Mixed Race Studies

Traces of History: Elementary Structures of Race

Verso Books
January 2016
306 pages
Paperback ISBN: 9781781689172
Hardback ISBN: 9781781689165
Ebook ISBN: 9781781689196

Patrick Wolfe

Traces of History presents a new approach to race and to comparative colonial studies. Bringing a historical perspective to bear on the regimes of race that colonizers have sought to impose on Aboriginal people in Australia, on Blacks and Native Americans in the United States, on Ashkenazi Jews in Western Europe, on Arab Jews in Israel/Palestine, and on people of African descent in Brazil, this book shows how race marks and reproduces the different relationships of inequality into which Europeans have coopted subaltern populations: territorial dispossession, enslavement, confinement, assimilation, and removal.

Charting the different modes of domination that engender specific regimes of race and the strategies of anti-colonial resistance they entail, the book powerfully argues for cross-racial solidarities that respect these historical differences.

Evolution of interracial marriage

WSLS-TV 10
Roanoke, Virginia
2016-11-22

Brie Jackson, Anchor/Reporter

ROANOKE (WSLS 10) – The story of one Virginia couple whose love for one another changed history is being shown on the big screen nationwide including the Grandin Theatre.

“Loving” tells the story of Mildred and Richard Loving. He was white, she was black and Native American. Decades ago, their marriage was against the law in Virginia and several other states. Their love story broke barriers for interracial couples.

In 1958, the couple married in Washington, D.C. where it was legal, but returned home to Virginia and were arrested. A judge sentenced the couple to prison unless they left the commonwealth for 25 years. They did, but returned to the state five years later and were jailed again. Eventually their case went all the way to the U.S. Supreme Court where the court ruled the ban on interracial marriage unconstitutional.

That 1967 decision paved the way for others to marry who they love regardless of race.

“The bottom-line, if you love someone it does not matter the color of your skin,” said Pamela Casey.

Pamela and Corwin Casey’s love story begins in 1980 when Corwin was an activities director at a children’s home in North Carolina. Pamela said they met on her first day. She arrived as a volunteer from her church in Ohio…

Read the entire article here.

Carina E. Ray: Crossing the Color Line: Race, Sex, and the Contested Politics of Colonialism in Ghana [Interview]

New Books Network
2016-10-07

Dawne Curry, Associate Professor of History and Ethnic Studies
University of Nebraska, Lincoln

In Crossing the Color Line: Race, Sex, and the Contested Politics of Colonialism in Ghana (Ohio University Press, 2015), Carina E. Ray interrogates the intersections of race, marriage, gender and empire in this thought-provoking study that challenges the notion of identity and the politics that surround it. Ray plumbs the depth of an array of archival material, which includes travel narratives, visual sources, administrative records, wills, and personal and official correspondence. She also conducted interviews to further piece together the inner lives of Africans and Europeans to show how interracial marriages and relationships evolved in Ghana. In a very compelling way, Ray deconstructs intersexual economies to show their linkages to the slave trade and beyond. Her opening vignette not only sets the stage for the themes she addresses to illustrate how Africans had agency even when it came to marrying across the color line. Shortlisted for the United Kingdom’s Fage and Oliver Prize and the winner of the American Historical Associations’s Wesley-Logan Prize for African Diaspora History, this groundbreaking book has set new standards for understanding race, its implementation and its interpretation not only in Africa but also around the world.

Listen to the interview (00:57:50) here. Download the interview here.

The Distinction Between Slavery and Race in U.S. History

African American Intellectual History Society (AAIHS)
2016-11-27

Patrick Rael, Professor of History
Bowdoin College, Brunswick, Maine

The history of the Electoral College is receiving a lot of attention. Pieces like this one, which explores “the electoral college and its racist roots,” remind us how deeply race is woven into the very fabric of our government. A deeper examination, however, reveals an important distinction between the political interests of slaveholders and the broader category of the thing we call “race.”

“Race” was indeed a critical factor in the establishment of the Constitution. At the time of the founding, slavery was legal in every state in the Union. People of African descent were as important in building northern cities such as New York as they were in producing the cash crops on which the southern economy depended. So we should make no mistake about the pervasive role of race in the conflicts and compromises that went into the drafting of the Constitution.

Yet, the political conflicts surrounding race at the time of the founding had little to do with debating African-descended peoples’ claim to humanity, let alone equality. It is true that many of the Founders worried about the persistence of slavery in a nation supposedly dedicated to universal human liberty.  After all, it was difficult to argue that natural rights justified treason against a king without acknowledging slaves’ even stronger claim to freedom. Thomas Jefferson himself famously worried that in the event of slave rebellion, a just deity would side with the enslaved…

Read the entire article here.

A United Kingdom: Love In The Time Of The British Empire

Media Diversified
2016-11-28

Shane Thomas

Once the year in film began with #OscarsSoWhite, was it coincidence that 2016 is closing – and 2017 beginning – with a raft of movies featuring people of colour? We have Hidden Figures, Lion, Fences, and the magnificent Moonlight to come. We recently had the release of Queen of Katwe, and last Friday saw A United Kingdom, Amma Asante’s follow-up to Belle, appear in cinemas.

The story focuses around the true-life romance between Seretse Khama and Ruth Williams (played by David Oyelewo and Rosamund Pike). Seretse, who is studying in London in 1947, meets and falls in love with Ruth while in England. Normally this would set the table for a garden variety rom-com. But there’s no chance of any “com”, due to the complications the relationship brings. Seretse is the dauphin to the throne of Bechuanaland (a place under British control, before it was known as Botswana), and he is black, while Ruth is white…

Read the entire review here.

Our love is colour blind but we face prejudice – Northern Ireland mixed race couples tell of their experiences

The Belfast Telegraph
2016-11-28

Kerry McKittrick

With film A United Kingdom at cinemas now, a true story documenting the political fall-out from an inter-racial relationship in Britain and South Africa of the 1940s, Kerry McKittrick talks to three mixed race couples here about their experiences…

Read the entire article here.

Carina Ray’s scholarship was sparked by her personal experiences

Brandeis Now
Brandeis University
Waltham, Massachusetts
2016-02-01

Jarret Bencks, News and Communications Specialist

Carina Ray performs research in the national archives in Ghana.

The newest AAAS professor will begin teaching courses next semester

When Carina Ray was an undergraduate at University of California at Santa Cruz in 1993, she was drawn to study abroad in Ghana because she wanted to connect with her Puerto Rican family’s African roots. The trip ended up being the beginning of a career dedicated to the study of what blackness means in West Africa.

Fast-forward to 2016, and Ray is a groundbreaking scholar of African history whose work is shedding new light on the history of race in Africa. She has been appointed as an associate professor of African and Afro-American Studies at Brandeis and will begin teaching courses in the fall of 2016.

Back in 1993, Ray was initially surprised that most Ghanaians she met saw her as white. Her longwinded explanations about being multiracial failed to persuade people otherwise.

“I realized it was more instructive to listen to Ghanaians talk about their own perceptions of blackness and how race works there.”

She found the subject was rarely written about from an African perspective, and that led her to pursue a PhD in African History at Cornell University followed by a robust teaching and publishing career devoted to a deeper understanding of race in Africa.

Out of that search for meaning came Ray’s first book, “Crossing the Color Line: Race, Sex, and the Contested Politics of Colonialism in Ghana,” which cuts to the heart of how interracial sex became a source of colonial anxiety and nationalist agitation during the first half of the twentieth century. The book has already received praise from noted scholars, including philosopher Kwame Appiah and historian Antoinette Burton…

Read the entire article here.

Shanya Hayes | In Her Own Voice

The Insight Center for Community Economic Development
Oakland, California
2016-11-03

Shanya Hayes is going places. While many students her age spend their summer vacations doing anything but school work, this bright young scholar has been staking out her future.

And as her ambition leads her toward new understandings, she’s learning more about what her journey might entail as a young Black woman growing up in a society still deeply marked by bias and its profound but not always visible effects…

…Shanya’s interests led her to research a topic that was new to her as a concept but, as she would discover, was something she had already seen and experienced: colorism.

“Colorism is skin-tone bias, which is basically racial inequalities within race, with the idea that being lighter is better, within all races,” Shanya explains…

Read the entire article here.

Pink and the Fancy Gal: White Slavery, the Abolitionists’ Crusade, and the Painter’s Canvas

Nineteenth-Century Art Worldwide: a journal of nineteenth-century visual culture
Volume 15, Issue 3, Autumn 2016

Naurice Frank Woods Jr., Assistant Professor of African American Art History; Director of Undergraduate Studies in the African American and African Diaspora Studies Program
University of North Carolina, Greensboro

Fig. 1, George Fuller, The Quadroon, 1880. Oil on canvas. The Metropolitan Museum of Art, New York, gift of George A. Hearn, 1910.

This article examines two paintings from the antebellum period, The Slave Market (ca. 1859) by an unidentified artist and The Freedom Ring (1860) by Eastman Johnson, which involve the purchase of nearly white slaves, and attempts to delineate the motivation for presenting these images before the public. These paintings functioned much as slave narratives, and abolitionists used them to provide visual evidence of an insidious, often sexually depraved side of “the peculiar institution.”

In late 1849, Massachusetts native George Fuller (1822–84) traveled throughout the Deep South in pursuit of portrait commissions.[1] Like many of his northern contemporaries, Fuller sought a receptive and less competitive climate below the Mason-Dixon Line. The artist’s journey placed him directly in the midst of a region addicted to the institution of slavery, and while it may not have been his intention to observe astutely the lives of human chattel, Fuller was increasingly aware of their plight and recorded his observations in a sketch diary. Fuller’s drawings and subsequent commentary revealed neither his political inclinations about the “great divide” that was gripping the nation nor his moral position on the subject. This was, however, his third trip to the region, and while his sketches remained dignified depictions of black plantation life, his words reflected growing concern over certain “rituals” conducted in the South.

One of these rituals, a slave auction involving a beautiful quadroon, affected him profoundly. Fuller had witnessed slave auctions before, but the sight of men bidding over a nearly white slave like a farm animal caused him to write:

Who is this girl with eyes large and black? The blood of the white and dark races is at enmity in her veins—the former predominated. About ¾ white says one dealer. Three fourths blessed, a fraction accursed. She is under thy feet, white man. . . . Is she not your sister? . . . She impresses me with sadness! The pensive expression of her finely formed mouth and her drooping eyes seemed to ask for sympathy. . . . Now she looks up, now her eyes fall before the gaze of those who are but calculating her charms or serviceable qualities. . . . Oh, is beauty so cheap?…

Read the entire article here.

Meet Shereen Marisol Meraji, A Latina Journalist Tackling Race & Idendity Through Podcasting

Latina
2016-11-23

Raquel Reichard, Politics & Culture Editor

Hugo Rojo

With Donald Trump, a candidate who ran on racism, xenophobia, sexism, Islamophobia and a disdain for journalists, heading to the White House, reports by and about the communities most impacted by the president-elect’s rhetoric and proposals are ever-important, making Shereen Marisol Meraji a periodista you need to know.

The Cali-based Puerto Rican-Iranian is a journalist reporting on race for NPR’s Code Switch podcast. Each week, Meraji and her team tackle issues of race, ethnicity and identity that are impacting our country as a whole.

The mixed-race mujer, who prides herself on being vocal, opinionated and informed, approaches these topics from her own intersections as a woman, bi-cultural Latina and daughter of a Muslim immigrant father.

Ahead, the Persian-Rican opens up about her work, why she focuses on race and identity, and the need for nuanced and uncomfortable discussions on these topics in the media and at the dinner table…

…Why are issues of race particularly important to you, Shereen the human, rather than Shereen the journalist-podcaster?

For me, the human, I think it’s because of my mixed background. I never felt like I belonged. I realized, Oh my God! Not only is my mixed identity not represented anywhere, but not even my mom’s or dad’s 100 percent identities are represented. I’m not seeing any stories of what I’m interested in, what I do or who I am, and those stories are important. Never having really belonged, being on the margins while observing everything, that’s made me a natural journalist – not quite a part of something, always observing…

Read the entire interview here.