Mixed Race Studies

“My father is black. My mother is white. I self-identify as black and as mixed and I don’t relate to those as mutually exclusive. I also try to be mindful and try to have a certain humility about how my experience differs from most other black people; about how I have certain types of residual white privilege which I don’t believe makes me less black. I also know that it is ultimately not up to me whether I am accepted as black. My experience though, has almost always been of black people welcoming me and accepting me as their own. And it’s only because of that lifetime of experience that I would feel comfortable telling Nancy Giles,“actually I’m black.” And I knew that even within that moment, I could tell her that and she would get it. And I’m not saying that there is never any exclusion within the black community. I’m not negating people who have experienced that. But I do think that there is a tradition of a loving welcoming inclusive blackness that is important as a rejection and a counter to the historical function of whiteness. It’s a tradition I’ve experienced as a beautiful thing and as Adam Serwer said, it’s a beautiful thing that Rachel Dolezal has “taken advantage of,” that she has manipulated, that she has poisoned just a little bit with what she’s done here.”

Jay Smooth, ““Empathy does not preclude accountability:” Jay Smooth on Rachel Dolezal,” Fusion, June 18, 2015 (00:01:53-00:03:11). http://fusion.net/video/153151/empathy-does-not-preclude-accountability-jay-smooth-on-rachel-dolezal/.

Drum Dream Girl: How One Girl’s Courage Changed Music

Houghton Mifflin Harcourt
2015-03-31
48 pages
Hardcover ISBN-13/ EAN: 9780544102293
eBook ISBN-13/ EAN: 9780544102286

Margarita Engle

Rafael López

In this picture book bursting with vibrance and rhythm, a girl dreams of playing the drums in 1930s Cuba, when the music-filled island had a taboo against female drummers.

Girls cannot be drummers. Long ago on an island filled with music, no one questioned that rule—until the drum dream girl. In her city of drumbeats, she dreamed of pounding tall congas and tapping small bongós. She had to keep quiet. She had to practice in secret. But when at last her dream-bright music was heard, everyone sang and danced and decided that both girls and boys should be free to drum and dream.

Inspired by the childhood of Millo Castro Zaldarriaga, a Chinese-African-Cuban girl who broke Cuba’s traditional taboo against female drummers, Drum Dream Girl tells an inspiring true story for dreamers everywhere.

Why Rachel Dolezal Needed To Construct Her Own Black Narrative

BuzzFeed
2015-06-13

Adam Serwer, BuzzFeed News National Editor

In order to pass as black, Dolezal took advantage of the black community’s long tradition of inclusion regardless of skin tone.

In 1895, when Justice Henry Billings Brown ruled that Louisiana’s law segregating train cars was constitutional, he didn’t want to get into the messy business of determining whether or not passenger Homer Plessy was actually black. Though only possessing “one eighth African blood,” with “the mixture of colored blood” not “discernible in him,” whether Plessy was black was a matter for the state to decide.

“[T]here is a difference of opinion in the different States, some holding that any visible admixture of black blood stamps the person as belonging to the colored race,” wrote Brown, “others that it depends upon the preponderance of blood; and still others that the predominance of white blood must only be in the proportion of three-fourths.”

Plessy v. Ferguson became the legal cornerstone of Jim Crow even though Homer Plessy was so light-skinned he could probably drive through Ferguson, Missouri, today without getting a ticket. In other words, who is black is a complicated question, one that remains fraught more than a hundred years after Brown’s ruling blessing racial apartheid in a country founded on the premise of equality under the law. But the long tradition of African-American resistance is one that excels in turning efforts to subjugate black Americans into advantages. One of these is the reversal of the infamous “one-drop rule,” which allows anyone who was a descendant of enslaved black Americans to identify as a member of the African-American community, which is why the NAACP’s Walter White used his racial ambiguity to report on lynchings in the South while passing as white. To claim is to be claimed; to love is to be loved in return. It is that very tradition of love and acceptance that Rachel Dolezal, the NAACP leader in Spokane, Washington, who for years passed as a light-skinned black woman, took advantage of by manufacturing a biography that reads like a racial caricature of a dystopian young adult novel.

Dolezal knew it wasn’t enough to perm and dye her hair and do whatever it is she did to her skin, and to tell everyone she was black. She also had to invent a history in which she and her family had borne the scars of racism, one in which she was born in a “tepee in Montana” and went hunting for food with bows and arrows. One in which she and her siblings endured beatings according to skin tone, and were lashed with “baboon whips” that were “pretty similar to what was used as whips during slavery,” to say nothing of the years she spent filing questionable reports with police about hate crimes. With that connection, even someone as light as her could be black.

The irony is that racial barriers in America have always been permeable and ambiguous, even when they have been most violently enforced…

Read the entire article here.

Joseph Emidy: From slave fiddler to classical violinist

BBC News
2015-06-21

Miles Davis, BBC News Online

Joseph Emidy led the Truro Philharmonic Orchestra

The remarkable life of a former slave who became a pioneer of classical music has been commemorated.

The “genius” violinist Joseph Emidy, from West Africa, was enslaved for two long periods of his eventful life.

But having finally gained his freedom in 1799, Emidy became “Britain’s first composer of the African diaspora”.

His achievements were marked at Truro Cathedral on Sunday with the erection of a ‘boss‘ – a painted wooden carving featuring a violin and a map of Africa.

On his death in 1835, The West Briton newspaper reported in Emidy’s obituary: “As an orchestral composer, his sinfonias may be mentioned as evincing not only deep musical research, but also those flights of genius.”…

…Emidy was finally discharged four years later in the port of Falmouth on 28 February 1799.

He married a local woman, Jenefer Hutchins, in 1802, started taking on music students and became involved with the the first of Truro’s biennial concerts in 1804.

Beverley Wilson (far right) the great, great, great, great grand-daughter of Joseph Emidy met kora player Sona Jobarteh (centre)

Silk Buckingham described him as “an exquisite violinist, a good composer, who led at all the concerts of the county, and who taught equally well the piano, violin, violoncello, clarionet and flute”…

Read the entire article here.

But Ms. [Rachel A.] Dolezal’s view of herself — however confused, or incongruent with society’s — reveals an essential truth about race: It is a fiction, a social construct based in culture and not biology. It must be “made” from what people believe and do. Race is performative. It is the memories that bind us, the stories passed down to us, the experiences that we share, the social forces that surround us.

Allyson Hobbs, “Rachel Dolezal’s Unintended Gift to America,” The New York Times, June 17, 2015. http://www.nytimes.com/2015/06/17/opinion/rachel-dolezals-unintended-gift-to-america.html.

Episode 613 – President Barack Obama

WTF with Marc Maron
Monday, 2015-06-22

Marc Maron, Host

Barack Obama, President of the United States

Marc and President Obama in the garage (Photo: Pete Souza)

Marc welcomes the 44th President of the United States of America, Barack Obama, to the garage for conversation about college, fitting in, race relations, gun violence, changing the status quo, disappointing your fans, comedians, fatherhood and overcoming fear. And yes, this really happened. This episode is presented without commercial interruption courtesy of Squarespace. Go to MarcMeetsObama.com to see behind-the-scenes photos and captions.

Listen to the episode here. Download the episode here.

What the 1920s Tell Us About Dolezal and Racial Illogic

The Chronicle of Higher Education
2015-06-19

Carla Kaplan, Stanton W. and Elisabeth K. Davis Distinguished Professor of American Literature
Northeastern University, Boston, Massachusetts

Carla Kaplan is author of Miss Anne in Harlem: The White Women of the Black Renaissance (Harper, 2013).

What does it mean to identify across race lines and to claim a racial identity disconnected from background or biology? Why does so-called reverse passing (white to black) generate such extraordinary attention and controversy? The Rachel Dolezal case reveals a conundrum in race debates that remains unresolved.

Dolezal, who evidently has been passing for black for years as an activist and Africana-studies instructor, maintains that she is black because she feels black. She says that she “certainly can’t be seen as white” and be the mother of a black son. She asserts that her choices are “misunderstood” because “race as a construct has a fluid understanding.” Her defense of what some dub deception is consistent with social constructionism, which maintains that there is no biological or essential basis to race and that all notions of racial difference are rooted in culture. And this makes her case especially troubling.

While the bulk of commentary on Dolezal has been condemnatory, some observers have described her as a “Voluntary Negro” to indicate that they “admire,” as the black female journalist Camille Gear Rich put it, Dolezal’s “choice to live her life as a black person.”

The category “Voluntary Negro,” however, was never intended for whites. The term was coined in the 1920s to describe — and honor — light-skinned blacks, like the NAACP official Walter White, who looked white but insisted on being identified as black (and had the black ancestry to back that up). Blacks who might have passed for white, but didn’t, were lionized by their community. Voluntary Negroes were those who expressed loyalty to their “own” race, not those who cross-identified. They became exemplars of what was seen as a proper ethical relation to race, an embodiment of the “race pride” that was the heart of “New Negro” sensibilities. They were celebrated as part of a broader cultural argument for affirming blackness in the face of white prejudice, and as part of the larger energies of black self-determination and self-definition that fueled cultural renaissances in Harlem, Chicago, and elsewhere. Voluntary Negroes became icons of what Alain Locke, often considered the “midwife” of the Harlem Renaissance, called “the admirable principle of loyalty.”…

Read the entire article here.

U.S. ‘Not Cured’ of Racism, Obama Says, Citing Slavery’s Legacy

The New York Times
2015-06-22

Michael D. Shear, White House Correspondent

Christine Hauser, Reporter

WASHINGTON — Just days after nine black parishioners were killed in a South Carolina church, President Obama said the legacy of slavery still “casts a long shadow” on American life, and he said that choosing not to say the word “nigger” in public does not eliminate racism from society.

In a wide-ranging conversation about race, including his own upbringing as a man born to a black father and a white woman, Mr. Obama insisted that there was no question that race relations have improved in his lifetime. But he also said that racism was still deeply embedded in the United States.

“The legacy of slavery, Jim Crow, discrimination in almost every institution of our lives, you know, that casts a long shadow, and that’s still part of our DNA that’s passed on,” the president said during an interview for Marc Maron’s “WTF” podcast that was released on Monday. “We’re not cured of it. And it’s not just a matter of it not being polite to say nigger in public. That’s not the measure of whether racism still exists or not.”

He added, “Societies don’t overnight completely erase everything that happened two to 300 years prior.”

Mr. Obama has been more open about the issue of race during his second term, in part because of racially charged episodes in the last several years. The killing of Trayvon Martin, a black teenager in Florida, and the protests that followed several police shootings have prompted the president to be more reflective about his own racial identity and the nation’s.

In the hourlong interview, Mr. Obama talked about being a rebel during his youth and “trying on” different kinds of personas as he struggled to understand what kind of African-American man he wanted to be.

“I’m trying on a whole bunch of outfits,” Mr. Obama said. “Here’s how I should act. Here’s what it means to be cool. Here’s what it means to be a man.”

He said that a lot of his issues when he was young “revolved around race” but that his attitude changed around the time he turned 20. That is when he began to understand how to honor both sides of his racial identity, the president said.

“I don’t have to be one way to be both an African-American and also someone who affirms the white side of my family,” he said. “I don’t have to push back from the love and values that my mom instilled in me.”…

Read the entire article here.

Misty Copeland: meet the ballerina who rewrote the rules of colour, class and curves

The Telegraph
2015-06-21

Jane Mulkerrins

Facing opposition about her race, shape, even her hair, the ballet dancer Misty Copeland battled the establishment – and her own mother – to make it to the top

Misty Copeland can pinpoint the precise moment when she realised her success in ballet held a broader significance. “It was the night I danced The Firebird at the Metropolitan Opera House in June 2012. I had never seen an audience that was 50 per cent African-American. It was overwhelming to know that so many of them were there to support what I stood for.”

As only the third black soloist (one rung down from a principal dancer, or prima ballerina) in the history of New York’s prestigious American Ballet Theatre (ABT) – and the first in two decades – Copeland, 32, is elegantly dismantling the barriers of race and class that have long surrounded the art form. “When I talk to [black] families, they tell me, ‘We never went to the ballet before. Why would we bring our children when they can’t see themselves reflected on the stage?’ ” she says.

Her profile reaches beyond the rarefied realms of ballet: she has performed with Prince on stage, her recent advert for the sportswear brand Under Armour has had eight million views, and she has been namechecked as an inspiration by both Barack Obama and Beyoncé.

In April, she was named as one of Time magazine’s 100 most influential people in the world and was one of the five cover stars for the issue, along with Bradley Cooper, Kanye West, the US news anchor Jorge Ramos and the supreme court justice Ruth Bader Ginsberg. That month, she sparked huge media coverage – and a frenzied rush on the box office – when she and Brooklyn Mack became the first black duo to dance the leading roles of Odil/Odette and Prince Siegfried in Swan Lake for a major ballet company.

But Copeland’s prominence and influence is all the more incredible given her wholly untraditional path to the top. As she recounts in her bestselling autobiography, Life in Motion: An Unlikely Ballerina, which is now being developed into a Hollywood film, she did not begin lessons until the age of 13 – positively geriatric in the dance world…

Read the entire article here.

The problems with Rachel Dolezal and the social construction of race

Nerding Out with Dorian Warren
MSNBC
2015-06-17

Dorian Warren, Host and Associate Professor of Political Science and International and Public Affairs
Columbia University, New York, New York

Christina Greer, Assistant Professor of Political Science
Fordham University, The Jesuit University of New York

Allyson Hobbs, Assistant Professor of History
Stanford University

Joseph Lowndes, Associate Professor of Political Sciences
University of Oregon

Dorian Warren talks with professors Allyson Hobbs, Christina Greer, and Joseph Lowndes about what the social construction of race does and does not mean in the case of Rachel Dolezal. Plus, writer and advocate Parker Molloy speaks on what the media gets wrong when it compares the experiences of the transgender community to those of Rachel Dolezal.

Watch the interview (00:50:52) here.