Prize-winning Hong Kong-born poet Sarah Howe makes verse of city’s Basic Law

Posted in Articles, Arts, Asian Diaspora, Biography, Media Archive on 2016-07-08 01:55Z by Steven

Prize-winning Hong Kong-born poet Sarah Howe makes verse of city’s Basic Law

South China Morning Post
2016-07-07

Clare Tyrrell-Morin

Having played down her Chinese side while growing up and studying in the UK, Howe, now at Harvard, has turned to it again as she makes an ‘erasure poem’ out of Hong Kong’s mini-constitution

We meet in a small office on the second floor of the Radcliffe Institute for Advanced Study, overlooking a tranquil garden unseen from Harvard University’s main thoroughfares. It’s freezing outside, but the view is spectacular: the bare branches of an ancient tree, contemplated by scholars for generations, silhouetted against a wintry sky. It’s a good view for a poet.

The office belongs to a Radcliffe Fellow, Sarah Howe, who is spending the year here with 50 other artists and scholars. You may not know her name yet, but Howe could become one of Hong Kong’s most celebrated writers.

In December, the 32-year-old won the Sunday Times/Peters Fraser & Dunlop Young Writer of the Year Award for authors under the age of 35. The previous month, scientist Stephen Hawking read out a poem, titled “Relativity”, that she had written for him for Britain’s National Poetry Day. And, in January, Howe was presented with the £20,000 (HK$204,000) T.S. Eliot Prize for Poetry at a lavish ceremony at the Victoria and Albert Museum, in London.

Her winning collection was “Loop of Jade”, which weaves around her identity as a British-Chinese poet born in Hong Kong. The dualistic, hybrid work dances between the search for her mother’s Chinese roots and subjects as varied as censorship, 14th-century Flemish paintings, evenings in Arizona and the rain in London. The book captures a quest for identity, dislocation and the crossing of waters – themes familiar to many a Hongkonger – yet, equally, it is an exploration of the Western literary canon and the impact Chinese poetry has had on it…

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La Esclava Blanca: The New Telenovela Rewriting Colombia’s History of Slavery

Posted in Articles, Caribbean/Latin America, Communications/Media Studies, History, Media Archive, Slavery, Social Justice, Women on 2016-07-07 01:15Z by Steven

La Esclava Blanca: The New Telenovela Rewriting Colombia’s History of Slavery

AAIHS: African American Intellectual History Society
2016-07-06

Yesenia Barragan
Columbia University, New York, New York

This is a guest post by Yesenia Barragan, a historian of race, slavery, and emancipation in Colombia, Afro-Latin America, and the Atlantic/Pacific worlds. She recently received her Ph.D. in Latin American and Caribbean History at Columbia University and will be a Postdoctoral Fellow in the Society of Fellows at Dartmouth College in the Fall 2016. She is currently revising her book manuscript, tentatively titled The Darkest Place: Slavery and Emancipation on the Colombian Pacific, which is the first detailed study of the gradual abolition of slavery (1821-1852) and the immediate aftermath of emancipation in the Pacific lowlands of Colombia. Yesenia is also a longtime activist and has published several pieces for the Latin American news agency Telesur on the historical memory of slavery in the Americas, Black Lives Matter, and Colombian politics.

Between Underground and Roots, the past year has witnessed a boom in the cinematic portrayal of the ugly business of and resistance to slavery in the U.S. South. Little known to American audiences, however, is the recent debut of a television series from the Latin American country of Colombia titled La Esclava Blanca (The White Slave), which depicts the slaveholding world of post-colonial Colombia, currently the country with the third largest Afro-descendent population in the Western Hemisphere (after the United States and Brazil). Produced by Caracol TV (Colombia’s largest television network) and first aired in late January 2016 in Colombia, La Esclava Blanca was transmitted to a larger Spanish-language audience in the United States via Telemundo in April. In contrast to Brazil’s longer history of telenovelas (soap operas) set during the time of slavery (see, for example, Greg Childs’s AAIHS piece on A Escrava Isaura), La Esclava Blanca is actually the first telenovela about slavery in the history of Colombia. Yet, as reflected in the title of the telenovela (The White Slave), the show engages in a violent historical revisionism by centering the fantastical travails of a white woman who ostensibly holds the key of freedom for the region’s enslaved…

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Will Precision Medicine Move Us beyond Race?

Posted in Articles, Health/Medicine/Genetics, Media Archive on 2016-07-05 18:27Z by Steven

Will Precision Medicine Move Us beyond Race?

The New England Journal of Medicine
2016-05-26 (Volume 374, Number 21)
DOI: 10.1056/NEJMp1511294

Vence L. Bonham, J.D., Senior Advisor to the NHGRI Director on Genomics and Health Disparities
National Human Genome Research Institute, Bethesda, Maryland

Shawneequa L. Callier, J.D., Professorial Lecturer in Law
Georgetown University, Washington, D.C.

Charmaine D. Royal, Ph.D., Associate Professor of African and African American Studies and Genome Sciences
Duke University, Durham, North Carolina

Although self-identified race may correlate with geographical ancestry, it does not predict an individual patient’s genotype or drug response. Precision medicine may eventually replace the use of race in treatment decisions, but several hurdles will have to be overcome.

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A DNA Test Won’t Explain Elizabeth Warren’s Ancestry

Posted in Articles, Health/Medicine/Genetics, Media Archive, Native Americans/First Nation, Politics/Public Policy, United States on 2016-07-05 18:10Z by Steven

A DNA Test Won’t Explain Elizabeth Warren’s Ancestry

Slate
2016-06-29

Matt Miller

You’re not 28 percent Finnish, either.

Our genes dictate certain things about us, but ethnicity is not derived from a single gene.

Scott Brown, the former Massachusetts senator who lost to Elizabeth Warren in the 2012 election, has decided to dredge up old accusations that may have ultimately cost him that race.

“As you know, she’s not Native American,” Brown told reporters this week. “She’s not 1/32 Cherokee.” He then called on Harvard University, where Warren was a law professor, to release records that allegedly indicate Warren benefited from affirmative action (there’s no reason to believe this is true), before suggesting that “she can take a DNA test” if she wants to prove her roots.

But here’s the thing: DNA testing cannot definitively prove whether a person is Cherokee. Or a member of any community, at least not reliably. To assume it can is to assume that there’s something inherently different in the genetic makeup of tribal members and that this thing is universal within that community. That’s not true.

Our genes dictate certain things about us—there’s a gene that programs the color of your eyes, for example. But ethnicity is not a trait derived from a single gene, because ethnicity is mostly our perception of a collection of traits, rather than a trait itself. So a genetic test that looks at our genes and comes back with an assessment of our ethnic roots isn’t honing in on a specific gene and reading what it says because there’s no such gene to read. Instead, the test is comparing snippets of our DNA to snippets of DNA of people of known origin and looking for similarities…

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Efún: “White Love” and Modernity in Guinea

Posted in Africa, Articles, Literary/Artistic Criticism, Media Archive on 2016-07-04 22:04Z by Steven

Efún: “White Love” and Modernity in Guinea

Arizona Journal of Hispanic Cultural Studies
Volume 19, 2015
pages 33-54
DOI: 10.1353/hcs.2016.0026

Kathleen Connolly, Assistant Professor of Spanish
Western Oregon University, Monmouth, Oregon

This paper analyzes the award-winning novel Efún (1955), by Liberata Masoliver. The novel, a romance-adventure set in Equatorial Guinea, stages a cosmopolitan, white identity in the form of the Catalan protagonists Ana Ribera and Carlos Isart. The narrative harnesses racial discourse, as well as the signs of technological advancement and modernity, to portray Spaniards as ideal colonizers in Guinea. Significantly, Efún while in line with much of the ideological values espoused by National Catholicism, contains subtle counter discourses that construct upper-class Catalans as ideal national subjects. The novel’s preoccupation with transgressive sex and miscegenation demonstrates an anxiety regarding the “racial consequences” of the colonial project: the destruction of European, white, identity. Efún’s unease about mixed race, dangerous mestizos, and insinuations of Catalan racial purity all form an integral part of Masoliver’s education of desire.

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The Pain of Passing

Posted in Articles, Book/Video Reviews, History, Media Archive, Passing, United States on 2016-07-04 21:41Z by Steven

The Pain of Passing

Reviews in American History
Volume 44, Number 2, June 2016
pages 264-269
DOI: 10.1353/rah.2016.0028

Renee Romano, Professor of History, Africana Studies, and Comparative American Studies
Oberlin College, Oberlin, Ohio

Allyson Hobbs. A Chosen Exile: A History of Racial Passing in American Life. Cambridge, Mass.: Harvard University Press, 2014. 382 pp. Figures, notes, and index. $29.95.

In the past year, racial passing became the subject of intense media controversy and scrutiny when it was discovered that Rachel Dolezal, then-head of the NAACP in Spokane, Washington, was a white woman who had misrepresented herself as being partly black. In the wake of the media frenzy that followed, commentators took pains to point out that, even though it was unusual to see a white assuming an identity as black, passing itself was nothing new in U.S. history. “The history of people breaching social divides and fashioning identities for themselves is as old as America,” an editorial in the New York Times proclaimed in response to the controversy. But while the act of passing has long been a part of the American story, it has not, until now, been the subject of a sweeping chronological and narrative history. A Chosen Exile by historian Allyson Hobbs succeeds in the ambitious project of crafting a social and cultural history of the most famous version of the practice, that of people of black ancestry who passed as white. Racial passing, of course, was meant to be hidden and to leave no trace. But in A Chosen Exile, Hobbs demonstrates not only that sources exist to recover the history of blacks who assumed white identities, but also that historians have offered a rather onesided story of black-to-white passing that does not mine the experience fully for what it can tell us about the lived experience of racial identity in different eras in American history.

Drawing on creative research in sources—including runaway slave ads, diaries and letters, census and military data, student college records, and novels—A Chosen Exile offers a wide-ranging chronological history of the experience of blacks who passed as white from the late eighteenth through the mid-twentieth centuries. In taking that approach to the subject, it stands out from most of the existing literature on passing. Scholarly work on passing, for the most part, falls into one of two camps: studies by literary and media scholars that explore literary and cultural representations of the practice, such as Gayle Wald’s Crossing the Line: Racial Passing in Twentieth-Century U.S. Literature and Culture (2000) or more historical works that take a biographical approach to reconstruct the lives and stories of specific individuals or families who passed as white. Gerald Horne’s The Color of Fascism: Lawrence Dennis, Racial Passing, and the Rise of Right-Wing Extremism in the United States (2009), for example, sheds light on the strange life of Lawrence Dennis, a former child-preacher who chose to pass as white and who eventually became an outspoken supporter of fascism in the 1930s. Legal historian Daniel Sharfstein follows the lives of three families who changed from black to white from the colonial era to today in The Invisible Line: A Secret History of Race in America (2012). But A Chosen Exile has a much broader scope. Although Hobbs offers lengthy discussions of some key historical figures, she seeks to bring together as many stories of passing as possible to “reveal larger social, cultural, and national dynamics that would be far less visible if viewed through a lens fixed on the idiosyncrasies of a single person, family, or place” (p. 25).

That approach enables Hobbs to develop arguments about how the meanings and practice of passing have changed over time—arguments that are simply not possible in works that are more narrowly focused. She shows, for example, that passing was a relatively egalitarian practice that both elites and the poor engaged in when circumstances allowed; although, as the book progresses, it is clear that Hobbs has found more evidence to reconstruct the stories of economically privileged blacks than she has for poorer ones. She includes the experiences of both men and women who crossed the color line, and she compares the experiences of those who passed strategically—or who temporarily claimed a white identity in order…

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Drawing Black History

Posted in Articles, History, Media Archive, United States on 2016-07-04 21:25Z by Steven

Drawing Black History

Bostonia
Fall 2015

Rich Barlow, Staff Writer

Artwork by Joel Christian Gill

Graphic novels bring forgotten stories to life

Home to about 50 mixed-race descendants of a freed slave, Malaga Island off the coast of Maine seemed an oasis of racial harmony in 1912. But then the state, lobbied by ostensible “reformers” who claimed that residents were living in poverty—and perhaps tempted by a land grab too good to pass up—evicted the islanders. The majority who complied were the lucky ones. Those who held out were netted in the nascent eugenics fervor: declared feebleminded, they were confined and in some cases castrated.

Despite an official apology from Maine’s governor in 2010 and a radio documentary about the case, Malaga’s story might have remained little known but for Joel Christian Gill (CFA’04). His graphic anthology Strange Fruit, published last year by Colorado-based Fulcrum, uses comics to tell the stories of African Americans whose contributions and sufferings occupy fringes in the country’s historical memory….

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Uniting Blacks in a Raceless Nation: Blackness, Afro-Cuban Culture, and Mestizaje in the Prose and Poetry of Nicolás Guillén

Posted in Books, Caribbean/Latin America, Literary/Artistic Criticism, Media Archive, Monographs on 2016-07-04 21:01Z by Steven

Uniting Blacks in a Raceless Nation: Blackness, Afro-Cuban Culture, and Mestizaje in the Prose and Poetry of Nicolás Guillén

Bucknell University Press
May 2016
274 pages
Size: 6 x 9
Hardback ISBN: 978-1-61148-758-9
eBook ISBN: 978-1-61148-759-6

Miguel Arnedo-Gómez, Senior Lecturer
Spanish and Latin American Studies Program
Victoria University of Wellington, New Zealand

The Cuban writer Nicolás Guillén has traditionally been considered a poet of mestizaje, a term that, whilst denoting racial mixture, also refers to a homogenizing nationalist discourse that proclaims the harmonious nature of Cuban identity. Yet, many aspects of Guillén’s work enhance black Cuban and Afro-Cuban identities. Miguel Arnedo-Gómez explores this paradox in Guillén’s pre-Cuban Revolution writings placing them alongside contemporaneous intellectual discourses that feigned adherence to the homogenizing ideology whilst upholding black interests. On the basis of links with these and other 1930s Cuban discourses, Arnedo-Gómez shows Guillén’s work to contain a message of black unity aimed at the black middle classes. Furthermore, against a tendency to seek a single authorial consciousness – be it mulatto or based on a North American construction of blackness – Guillén’s prose and poetry are also characterized as a struggle for a viable identity in a socio-culturally heterogeneous society.

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Strange Fruit: Uncelebrated Narratives from Black History

Posted in Books, History, Media Archive, Monographs, United States on 2016-07-04 20:53Z by Steven

Strange Fruit: Uncelebrated Narratives from Black History

Fulcrum Publishing
May 2014
176 pages
8 X 10
Paperback ISBN: 9781938486296

Joel Christian Gill

Strange Fruit Volume I is a collection of stories from early African American history that represent the oddity of success in the face of great adversity. Each of the nine illustrated chapters chronicles an uncelebrated African American hero or event. From the adventures of lawman Bass Reeves, to Henry “Box” Brown’s daring escape from slavery.

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Essence Fest: How Prince helped Misty Copeland discover artistic freedom

Posted in Articles, Arts, Interviews, Media Archive, United States, Women on 2016-07-04 20:41Z by Steven

Essence Fest: How Prince helped Misty Copeland discover artistic freedom

The New Orleans Times-Picayune
2016-07-02

Chelsea Brasted, Lifestyle and Culture Reporter

Misty Copeland recounted her own Prince tribute Saturday (July 2) during an Essence Fest weekend full of them. But for the first African American woman to be named principal dancer at the American Ballet Theater, the music star was a friend before she’d ever even seen him in concert.

“I’d never seen him perform live,” Copeland said during an interview with Soledad O’Brien on the festival’s Empowerment Experience stage. Copeland was emotional as she continued her story, adding, “I approached this relationship as this really hilarious quiet guy that became my friend, then I stepped onstage with him for the first time and I was like, OK, I get it now. Like, wow.”…

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