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Not Even Past

Purchasing Whiteness: Race and Status in Colonial Latin America

By Ann Twinam

Let’s start with a question and a comparison.

What do you think would have happened if a free mulatto — someone of mixed white and African heritage — living in New York or Virginia, had sent a letter to either of the Georges, either King George III (1760-1820) or President George Washington (1789-1797) asking if he might purchase whiteness? Do you think he would have even received a reply, much less transformation to the status of white? The very idea that mulattos could pay to become “whites” or that an English king or a U.S. president might grant such a change seems unbelievable — because it was.

Yet, during the same period in the Spanish empire, such alterations for mulattos –also known as pardos or castas — became possible. This was so, even though the Spanish state had also institutionalized severe discriminations against those of mixed African descent, just as in the British Empire and in the American republic. Laws forbade their practice of numerous occupations including physician, notary, lawyer, priest, the holding of public offices, service in the regular military, entrance to universities, and marriages with whites. Still, it was also possible for Cuban Manuel Baez to receive a royal decree in 1760 that erased “the defect that you suffer from birth and leave you able and capable as if you did not have it, repealing this time in your favor whatever laws, ordinances or constitutions speak otherwise.”

By 1795, the Spanish crown had institutionalized the purchase of whiteness through a process called the gracias al sacar. An elite cohort of pardos and mulattos could apply and pay for a decree that converted them to whites. In 1796, merchant Julian Valenzuela bought a decree from the king and Council of the Indies that “dispensed” his status as a “pardo.”

At the end of the eighteenth and the beginning of the nineteenth centuries in Spanish America,there was vigorous and serious debate concerning the civil rights of those of mixed descent. It not only led the Council of the Indies to endorse the continued whitening of deserving pardos and mulattos, but also to consider eliminating some of the discriminations against all the castas. It meant that by 1812, the Cortes of Cádiz, tasked with writing a constitution for the Spanish empire, would continue to widen opportunities for pardos and mulattos by ordering the desegregation of universities throughout the Indies. Such actions would occur 150 years before the U.S. government in the 1960s would demand similar measures for colleges and universities.

Mulatto
“De negro é española sale mulato” (A Black man and a Spanish woman produce a Mulatto). While casta paintings showing the complex combinations of mixings do not always reflect the lived realities of socioracial status in Spanish America, they do reflect the understanding that mixings with whites over generations would eventually lead to full whiteness. This casta painting shows a child looking more Spanish than African and the painting above show a castiza (almost white) mixing with a Spaniard, leading to a Spaniard. Pintura de castas, ca. 1780, via Wikimedia

Such contrasts between Spanish and Anglo America lead to other questions. What made it possible for pardos and mulattos in the Spanish empire in the mid eighteenth century to apply for whiteness? Why would the crown take them seriously? What does this reveal about the different histories and the different ways that the Anglo and the Iberian worlds have constructed and treated issues of race?

Some deep-rooted Spanish practices facilitated the progression from slavery to freedom to vassalage that enabled mutable racial status. Even as both sides of the Spanish Atlantic acknowledged hierarchies of exclusion that privileged whiteness and rank, some possibilities for inclusion remained open. The medieval law code of the Siete Partidas (1252-1284), for example, acknowledged that slaves would naturally seek freedom, establishing the potential for purchase or grant of liberty with the acquiescence of the state.

Las_Siete_Partidas
Alfonso X of Castile and the Siete Partidas (1255). Via Wikimedia

Spanish traditions also uniquely combined with the American environment to open interstices for newly arrived Africans to negotiate pathways. The legal recognition that free women always gave birth to free babies had an incalculable impact in the Americas, given the potential motherhood of millions of indigenous women. It provided male slaves with the option of automatically freeing sons and daughters borne by Native and later by free casta partners. Slaves, free blacks, pardos, and mulattos could access the system, seeking legal remedies for mistreatment. Laws proved color blind, permitting acquisition of possessions, as well as secure passage of property to succeeding generations.

Zambo
“De negro é india sale lobo (A Black man and an Indian woman produces a ‘wolf’ (zambo).” (Pintura de castas, ca. 1780) Via Wikimedia

The passage of time also mattered. The first waves of Africans disembarked centuries earlier in the Indies than in Anglo America. The royal insistence that slaves become Catholics also had a profound influence, even though African beliefs persisted and blended. As the centuries passed, a shared religion united the inhabitants of the Indies forging them into a Spanish Catholic “us.” Because they were coreligionists and neighbors whose families had lived for generations in the Americas, blacks, pardos, and mulattos in the 1620s and 1630s received permission to organize militia units and take up arms with whites to defend their mutual homeland against foreign enemies.

Autor: Francisco Goya Obra: Retrato de José de Cistue y Coll Fecha: 1788 Técnica: óleo s/lienzo Medidas: 114 x 82,5 cm NIG: 1178 Colección Ibercaja
Francisco Goya, Portrait of Jose de Cistué y Coll, a crown attorney of the Council of the Indies (1778-1802) who was the first to suggest that informal practices of granting whiteness be institutionalized into the gracias al sacar. Colección Ibercaja

Such evidence of royal service moved participating castas from the category of “inconveniences,” to the status of vassals enjoying the traditional benefits of reciprocity. Those who performed services had the right to request favors; the duty of the monarch was to reward them. For that reason, the Council of the Indies would seriously consider the casta petitions that arrived in the mid eighteenth century requesting the purchase of whiteness. The history of the whitening gracias al sacar thus becomes inextricably linked to centuries of struggles by Africans and their mixed-blood descendants to move from slavery to freedom, to status as vassals, and finally, after independence, to citizenship.

Valdez
This is the only visual we have of a pardo who purchased whiteness. Dr D. Jose Manuel Valdes of Lima was a noteworthy physician, beloved by elites and the poor. He received a whitening decree in 1806.

The gracias al sacar emerges as but one variant — an official one — of widespread and unofficial practices that had facilitated pardo and mulatto mobility for centuries. The ability to purchase whiteness proved critical, but not because of the few who applied for it or the even fewer who received it. Rather, its history coincides with this larger and mostly untold story of casta mobility in Spanish America. The extent to which such struggles failed and succeeded provides striking insight into those processes of exclusion and inclusion that shaped the texture of discrimination within the Spanish empire. Understanding those differences highlights the divergent historical paths followed in Anglo and Latin America, the consequences of which reverberate even today.

Purchasing Whiteness: Pardos, Mulattos and the Quest for Social Mobility in the Spanish Indies by Ann Twinam

To read more about interpretations of race and status in colonial Latin America, click here.

Articles on Not Even Past about race and slavery in Latin American can be found here.

History Museums: The Hall of Never Again

By Jimena Perry

Entrance to the Hall of Nevermore.

Entrance to the Hall of Nevermore.

The Hall of Never Again (El Salón del Nunca Más) is located in Granada, in the highlands of Antioquia, Colombia. Granada is small place which lost 70% of its population between 1998 and 2000, going from 18,000 inhabitants to 5500 due to violence. The region saw near constant fighting among guerilla, paramilitary groups and the National Army between 1988 and the early 2000s.

When these violent episodes ended and the survivors felt it was safe to go back to their town and surrounding lands, they decided to get together to repair the urban area and remember those who died. With this in mind, they created the United Victims Association of the Municipality of Granada (Asociación de víctimas unidas del municipio de Granada), or Asovida, in 2005. The mayoralty gave them a space adjacent to the cultural center and Asovida used it to found The Hall of Never Again in 2009.

The Hall functions as a museum because it has displays and record books, and the coordinators attend workshops related to museum work, but they do not want to be considered a museum. Instead The Hall of Never Again, for them, is a memory place, a space for reflection and life.

The main goal of the Hall of Never Again is to make the public aware of the violence this community experienced. The main display consists of a wall covered with 180 photographs of some of the 2000 or more people of Granada who died since the 1980s. In this Hall, the survivors remember crimes such as 128 disappearances, 83 victims of landmines, and the displacement of nearly three-quarters of the population.

The intention of the picture display is to strike the visitor, to make him or her feel that these were persons just like them; people whose life affected a community and who therefore deserve remembrance. On another wall, there are children´s paintings, products of the workshops the project encouraged. To the left of the picture display there are images of 15 mass graves found in Granada. In another room, the visitor finds a large photograph of a march that took place in December 9, 2000, three days after one of the guerilla groups, the Revolutionary Armed Forces of Colombia (Fuerzas Armadas Revolucionarias de Colombia or FARC), disputing the territory with the National Liberation Army (Ejército de Liberación Nacional or ELN), destroyed the town. And still today, when someone is murdered, his or her picture becomes part of the wall.

View of the wall with the pictures at the Hall of Nevermore.

View of the wall with the pictures at the Hall of Nevermore.

One way the creators of this Hall have found to help the survivors cope with the brutal attacks they experienced is the use of bitácoras. These are notebooks where relatives and friends of the victims can express their sadness over their losses. The bitácoras are designed to make the grieving process easier. There are now approximately fifty bitácoras, in which one can find mothers talking to their children, husbands to their wives, brothers to sisters, children to their parents, wives to their spouses, and other family members remembering their departed loved ones.

These notebooks become both objects to be exhibited and historical sources for studying the violence endured by a particular person or family and how they survived. The bitácoras relate the history and character of the dead person, and why he or she was important. They also help the public and visitors of the Hall to learn about local history and to link the surivors to community reconstruction processes.

View of some bitácoras.

View of some bitácoras.

The Hall of Never Again is the response of a community commemorating its own history in the absence of State presence. Its funding does not come from the Colombian government and due to its scarce resources it only opens during the weekends. However, the Hall has received international agencies´ economic help and has won national peace prizes. The emergence of this Hall and the fact that their funding is not from the Colombian State demonstrates the unwillingness of the government to take care of all the victims of the armed conflict. It also shows a kind of indifference towards small towns and municipalities that do not represent a big contribution to the national economy. But as Gloria Quintero, one of the local leaders who made the Hall possible, said, the Hall represents “…the value of remembering. Our loved ones die when we forget them. We want children to learn that forgetting is not the way to mourn.”

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All photographs taken in August 2014 by Jimena Perry.

 

This essay is based on interviews by the author and draws on the following printed sources:

“Sepultadas 21 personas de la masacre en Granada, Antioquia.” (Medellín: Caracol, 2000). Accesed April 9, 2014, http://www.caracol.com.co/noticias/judiciales/sepultadas-21-personas-de-la-masacre-en-granada-antioquia/20001105/nota/75878.aspx.

Alonso López, N. (2010) “Granada, Antioquia, el pueblo que dijo ´Nunca más´ a la violencia. El Tiempo. Bogotá

The Disappearing Mestizo, by Joanne Rappaport (2014)

By Adrian Masters

Disapearing Mestizo coverFrom Mexico to Chile, Latin American intellectuals, artists, and activists proudly proclaim that they, their nations, and their cultures were born from a mix of Spanish and Indian heritage. The adjective for this mix is “mestizo;” individuals of Spanish-Indian descent are “mestizos.” These terms, along with the general word for mixing (mestizaje), have become increasingly prominent in North American scholarship in recent years, especially since the 1960s Civil Rights Movement, when many U.S American activists with Latin American heritage sought to explore and embrace their Indian roots.

The category of mestizo first arose in the 16th century Spanish Empire. In The Disappearing Mestizo, Joanne Rappaport takes readers to 16th, 17th, and 18th-century Colombia, where she questions whether mestizos constituted a real social group. Many scholars have treated colonial mestizos as a sort of ethnicity or collective, a concept frequently influenced by the era’s spectacular paintings of genealogical mixes between Africans, Indians, and Spaniards. These colonial Mexican paintings create the appearance of a hierarchical society, a “caste system,” where a colonist would fall into one of dozens of categories and would live his or her life according to the privileges and limitations of that group. The idea of the caste system has recently come under the scrutiny of contemporary scholars, who argue that the rigid idealized world of caste paintings never materialized in day-to-day life.

Casta painting

Casta painting by Luis de Mena

Rappaport’s book builds on this growing suspicion towards the caste system and colonial-era terms like the mestizo. Whereas Africans, Indians, and Spaniards often had languages, histories, and legal statuses that brought them together, Rappaport argues that mestizos were adrift between colonial ethnicities. This meant that they appeared and disappeared from colonial documents with ease, “becoming” Indians or Spaniards at times and becoming mestizos at other times. If there were no mestizo sociological or ethnic group, Rappaport reasons, we must set out to determine not “Who is a mestizo?” or “What is a mestizo?” but “When and how is someone a mestizo?”

Casta Painting from the end of the 18th century or beginning of 19th century. Author unknown. The caption reads "From a Spanish man and an Amerindian woman, a Mestizo is produced"

Casta Painting from the end of the 18th century or beginning of 19th century. Author unknown. The caption reads “From a Spanish man and an Amerindian woman, a Mestizo is produced”

This book seeks to answer why colonists called others mestizos, through a handful of fine-grained “ethnographic” vignettes that appear in the archives of Spain and Colombia. The author begins by exploring the importance of markers of difference that go beyond 19th and 20th century markers of “race:” religion, appearance, dress, blood, honor, reputation, occupation, and even ideas regarding breast-milk (ideas that colonists summarized as calidad, or “quality”). Readers meet a moreno (dark-skinned man) who seduces a high-born Spanish woman with love letters but shames and threatens the reputation of her family when he reveals his physical appearance to her. A half-Spanish, half-Indian girl brings dishonor upon her father by dressing as an Indian. A distinguished conquistador’s enemies accuse him of being a Moorish slave from Oran, throwing his Christian genealogy and virtue into question. These cases force us to think beyond “race” as a simple category of genetic difference and to focus instead on the cultural reasons why colonists did or did not use so-called caste categories when describing themselves and others.

Casta painting by Miguel Cabrera

Casta painting by Miguel Cabrera

Rappaport then turns her attention directly toward mestizos (and occasionally mulattos), presenting various stories in which Crown officials struggled with caste terms. There is Juan de Medina, the self-proclaimed Indian whose enemy, an Indian, insults him as a mestizo after a bloody brawl involving a severed nose. When a tax collector confused Juana Galván for a tribute-paying indigenous woman, she complained that she had a Spanish father and was in reality a mestiza (colonial Iberians and their mestizo children did not normally pay taxes). Rappaport also notes the cases of mulattos Lázaro, who lived and paid taxes as an Indian, and Manuel Rodríguez, who lived among Spaniards and Indians, even as he terrorized them with robberies and rape. There was Ana de Mendoza, an elite mestiza who became “hispanized” by her marriage, and Juan Birvez, a man who witnesses outed as a mestizo as he lay in bed with the daughter of a powerful landowner. Birvez, in turn, revealed that the daughter was a mestiza herself. Rappaport concludes from these episodes that the matter of who was and was not a mestizo was highly contingent on the time, the place, and who was doing the naming. She argues that mestizos and mulatos did not live in a caste system; they moved in and out of their categories with ease.

A painting of a Spanish man and a Peruvian indigenous woman with Mestizo child, 1770

A painting of a Spanish man and a Peruvian indigenous woman with Mestizo child, 1770

Some mestizos, however, experienced very tangible discrimination at the hands of Crown officials and clergymen. One was the famous Gonzalo García Zorro, who became a cathedral canon in spite of stiff resistance from members of the Church. His brother Diego was less fortunate. He had close ties to Indians and found that townspeople disdained him and his pretensions to public offices due to his mixed lineage. A similar case, well known among historians of colonial Colombia, was the struggle of two mestizo “caciques” – Indian chiefs – to win the recognition of the Crown for their position. Both Alonso de Silva and Diego de Torres were sons of conquistadors and Indian women, and both lost their rights to act as caciques when their enemies raised questions about their eligibility. Mestizos in colonial Colombia were often either too Spanish or not Spanish enough, depending on the position they sought to achieve.

Casta Painting from Peru, 1770.

Casta Painting from Peru, 1770.

Rappaport’s book does admirable work at dismantling the myth of the caste system, showing that colonists hardly ordered themselves into clean-cut categories. This observation brings up a mystery that the author does not answer, however. Why did Crown officials and clergymen frequently describe individuals as mestizos to begin with?

Rappaport all but ignores the problem of mestizo laws – the Crown decrees that insisted that mestizos not enter the priesthood, not live in Indian towns, not act as caciques, and so forth. This is a critical weakness in a work that pivots around the reasons colonists categorized one another.

Mestizo laws are difficult to understand at first glance. My research into the sixteenth-century creation of the term reveals more chaos than clarity. For every law forbidding mestizos’ entry into the priesthood, for example, there are two allowing it. The same follows for many similar decrees regarding mestizos’ rights to carry arms, inherit land, and so forth.

also known as the New Laws of the Indies for the Good Treatment and Preservation of the Indians, were issued on November 20, 1542, by King Charles I of Spain and regard the Spanish colonization of the Americas.

Front cover of the New Laws of the Indies for the Good Treatment and Preservation of the Indians. The New Laws were issued on November 20, 1542, by King Charles I of Spain and regard the Spanish colonization of the Americas.

The solution to this mystery lies in the nature of Spanish imperial law, and has important consequences for the practices of naming mestizos. The King desired close contact with his colonists – from the humblest Indian to the richest Spaniard. He also desired to resolve conflicts and avoid bloodshed. The Monarch and his Council thus oversaw all sorts of legal disputes, simultaneously providing colonists with mediation and collecting hordes of information on the New World all at once. It was in this flurry of colonial petitions to the Crown that the meaning of the term mestizo arose. Countless petitioners thus created different meanings for the term mestizo from below, in the process sowing legal chaos on a grand scale.

Emblem of the Council of the Indies from the frontispiece of the 'Recopilacion de leyes de los Reynos de Las Indias', Madrid, 1681.

Emblem of the Council of the Indies from the frontispiece of the ‘Recopilacion de leyes de los Reynos de Las Indias’, Madrid, 1681.

The archives reveal that the true question baffling colonists and officials alike was how to deal with the petitioner-driven, ever-evolving world of mestizo law. The true “disappearing” or ‘”floating” aspect of mestizos was their shifting and contradictory legal status. Thus to understand why mestizos seem to disappear, we must open a new inquiry into the nature of Spanish imperial law. We need a case-by-case account into each specific petition and counter-petition that shaped this category.

The Disappearing Mestizo suffers from this inattention to legislation on mestizos. For one, it often sinks into an “ethnographic present” – the illusion among many anthropological writings that cultures remain stable over time – because it does not recognize how decrees on mestizos could abruptly reshape ideas about mixture. A second problem is Rappaport’s overstatement of Crown officials’ difficulty in properly identifying mestizos. In reality, most Crown functionaries could determine a person’s part-Indian, part-Spanish genealogy simply by requesting an individual provide it. Mestizo laws had little to say about more extreme cases, where a colonist was an orphan, illiterate, or too marginal in Spanish society to merit official interest. This is not a reflection of difficulty so much as indifference on the part of bureaucrats and secretaries.

Many of the concepts about race that emerged during European colonialism remain with us (in different ways) in the 21st century. Virtually all Latin American countries point to the contributions of both Spanish and indigenous peoples in shaping what they call their “mestizo nations.” Some scholars today go so far as to argue that immigration and intermarriage are returning North America to colonial times, back to the era of the mestizo. Rappaport’s book will therefore be valuable not only to historians of colonial Colombia and scholars of race, but also to a reading public from Chile to Canada that is increasingly interested in the “mixing” of peoples who created their countries. As more and more authors assert that the future itself is mestizo, the next step for scholars – a step already taken by Rappaport – will be to think deeply about that category, its history, and its hidden baggage and complexities.

Joanne Rappaport, The Disappearing Mestizo: Configuring Difference in the Colonial New Kingdom of Granada (Duke University Press, 2014)

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You may also like:

Ann Twinam discusses her work on Purchasing Whiteness in Colonial Latin America

Naming and Picturing New World Nature, by Maria Jose Afanador LLach

Kristie Flannery’s review of Imperial Subjects: Race and Identity in Colonial Latin America, edited by Andrew B. Fisher and Matthew D. O’Hara (2009)

Susan Deans-Smith on the Casta Paintings

 

For more on casta paintings:

Magali M. Carrera, Imagining identity in New Spain: Race, Lineage, and the Colonial Body in Portraiture and Casta Paintings (2003)

María Concepción García Saiz, Las castas mexicanas: un género pictórico americano (1989)

Ilona Katzew, Casta Painting: Images of Race in Eighteenth-Century Mexico (2004)

 

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All images via Wikimedia Commons.

 

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