Tag Archives: race

Helena Wulff reflects on her career

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Helena Wulff 2021

What article or book that you wrote are you most pleased with?  Could you talk about the story behind writing it?

It is hard to choose between an article and book – they are very different in form and content. This is why I include favorite examples of both an article, or an encyclopedia entry, and a book here.

I was delighted to be invited to write an entry on “Writing Anthropology” (2021) for The Cambridge Encyclopedia of Anthropology http://doi.org/10.29164/21writing and I am very pleased with it. In the entry, I argue for the importance of an accessible academic anthropology and acknowledge that:

Writing is key in anthropology, as one of its main modes of communication. Teaching, research, publications, and outreach all build on, or consist of, writing(…)While writing anthropology in a literary mode goes a long way back, it was not until the 1970s that writing began to be collectively acknowledged as a craft to be cultivated in the discipline. This led to a boom of experimental ethnographic writing from the 1980s, as part of the “writing culture” debate. The idea behind experimental narratives was that they might convey social life more accurately than conventional academic writing. Today, literary production and culture continue to be a source of inspiration for anthropologists, as well as a topic of study. Anthropological writing ranges from creative nonfiction to memoirs, journalism, and travel writing. Writing in such non-academic genres can be a way to make anthropological approaches and findings more widely known, and can inspire academic writing to become more accessible. 

The story behind writing the entry was that I have a longstanding interest in the anthropology of writing, in different genres, which spurred me to teach master’s courses on writing such as “Anthropological Writing Genres” and “Writing Anthropology” in my Department of Social Anthropology, Stockholm University. This interest was also partly the reason I did a major study of the social world of writing in Ireland published as Rhythms of Writing: An Anthropology of Irish Literature (Routledge, 2017). This is then a book I am as pleased with as the entry. As usual, also when it comes to writing as craft and career, Ireland is an eloquent ethnographic case that speaks to wider issues from a rollercoaster economy, emigration and exile to borders and postcoloniality.

Ireland is often identified as a place of creativity where these issues, and others, have been expressed through storytelling, literature, music, and dance. All are prominent in Irish life. The title of the book refers to both the rhythms of the long hours writers spend writing by themselves in the private sphere, alternating with promotion appearances in the literary public sphere, and a distinctive rhythm of an Irish literary style.

Now as Professor Emerita, I keep developing my interest in writing by researching and publishing in relation to the project “Migrant writing in Sweden.” This was included in a major interdisciplinary research program “Cosmopolitan and Vernacular Dynamics in World Literatures.” I have also ventured into auto-fiction, even creative nonfiction.

Helena home office

What moment of fieldwork interaction do you still think about, amazed that you got to witness it and/or record it?

When I was doing fieldwork with American Ballet Theatre which is based in New York, they went on a one-week tour to The Kennedy Center in Washington, D.C. Of course, I went with them in the bus and stayed in the same hotel as they did. Just like I had been doing for almost three months with them (and for almost two years with the Royal Swedish Ballet in Stockholm and The Royal Ballet in London) my days were spent watching morning class, rehearsals in the afternoon and performances at night, sometimes from the wings and sometimes from the auditorium. On the opening night at The Kennedy Center, the classical ballet Manon was performed. It was a grand occasion with Washington’s glitterati present. As I was watching from the auditorium, I was wearing a black suit with velvet collar and a crème colored top. This was when Bill Clinton was President and Hillary and Chelsea were in the auditorium raising the level of security considerably, with stern body guards talking to each other wirelessly all over the place. In the ballet world, it is customary that dignitaries who have watched a performance, are invited back stage after the performance. So Hillary came back stage, thanking the ballet director and all the dancers, shaking hands with one after another as they stood in a long line across the stage behind the closed curtain. I was standing discreetly in the background, observing. But Hillary noticed me and went up to me saying politely and with appreciation: “Thank you for the performance!”  I was dumbfounded.      

What is one of your favorite fieldwork stories to tell that you have never written about?

It was in 1982 and I was doing fieldwork for my PhD on ethnicity, friendship and youth culture in South London, England. There had been race riots in neighbouring Brixton, but things seemed to have calmed down. At least for now, at least in the streets. Having grown up in still homogeneous Sweden, I was (unlikely as it may seem now) an adult before I met a black person.

My fieldwork was going well. After the usual tentative start, I got access to a youth club, a school, a street corner, and even to some of the girls’ homes. I became a part of the daily life of the ethnically mixed group of teenage girls I was focusing on. My landlady, Beverley, who had moved to England from Jamaica with her parents when she was seven, and I became friends, spending a lot of time together. Beverley introduced me to her parents and friends, and took me to concerts and all-night blues parties. After a couple of months, I stopped noticing that I was the only white person in many contexts. But an incisive incident would remind me.   

One summer night, Beverley took me and two of her friends to a reggae concert in Brixton. Happily chatting away, we were waiting in the crowd outside the theater. There was the familiar scent of ganja lingering in the air. Quite a few Rastas with long dreadlocks were there, wearing the bright red, yellow and green in clothing and knitted hats. “Yeah, man,” was echoing around us. We took out our tickets. That was when a black boy pushed his way towards us. Without warning, he ripped my ticket out of my hand! Before running away, he shouted: “I wouldn’t take a ticket from a black girl!” Beverley and her friends were furious. “This is why you start a riot!” Beverley burst out. They all wanted to leave with me. But I insisted that they stay for the concert. I went back on my own, upset, offended. On the subway my thoughts came rushing: Swedes never exploited blacks like the British did! Looking down at my white hands, I kept thinking the obvious: “You do not chose your parents. The color of your skin is not a choice.” Suddenly another thought came to me. It was the insight that this is what it is like, all the time, for them, for black people. They experience discrimination because of the color of their skin. The skin they cannot do anything about, that they did not chose. So this is what it is like to be black.             

Do you have to be one in order to understand someone else’s predicament? Trying to make sense of the incident, I was reminded of the discussion in anthropology about this issue. While learning about difference is a way to discover new things about yourself or your culture, what is different to you is familiar to someone else and hence might not be identified at all by others. This is a premise in anthropology. Still, it was not until I had this bodily experience of discrimination that I – in a flash – felt that I really did understand, at least something about what it can be like to black. And it might all have been a mistake: Would the black boy have taken my ticket had he known I was not British?

What is a distinctive habit or affectation of yours?

Watching dance – contemporary or ballet – then I get a sense that “this is reality” which probably is a neurological reaction, a Bourdieuan body hexis, as my body remembers what it feels like to dance.

Helena happily writing away in her home study

Was there a specific moment when you felt you had “made it” as an academic?

When I saw my first book Ballet across Borders: Career and Culture in the World of Dancers (Routledge, 1998) for sale at a Barnes and Noble store in New York. Though I had edited a volume on Youth Cultures (Routledge, 1995) with Vered Amit-Talai before, I had only seen it for sale at book exhibits at conferences such as of the American Anthropological Association and the European Association of Social Anthropologists. This was the first time a monograph I had authored was for sale in a commercial book store. In fact, it was not only an academic success for me, it was also a childhood dream fulfilled: to write a book. But mainly I was excited that I had exceeded any expectation I used to have about what I would be able to achieve in my career. I got a sense of being inducted into the anthropological community, into conversation with fellow academics. As I left the book store uplifted, though, I spotted the ballet director Kevin McKenzie at American Ballet Theatre, turning a corner in front of me, walking briskly in the direction of the company’s studios in Broadway, lower Manhattan. He was such a good guy, having accepted me into the daily life of his company, even allowing me to join them on the tour to Washington, D.C. I would not have been able to do my research, and write my book, without him. He epitomized my fieldwork and my past as a dancer. There he was on his way to the world I had grown up in, come back to for my research, and just left for good and – despite my true delight over having had an academic career, with so much fun and many exceptional experiences – would keep missing.

Jonathan Rosa on his new book, Looking Like a Language and Sounding Like a Race

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https://global.oup.com/academic/product/looking-like-a-language-sounding-like-a-race-9780190634735

Interview by Jessica López-Espino

Jessica López-Espino: Let’s start with your title, what does it mean to Look Like a Language and Sound like a Race?

Jonathan Rosa: The title reflects my long-standing obsession with processes of overdetermination—how categories of identity and expressive practices become ideologically co-constituted, and how perceived boundaries between such categories are enacted interactionally, institutionally, and historically. Looking like a language and sounding like a race is about historical and contemporary forms of governance through which one is expected to fit into categories that don’t correspond to lived experience in straightforward ways. What this means is that, in everyday interactions and encounters with the state, whether in education, housing, employment, or criminal justice, one’s legibility as a subject is anchored in this dynamic of looking like a language and sounding like a race. I’m suggesting that a seemingly casual kind of interplay between people’s recognitions of race and language can also be understood an existential dilemma that is historically inherited and reproduced—and profoundly institutionally consequential.

Jessica López-Espino: You made significant efforts to examine the “contortions” that students at New Northwest High School, a key ethnographic focus of the book, believe in and enact as “emblems” of Mexicanness and Puerto Ricanness, but also show how students’ own ancestry, families, friends, relationships, and desires are often intertwined more than they may initially admit. Can you say more about what analytic tools you developed to avoid reifying or exaggerating intra- and inter-Latinx difference?  

Jonathan Rosa: I developed the notion of ethnoracial contortions because on the one hand I wanted to figure out how people were strategically enacting and constructing identities, and on the other I was interested in the ways that their strategic constructions and enactments were overdetermined. You can strategically use language in a particular way or wear particular clothing or have a particular hairstyle and that does not necessarily mean that your project of the self is going to be rendered legible within a given interactional or institutional context.

I analyze the relationship between denotational texts and interaction texts—transcripts and that which is enacted through discourse—to show how kids say all the time that Mexicans and Puerto Ricans are separate races while also regularly engaging in practices that defy that assertion. This was important for me in terms of schematizing stereotypical models of Puerto Ricanness and Mexicanness, but not reducing the analysis to particular stereotypes or presentations of self. By attending both to immediate contexts of interaction and broader historical and institutional conditions of possibility for those interactions, I attempt to avoid ethnographic essentialism, empiricism, and exceptionalism. The tendency toward privileging the pragmatic realm is particularly concerning in ethnographic analyses of race, gender, and class­ because these phenomena do not reduce to embodiment or interaction in straightforward ways.

Jessica López-Espino: In your discussion of outlaw(ed) literacies, you argue that perceptions of Latinx students as not reading are based on raciolinguistic ideologies positioning students as gangbangers and hoes who are unable to produce standardized linguistic forms. What do you think administrators, teachers, and the general public loses by maintaining these raciolinguistic ideologies about Latinx youth?

Jonathan Rosa: A major problem with discussions of language and literacy in educational contexts is the assumption that the nature of the challenge that we are facing is one of deficiency or mismatch. The deficiency narrative is that these kids lack skills all together, they have not learned academic language, they have not been exposed to particular forms of communication early enough in life to then be able to succeed later on in school and other institutional contexts. The alternative is a narrative of mismatch, where it’s not that the kids are deficient altogether, but that they are using different practices. From this perspective, the goal is to build a bridge between home and school practices, which will facilitate mainstream educational success.

In contrast, I wanted to demonstrate that the very practices these kids allegedly lack—that is, standardized language and literacy—can be recognized in their existing repertoires. If these students already demonstrate skills that we are saying they need to learn, then perhaps the problem is that various aspects of their communicative practices are illegible, distorted, or erased from mainstream institutional perspectives. I’m trying to expand the nature of the antagonism to say that this is not simply about building a bridge or scaffolding, it is about the modes of legibility and illegibility that are cultivated within and fundamental to mainstream institutions. Where’s the burden in terms of change? Is it modifying the practices of marginalized youth and communities, or is it transforming institutions that are tied to endemic histories of inequity? I want to argue that it’s about transforming institutions.

Jessica López-Espino: Not “seeing race” in this book is not an option, as racial ideologies center how these students are understood as achieving a presumably upwardly mobile pan-ethnic category as Young Latino Professionals, or negatively as “at risk youth.” Have you faced push back from scholars interested in maintaining a “race-blind” analysis? What advice do you have for anthropologists seeking to challenge the normalization of Whiteness within their work?

Jonathan Rosa: I’ve seen different kinds of pushback. In some moments I was grappling with people who didn’t want to talk about race and figuring out how to communicate with them; in other situations, I’ve encountered people who want to talk about race but in ahistorical, essentializing ways I find troublesome. With people who didn’t want to talk about race, I had to ask what kinds of analyses and insights are made (im)possible by engaging or not engaging with race. Not attending to race allows us to imagine that contemporary societal challenges are merely pragmatic in nature such that diversifying demographics within existing institutions would somehow fundamentally transform them; if you do not attend to race then you will misunderstand the nature of inequality and exclusion. Race is central to the creation of the nation-state, mainstream institutions, and academic disciplines. If one understands the modern world as profoundly anchored in colonialism, then race must be central to one’s analysis of historical and contemporary societies. After all, race and racism emerged as justifications for the globalization of European colonialism.

With those who are interested in studying race but define it in terms of essentialized categories that are understood to be embodied in self-evident ways, it’s important to remember that central to the project of understanding race and rejecting biological racism is a conceptualization of the body as one among many sites for the articulation of race, and a very deceptive one at that. Embodied experiences must be analyzed in relation to colonial histories, so that when we take for granted the recognizability of Whiteness, Indigeneity, and Blackness, for example, that’s often based on a body-oriented mode of analysis. If these contemporary demographics as articulated within a particular societal setting are the primary focus, then I worry that the histories out of which they emerged will escape careful consideration.

Jessica López-Espino: Is there anything else you hope other anthropologists take away from your book?

Jonathan Rosa: I hope that what people take away from this book is a set of questions about governance, about how boundaries are inherited, experienced, and transgressed; I’m interested in contributing to conversations about the broader worlds these boundaries constitute, as well as the existence of alternative worlds that are not often recognized as such. To the extent that the book invites readers to entertain and recognize the possibility and ubiquity of such otherwise worlds, that’s exciting to me.

 

 

Jennifer Roth-Gordon on her new book, Race and the Brazilian Body

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Race and the Brazilian Body: Blackness, Whiteness, and Everyday Language in Rio de Janeiro by [Roth-Gordon, Jennifer]

http://www.ucpress.edu/book.php?isbn=9780520293809

Interview by Ilana Gershon

If you were at a wedding, and the person at your table happened to be a scholar of African-American experiences of the Jim Crow South who wanted to know a bit about your book, what would you say?

Can the person sitting next to the Jim Crow scholar at our table be someone who witnessed the white supremacist rally in Charlottesville? I think I might open by saying to them that I study race relations in Rio de Janeiro, Brazil, a context which is both very similar and very different from the ones that they are immersed in. My book is an investigation into how we can watch people draw on and perpetuate racial hierarchy in daily conversations and interactions, in a national context where noticing racial difference is (and has long been) taboo. These racial ideas – about the superiority of whiteness and the inferiority of blackness – are the same ideas that were legalized in the Jim Crow South and that white people marched to uphold just a few weeks ago, in defense of statues meant to keep nonwhite people “in their place.” I can point to very little that changes, over time or across national boundaries, in the civilized/uncivilized and upstanding/dangerous distinctions between what whiteness and nonwhiteness are thought to represent.

Brazil also suffers from incredibly high levels of structural racism that almost always exceed statistics from the present-day U.S. (from racial gaps in education levels, income, and where people live, to what scholars have called a black genocide of thousands of Afro-descended youth killed by police each year). Despite these national similarities, Brazil has long used incidents like Charlottesville (such as the Civil War, lynchings, the LA riots and Rodney King beating, Ferguson, and so on) to define themselves in contrast to the violent history and aggressive nature of race relations in the U.S. Though they are now more aware of racism than ever before, many Brazilians continue to take pride in their reputation for racial mixture and racial tolerance. While most would admit that Brazil is not (and has never been) a “racial democracy,” there is a strong belief that inequality in Brazil is socioeconomic, rather than racial.

My book seeks to explain the “comfortable racial contradiction” that surrounds Rio residents with signs of blackness and whiteness but discourages them from describing what they see in racial terms. It’s not a contradiction that is “comfortable” for all, but I argue that this contradiction is surprisingly easy to live within, even as it may be hard to unravel and explain – in the same way that we now have to contemplate what it means to live in a “colorblind” America that has people on both ends of the political spectrum loudly proclaiming that race matters. I study how racial ideology allows us to live in societies that promote themselves as tolerant and equal, even as we are daily surrounded by (and participating in) profoundly racially unequal and unjust circumstances. Laws and torches are not the only ways to maintain white supremacy, and swastika-flag bearers are not the only ones who keep systems of racial hierarchy in place.

You argue that Rio residents are in the position of being able to claim to be racially tolerant while still re-inscribing racial hierarchies in practice.  Do you have an especially apt example of this dynamic?

My intention is to better understand race, and more specifically whiteness, by disentangling the obvious relevance of phenotype from the often unacknowledged significance of embodied practices. As I describe, medium brown-skinned bodies can be read as “black” in Rio when they take up slang associated with favelas (shantyowns). These same bodies can be read as “white” when they occupy exclusive private spaces like social clubs and demonstrate “proper” restraint and decorum. Drawing on everyday interactions, I show how Rio residents unavoidably draw on widespread and well known racial discourses to make their bodies interpretable, and to interpret others, as they interact in both comfortable private spaces amongst “equals” and as they cross the city’s well-established race and class borders.

In the book, I discuss an especially interesting situation in which a phenotypically “brown” youth who I call Bola started spending time hanging out in the housing project/favela where I was conducting research. He was raised in the white middle class, and he was splitting his time between studying for college-entrance exams with his friends from his private high school and hanging out on the streets with darker-skinned peers in Cruzada who were not on the same life path. He adapted a very different speech style with these youth. I played recordings of his speech for outside listeners (non-participants), including his own mother. Her response offered an excellent example of this simultaneously racially tolerant and racially hierarchical reaction. She was not upset that her son chose to associate closely with darker-skinned people in spaces that were considered dangerous. But she was horrified by his language in these conversations, which evoked the blackness and criminality associated with the favela: “É uma tristeza isso aqui! Meu Deus do céu! Que diálogo horroroso isso! [Eu rio] Não, eu acho! Não vou dar crédito a isso aqui . . . Que bando de marginal!” (How sad this is! Oh my God! What a horrible dialogue! [I laugh] No, I think so! I won’t give credit to this . . . It sounds like a group of marginals [criminals]!) It was not people who were visibly and audibly black that worried her but rather others’ ability to read the signs of blackness off of her son’s body (and the fact that these signs undid the possibilities of his whiteness).

In Brazil, neither light skin nor ancestry guarantees or is required for racial whiteness, which is helpful for phenotypically darker members of the middle class like Bola, but this makes the constant display of the bodily techniques associated with whiteness all the more important.

How are notions of whiteness in Brazil different than in the United States?  How might this explain the differences between being a Brazilian playboy and a U.S. wigger? 

Brazil is both proud of its history promoting miscegenation and racial mixture and deeply ashamed of its status as a “mongrel” nation that lacks the culture, civilization, and modernity associated with racial whiteness. Across Latin America and the Caribbean, individuals, families, and nation-states have long struggled to acquire and display whiteness, harboring both implicit and explicit fears that they will never shed their associations with nonwhiteness, which includes both African and indigenous heredity. Whiteness suggests decorum, respectability, and civilized control. But the presumed lack of racial purity in Brazil – what has been called “virtual whiteness” or the implication that one is “branco por procuração” (white by proxy) – means that one’s whiteness is always vulnerable. I find this racial anxiety productive in suggesting that critical whiteness scholars should question the presumed “normalcy” and stability of whiteness, even in the United States. In particular, I am intrigued by the cultural and linguistic work that people (of different racial backgrounds) do to associate themselves with whiteness, in order to benefit from racial privilege. (Though people like the rappers and rap fans I worked with could also choose to explicitly reject the push for racial whitening or assimilation.) In the book, I examine three social and racial imperatives that uphold Brazilian racial hierarchy: (1) the need to display whiteness, (2) the desire to avoid blackness, and (3) the obligation to remain racially “cordial.” I believe that the United States shares with Brazil this orientation towards whiteness and away from blackness, though ideologies of racial purity clearly differ. In Brazil, the ideal national color is “moreno” or brown.

Because of the ambivalence surrounding racial purity, the Brazilian “playboy” is a term rappers use to call out the desire of privileged male youth to flaunt their racial whiteness (without necessarily identifying as white). By contrast, the U.S. wigger is a term used for white-identified male youth who flaunt their dangerous and “inappropriate” connections to blackness. Both terms help illustrate the main argument of my book: The amount of whiteness or blackness a body displays is determined not only through observations of phenotypical features, but also through careful attention paid to cultural and linguistic practices.

One of your fieldwork strategies that turns out to be very productive is playing recordings of people’s speech across class lines and analyzing people’s reactions.   You often mention that the Brazilians you encountered seemed intent on not discussing or openly acknowledging race.  How did this technique function in a context where people actively avoided discussing precisely what you were interested in studying?   Is there a specific response someone had to a decontextualized snippet of conversation that you especially like to analyze?

My favorite “decontextualized snippet” to play wound up being one in which a favela youth recounted a time that he felt he was going to be robbed. Just as cultural anthropologist Teresa Caldeira has found in São Paulo, “talk of crime” is a very productive narrative genre in Rio. But rather than responding by producing their own “near robbery” experiences (which they all undoubtedly had and liked to share), middle-class listeners reacted very viscerally to the speech that they had just heard. Though the story was about a favela youth’s own vulnerability and near-victim status, all they could hear was the voice of a criminal. Their reactions to the non-standard speech that he used (all of which they associated with gíria or slang) beautifully illustrated the enregisterment of slang, as specific linguistic features were grouped together to point directly to “dangerous” city spaces and the persona of a “bandido” (bandit or criminal). Though the actual bodies of the speakers could only be imagined, foundational ties were being stitched together between perceived linguistic disorder, the breaking of laws, and blackness. In less directed conversations and without concrete examples that triggered emotional reactions of fear and disdain, members of the middle class were more likely to speak in general terms about the links between standard speech, education, and socioeconomic class. Rio residents rarely mention race explicitly, and this technique of metalinguistic interviewing allowed me to show how they continue to draw on an implicit racial logic that links whiteness to bodily and linguistic control, cultural refinement, and law and order while connecting blackness to a lack of rationality and intellect, violence, and dangerous disarray.

How did being part of a mixed family in the field, since you have two adopted children who read as black in Brazil (and in the US as well), offer you a useful lens for understanding how race is socially constructed?   And how do all your children deal with the transitions of moving between two such differentially racialized contexts?

I’ve studied race in Rio since 1995, but the year I spent living in Rio with my three children in tow (in 2014) was an eye-opener in understanding the huge differences between color and race and between brownness and blackness. Though they went to a private school with hundreds of children, many of whom would not be considered white in the U.S., my two African American children stuck out due to their phenotypical blackness. At the same time, I could watch how they were treated very differently from the darker-skinned people who did occupy the same private, middle-class spaces (as minimum-wage workers who cleaned, served as security guards, and so on). Rather than attributing that merely to a difference of socioeconomic class (as many Brazilians, and even North Americans, would assume), I had to expand my understanding of race beyond phenotypical markers. My children did not cease being black and people did not turn off their awareness of race just because of their class status. This led me to question why two of my three children didn’t receive more of a reaction when they entered such white spaces. On the one hand, I would argue that they have acquired the right “racial sensibilities” (as Ann Stoler calls them), but, at the same time, structural racism gets pretty glaring when you are in its limelight. When we are at a “casa de festa” (private party space) with dozens of other children, none of them dark-skinned, and another mother comes up to ask me if I am the mother of the “girl in the green dress,” it becomes clear that there is a sophisticated “not noticing” of race that is going on. Rather than merely benefiting from socioeconomic similarity, my daughter was being read as both black and white. This has euphemistically been referred to as being a “negro de alma branca” (a black person with a white soul).

My children have struggled with their own noticing of racial difference (“why are most of the street kids black?”) and the occasionally loud noticing of racial difference by other young children not yet trained in the racial etiquette of tolerance or colorblindness (“your skin is black!”). But cycling back to my answer to your first question, the structural racism they live in and the white supremacist ideologies that they must live with have produced similar life lessons in racial inequality in both contexts. This simultaneous similarity and difference has long made Brazil a productive foil for the study of U.S. race relations.