Portuguese and other Europeans in 1500, and over subsequent decades wealth, social status and a wider array of racial classifications allowed people to escape the US's hypodescent (one-drop) rule.  Central to this system was a process of not just physiological but cultural embranqueamento (or whitening) long held sway, alongside a national ideology of Brazil as a "racial democracy," thus blunting attempts by black and brown Brazilians to counter racist and white supremacist discourse, or organize nationally around anti-racism in the ways that black people in the United States (or Haiti, during its colonial period), with its apartheid Jim Crow system, could.

Brazil has long had black and brown activists working to challenge the racism there, and as I noted this past May, one of its major 20th century figures, Abdias do Nascimento, passed away this year after a lifetime of battling the dominant overt and casual racism there.  As I wrote to some friends today, I wonder how much Brazil's national affirmative action policies, which have proved controversial but have gained acceptance, have played a role, but also how much the sustained civil rights and equality efforts by Afrobrazilians have affected self-identification. It also made me think about Henry Louis Gates, Jr.'s PBS series, Black in Latin America, which I also covered in May. He barely touched on the shifts in self-recognition, making me wonder whether when he was down there for his series, did no one apprise him of these changes, even in the absence of hard census figures?  Had he known of this shift, I wonder how different his Brazil episode might have looked. He did, however, explore the economic disparities which continue there, as they do here and elsewhere across the hemisphere.

***

This news about Brazil, and Gates's reading of that country also reminded me of his treatment of race and blackness in the Dominican Republic.  While I won't gainsay his reading overall, I felt it could have been much more nuanced, based both on my readings of works on that country by Dominicans and Dominican Americans, but also on my experiences there. One thing I remember saying to myself after having gotten to know some Dominicans in the US was that I would never go down to DR and impose American views of anything on people there (I hold this view for every country), but also I would never expect people there to view themselves as "black" in the ways that black Americans do, especially given DR's agonistic and antagonistic history with Haiti. Yet having held to this view, more than once while in DR I have learned about the multiple and complex ways in which Dominicans there understand, address, perform, and inflect the concept of blackness. It is far more complex than Gates's or the standard readings and understandings of it, which tend to be static and often seem to overlook popular conceptions and formations concerning blackness.

One issue that Gates talked about--and fascinatingly to me, he seemed to act as if this were not an active discourse among black Americans--was the presence of the indio, or "Indian/Native American" racial-ethnic category.  According to the Dominican newspaper Listín Diario, however, the DR's Central Electoral Board (JCE) has sought "to classify Dominicans as mulattoes, blacks and whites, eliminating the traditional 'Indian' category." To achieve this shift, specialists from the Organization of American States and the JCE drew up a bill to reform Electoral Law 275-97, which will be presented for approval to the general assembly of the judges of the JCE prior to sending it to Congress. On their cédulas, or ID cards, Dominicans would have three categories--"white" (blanco), "mulatto/mixed race" (mulato), and "black" (negro)--to chose from.

I think it will be interesting to see the breakdowns if and when this policy goes into effect, since it involves racial/ethnic self-identification, but I told a friend who lives down there that no matter what, I think the last category will be the smallest. I am especially curious to see what the breakdown's are among younger Dominicans (and I see this with many of the younger Dominican baseball players in the Major Leagues, as with younger writers, musicians, etc. down there).

***

Finally, speaking of DR, I was also reminded of Rita Indiana's video, for her new song "Da Pa Lo Do," that Anthony M. posted on his Monaga blog a month or so ago. Rita Indiana, a talented, out young poet, author, songwriter and musician, explores the idea of DR's border with Haiti, brotherhood and connection, and Hispaniola's insoluble roots. The video, which she made with her girlfriend and frequent collaborator Noelia Quintero, is quite beautiful, and do watch it if you can all the way to the end.



da pa lo do from Engel Leonardo on Vimeo.