Mixed Race Studies

I Just Discovered that I am “Black”

The Thom Hartmann Program: “Renaissance Thinking About the Issues of Our Day”
2014-03-04

Thom Hartmann, Host

All one has to do is to pay $99, spit something like 10 cubic centimeters of saliva into a test tube, send it to 23andme, and you too, can discover all the things you are but never thought that you were. I also discovered that I am a Neanderthal (no surprise there), a bit of an Ashkenazi Jew, a mixture of European backgrounds, and to the delight of my Hungarian friend Ria, distinctly part Hungarian although I have no idea how that happened. According to Ria, of course, that is where I got my intelligence, from a small segment of Hungarian DNA on Chromosome 1. Anyway, if I am ever feeling downtrodden and persecuted, I rest secure in the knowledge that I belong to several historically persecuted groups, including Sub-Saharan African, Jewish, and I suppose that Neanderthals were persecuted, too. Plus, I belong to the historically persecuted group known as left-handed people; in fact, I am in the mere 4% of the population who is completely left-handed. (I am also left-footed and left-eyed.) I do intend to write more about the handedness issue one of these days, most likely venturing where no blogger has ever ventured before. But for now, it’s about genetics…

Now, speaking of beginnings, let me go back to the beginning. My eldest brother, Craig, is a geneticist. Around Christmas break, he arranged for me to take the 23andme genetics test — which, being a geneticist, is of great interest to him, and being a scientific-minded psychologist, is of great interest to me as well. The testing kit was sent to me in early January and I promptly gave the saliva sample and sent it back to 23andme…

…Overall, this genetics testing was an interesting and potentially useful learning experience. All life on the planet came from the same primordial ooze, and all humans came out of Africa, earlier for the Neanderthals, and merely 60,000 years or so ago for other humans. In that sense, we are all Africans. Our genetics reflect a combination of different ancestry and mutations, and over time, as modern life brings peoples of the world closer together, the genome in the melting pot mixes even further. Probably nearly everyone has more mixed heritage than we are aware of, as it is, and that’s a good thing — much better than it is to be inbred. Furthermore, human evolution appears to be accelerating, according to people who study human evolution. We have created a world of great flux. Bringing us closer together as one humanity, and working to overcome our differences, and to defeat those forces of selfishness within us and among us — forces with such aims as world domination — should be our common goal.

Read the entire article here.

On mixedness and blackness

What Nadia Likes
2014-03-14

Nadia Riepenhausen

What are you? A question that is fairly straightforward for many, but not so much for me. Before you roll your eyes, expecting to hear another lengthy diatribe about another ‘tragic mullato’ identity crisis, hear me out.

A couple of Sundays ago, I found myself in a ‘battle of the races’ on twitter, a ‘twar’ for the lack of a better term. It started out as a pleasant debate regarding racial categories in South Africa, and the difference between a cultural and racial identity. It ended with me being called a racist who hates black people by choosing to identify as ‘mixed race’. I have been called many things, but a racist is definitely a first for me. I’m not going to justify my non-racist claim, by stating something lame like “some of my best friends are black”, because as I am mixed race, I am also black, but some people just don’t seem to get or accept that it’s possible to be both of these things at the same time

In the aforementioned twitter debate, I was explaining to my fellow tweeters that I prefer to identify as mixed race, rather than ‘coloured’. For those not in the know, ‘coloured’ is how mixed race people are referred to in South Africa, and in Zimbabwe where I grew up. For me ‘coloured’ is more of a cultural identity, rather than a race. Although both of my parents were born coloured, I have never been comfortable with the label. This is mainly due to the way that I have been socialised and the environment that I grew up in. I grew up with my German stepfather and spent parts of my childhood in Germany. I went to predominantly white schools, and was one of a handful of so-called ‘coloureds’ in my school. I found myself with either white or black friends, and when it came to debating issues of race or politics, I adopted a black identity. During the time I was in school, I didn’t have the means to question my identity too much, but always found it difficult to answer questions pertaining to what I was. I didn’t live in the areas that coloured people lived in, I didn’t speak the way they spoke, nor did I go to the same places they did. I may give the impression that I was afflicted with a superiority complex, and that I thought I was better in some way, but this was definitely not the case. I would have loved to have blended in, but I simply did not. The few times that I attempted to, I was told that I ‘didn’t belong’ and was even beaten up by a girl once for being where I don’t belong. Many years on, I have no desire to blend in with any group and have embraced my ‘otherness’…

Read the entire article here.

Christine Buckley helped shift cultural axis on child abuse

The Irish Times
2014-03-12

Patsy McGarry, Religious Affairs Correspondent

From Broadstreet.ie

Those who insist that history is about movements not individuals might reflect on the achievements of Christine Buckley.

Her story is history as driven by one person. She was an original, a pioneer in exposing how badly this State “cherished” many of its children, whatever their age, throughout most of the 20th century, up to 1996 when the last Magdalene laundry closed. If a high point of much of her work was then taoiseach Bertie Ahern’s 1999 apology on behalf of the State to all who had been in residential institutions as children, as well as his announcement then of the Commission to Inquire into Child Abuse (Ryan Commission) and the setting up of the Residential Institutions Redress Board, it was not all.

It is no exaggeration to claim that such huge shift in the cultural axis of Ireland, made possible by Christine Buckley, paved the way for the Murphy Commission which investigated the handling of clerical sexual abuse allegations in Dublin and Cloyne dioceses, as well as the McAleese committee which investigated the Magdalene laundries…

…Her own story, as we now know, was in many ways typical. Through its telling she liberated others to do likewise, and not just from an institutional context. Writing in this newspaper in 1997 she recalled: “My mother lived within 20 minutes of the orphanage where I was placed as a child. I never knew it. Nobody seemed to know it. After a two-year courtship she took the baby boat to England in 1946 to hide, to wait and to give birth to her dark secret.

“She forgot to tell my father that she was separated from her husband. She forgot to tell him she already had children, one of them in an institution. Two weeks after my birth we returned to Ireland. My father refused to support her. The following day she placed me with, an adoption agency, vehemently refusing to sign the adoption papers and nobody asked her why.

“Guilt ridden, my father tracked me down six months later in a baby home. For six years he was the pivot of my life until one Saturday he never came back.”…

…Her campaign began after she met her birth mother for the first time in 1985. Three years later she travelled to Nigeria to meet her father. She “told him about my life in Goldenbridge . . . and how I intended to go public about the horrors of that place once he returned to Ireland to meet my children.”…

Read the entire article here.

Archibald J. Motley, Jr.’s Paintings: Modern Art Shaped by Precision, Candor, and Soul

Hyperallergic: Sensitive to Art & its Discontents
2014-03-09

Edward M. Gómez

A week ago, 12 Years A Slave won the Academy Award for Best Picture, the first time in the history of the Oscars that the top prize went to a film made by a black director. Recently, too, New York voters elected a white man who is married to a black woman; now the city’s “first family” vividly resembles the richly varied complexion of its multiracial, multiethnic population.

Against the backdrop of such belated examples of race-related “progress,” it is illuminating to flip through the pages of American cultural history and discover that almost a century ago, a black, classically trained modern artist, Archibald J. Motley, Jr., was using paint on canvas to address such nuanced subjects as the dignity of mixed-race persons and the skin-tone-based sensitivities that prevailed among his own people.

In Archibald Motley: Jazz Age Modernist, an exhibition on view at Duke University’s Nasher Museum of Art in Durham, North Carolina, the life story and achievements of this modernist innovator are receiving some much-deserved attention. Organized by Duke art history professor Richard J. Powell, whose book, Black Art and Culture in the 20th Century (Thames and Hudson, 1997; reissued as Black Art: A Cultural History, 2002), has become a standard text in its field, the Nasher exhibition will remain on view through May 11 before embarking on a US tour that will end in New York at the Whitney Museum of American Art late next year.

Motley (1891–1981), who is still not widely known today, was born in New Orleans and moved with his parents to Chicago when he was an infant. His father worked as a Pullman railway-carriage porter. After declining a scholarship to study architecture at Chicago’s Armour Institute, Archibald was accepted at the School of the Art Institute of Chicago (where, it is interesting to note, the Armour Institute’s president paid his first-year tuition fees). Motley, whose teachers included the realist painter George Bellows, went on to produce a technically inventive body of work that assimilated various stylistic developments of early-20th-century modern art…

…Powell’s implication is that Motley’s ability to view the world around him from simultaneously different vantage points and to embrace contradictions was somehow postmodernist avant la lettre. Powell pointed out, “Motley came from a part of the country, New Orleans, where mixed-race people were not uncommon. Comprehending someone whose racial identity was mixed wasn’t so hard for him but he was color-struck; he was interested in this subject and gravitated toward people like ‘the octoroon girl,’ whom he found in an A&P supermarket and who became one of his sitters.”

Powell noted that Motley was not just keenly aware of how a person’s skin color could influence his or her place in society — and the privileges or prejudices that accompany it — but like other artists and intellectuals associated with the Harlem Renaissance of the 1920s-1930s (or “New Negro Movement,” as it was known at the time), he was also interested in the multidimensional nature of black racial identity and the forms of social and cultural expression that were associated with it.

Some historians have described the light-skinned Motley, whose own ancestry was African, European and Native American, as someone who throughout his life felt unsettled about his own racial identity. As Powell sees it, the artist “instinctively understood that the issue of racial identity was complex” and therefore hard to codify, “because in his own case it was, too.” In other ways, Powell added, Motley’s life was not exactly simple or conventional, and he had to emotionally and psychologically process its vicissitudes…

Read the entire article here.

Archibald Motley: Jazz Age Modernist

Nasher Museum of Art at Duke University
2001 Campus Drive
Durham, North Carolina 27705
On view 2014-01-30 through 2014-05-11

ABOUT

Archibald Motley: Jazz Age Modernist, the first retrospective of the American artist’s paintings in two decades, will originate at the Nasher Museum of Art at Duke University on January 30, 2014, starting a national tour.

SO MODERN, HE’s CONTEMPORARY

Motley is one of the most significant yet least visible 20th-century artists, despite the broad appeal of his paintings. Many of his most important portraits and cultural scenes remain in private collections; few museums have had the opportunity to acquire his work. With a survey that spans 40 years, Archibald Motley introduces the artist’s canvases of riotous color to wider audiences and reveals his continued impact on art history.

FOR THE FIRST TIME AT THE NASHER MUSEUM

Archibald Motley includes 42 works from each period of Motley’s lifelong career, from 1919 to 1960. Motley’s scenes of life in the African-American community, often in his native Chicago, depict a parallel universe of labor and leisure. His portraits are voyeuristic but also genealogical examinations of race, gender and sexuality. Motley does not shy away from folklore fantasies; he addresses slavery and racism head on. The exhibition also features his noteworthy canvases of Jazz Age Paris and 1950s Mexico. Significant works will be presented together for the first time.

“We are extremely proud to present this dazzling selection of paintings by Archibald Motley, a master colorist and radical interpreter of urban culture,” said Sarah Schroth, Mary D.B.T. and James H. Semans Director of the Nasher Museum. “His work is as vibrant today as it was 70 years ago; with this groundbreaking exhibition, we are honored to introduce this important American artist to the general public and help Motley’s name enter the annals of art history.”

THE MAN, THE ARTIST

Archibald John Motley, Jr. (1891-1981), was born in New Orleans and lived and worked in the first half of the 20th century in a predominately white neighborhood on Chicago’s Southwest side, a few miles from the city’s growing black community known as “Bronzeville.” In his work, Motley intensely examines this community, carefully constructing scenes that depict Chicago’s African American elites, but also the worlds of the recently disembarked migrants from the South and other characters commonly overlooked.

In 1929, Motley won a Guggenheim Fellowship that funded a year of study in France. His 1929 work Blues, a colorful, rhythm-inflected painting of Jazz Age Paris, has long provided a canonical picture of African American cultural expression during this period. Several other memorable canvases vividly capture the pulse and tempo of “la vie bohème.” Similar in spirit to his Chicago paintings, these Parisian canvases extended the geographical boundaries of the Harlem Renaissance, depicting an African diaspora in Montparnasse’s meandering streets and congested cabarets.

In the 1950s, Motley made several lengthy visits to Mexico, where he created vivid depictions of life and landscapes. He died in Chicago in 1981.

ON THE ROAD

Archibald Motley: Jazz Age Modernist opens at the Nasher Museum of Art at Duke University and will travel to the Amon Carter Museum of American Art in Fort Worth, Texas (June 14–September 7, 2014); the Los Angeles Museum of Contemporary Art (October 19, 2014–February 1, 2015); the Chicago Cultural Center (March 6–August 31, 2015) and the Whitney Museum of American Art, New York (Fall 2015).

For more information, click here.

Diversity reaches new levels in Honey Maid ads

USA Today
2014-03-10

Bruce Horovitz, Marketing Reporter

Honey Maid is the latest brand to launch an ad campaign featuring interracial, gay families.  USA TODAY

America’s biggest brands are at an advertising crossroads, and the new diversity that their ads project has suddenly emerged as one of society’s most visual — if not incendiary — flash points.

And it’s about to explode.

It began with several recent, high-profile diverse TV spots from two multibillion-dollar brands: a Cheerios spot staring a biracial girl with white mom and black dad; and a Coca-Cola spot featuring minorities singing America the Beautiful in their native languages. Both went viral and left trails of social media venom in their wake.

On Monday, Honey Maid will jump on the diversity bandwagon with a far-reaching campaign by the 90-year-old graham cracker brand that raises the use of diversity in mainstream ads to a whole new level.

In one 30-second Honey Maid ad, viewers will see everything from a same-sex couple bottle-feeding their son to an interracial couple and their three kids holding hands. The ad also features a Hispanic mother and an African-American father with their three mixed-race children. And there’s even a father covered in body tattoos. This is not some shockvertisement for Benetton. It’s an ad for one of America’s oldest and most familiar brands. The people in it are not actors, but real families. The message of the ad: These are wholesome families enjoying wholesome snacks…

Read the entire article here.

The Journal of Critical Mixed Race Studies inaugural issue is now available

Journal of Critical Mixed Race Studies
Volume 1, Number 1 (2014-01-30)
ISSN: 2325-4521

Laura Kina, Associate Professor Art, Media and Design and Director Asian American Studies
DePaul University, Chicago, Illinois

G. Reginald Daniel, Professor of Sociology
University of California at Santa Barbaral

Saya Woolfalk, video still from “The Emphathics,” 2012.

The Journal of Critical Mixed Race Studies inaugural issue is now available. Volume 1, No. 1, 2014 “Emerging Paradigms in Critical Mixed Race Studies” It has been a long journey from the publication of Maria Root’s groundbreaking and award-winning anthology Mixed People in America (1992) to the inauguration of the Journal of Critical Mixed Race Studies. We would like to thank all of our contributors, volunteers, and editorial review board for their hard work and patience. We hope you enjoy this issue of the journal and find it an informative resource on the topic of mixed race identities and experiences.

G. Reginald Daniel, Editor in Chief

Laura Kina, Managing Editor

The Journal of Critical Mixed Race Studies (JCMRS) is a peer-reviewed online journal dedicated to Critical Mixed Race Studies (CMRS). Launched in 2011, it is the first academic journal explicitly focused on Critical Mixed Race Studies. Sponsored by UC Santa Barbara’s Sociology Department, JCMRS is hosted on the eScholarship Repository, which is part of the eScholarship initiative of the California Digital Library.

Table of Contents

• Front Matter
• Cover Art
• Table of Contents
• Editor’s Note / Daniel, G. Reginald
• Emerging Paradigms in Critical Mixed Race Studies / Daniel, G. Reginald; Kina, Laura; Dariotis, Wei Ming; Fojas, Camilla
• Appendix A: Publications from 1989 to 2004 / Riley, Steven F.
• Appendix B: Publications from 2005 to 2013 / Riley, Steven F.

Articles

• “Historical Origins of the One-Drop Racial Rule in the United States” / Jordan, Winthrop D. (Edited by Spickard, Paul)
• “Reconsidering the Relationship Between New Mestizaje and New Multiraciality as Mixed-Race Identity Models / Turner, Jessie D.
• “Critical Mixed Race Studies: New Directions in the Politics of Race and Representation / Jolivétte, Andrew J.
• “‘Only the News They Want to Print’: Mainstream Media and Critical Mixed-Race Studies” / Spencer, Rainier
• “The Current State of Multiracial Discourse” / McKibbin, Molly Littlewood
• “Slimy Subjects and Neoliberal Goods: Obama and the Children of Fanon” / McNeil, Daniel

Book Reviews

• Stephen Murphy-Shigematsu, When Half Is Whole: Multiethnic Asian Americans Identities / Crawford, Miki Ward
• Ralina Joseph, Transcending Blackness: From the New Millennium Mulatta to the Exceptional Multiracial / Elam, Michele
• Greg Carter, The United States of the United Races: A Utopian History of Racial Mixing / Mount, Guy Emerson
• Rudy P. Guevarra, Jr., Becoming Mexipino: Multiethnic Identities and Communities in San Diego / Schlund-Vials, Cathy J.

About the Contributors

• About the Contributors

Interview with upcoming CultureFest Performer Laura Kina

Multiracial Network Blog
2014-03-07

To start us off, we have an interview from our CultureFest performer Laura Kina! As can also be found on her website (http://www.laurakina.com/) Laura is an artist and scholar who focuses “on the fluidity of cultural difference and the slipperiness of identity”. With subjects ranging from Asian American history to mixed race representation, her work blends autobiography with artwork, breaking down stories and putting them back together. Come see her perform “Hapa Yonsei Uchinanchu” her “talk story” about her Okinawan family history in Hawaii and her multiracial identity while showing images of her recent oil paintings and much more! Check her out at CultureFest on Sunday March 30 from 6-9pm in the Convention Center, as part of CelebrACPA immediately after the opening ceremony.

1. Where and how do you get your inspiration for your art?
2. Do you have a favorite piece of art you’ve created? Why?

[I’m going to answer both questions at once below]

My artwork usually starts out with an autobiographical impulse and series of questions and then develops as I gather source materials and do field research. For example, in my current exhibition Blue Hawaiʻi, which is on view through March 27, 2014 at the University of Memphis Fogelman Galleries of Contemporary Art, I initially traveled to Hawaiʻi in 2009 to look at community and family photos and interview elders in my dad’s Pi’ihonua sugarcane plantation community on the Big Island of Hawaiʻi as well as other Nisei (2nd generation) and Sansei (3rd generation) from nearby plantations. I grew up in a small Norwegian town called Poulsbo, WA and aside from my dad and my grandma Kina, I was pretty cut off from this part of my heritage. We’d go back as tourists and grew up eating Spam Musubi but I wanted to learn about the real Hawaiʻi and what it means to be Uchinanchu (Okinawan)…

…4. What was the process of creating, organizing, and implementing the Critical Mixed Race Studies Conference?

I went to this 2008 leadership retreat with my DePaul colleague Camilla Fojas. She had just published her co-edited book Mixed Race Hollywood (NYU Press, 2008) with Mary Beltrán and I was beginning to teach a class called “Mixed Race Art and Identity.” We were doing a workshop activity where you put post-it notes up on a wall with where you see yourself in five years in the multiracial movement and what you want to work on. After everyone had their dreams on the wall, we moved out post-it notes around to align with each other. It was out of this activity and other theater and drawing activities that Camilla Fojas, and Wei Ming Dariotis from San Francisco State University, and I had the very practical idea to work towards legitimizing multiracial studies in an academic context. Our hope was to found an association for critical mixed race studies. We used the word “critical” from “critical race” theory to point towards systems of racialization and used the “mixed race” (with no hyphen) from what was being used at the time (as opposed to “multiracial”) to define the movement. The no hyphen comes from us ditching hyphenated identities in Asian America. I know this is confusing when “mixed-race” is used as a compound modifier! We sat down and hammered out a definition, which we are still using today for Critical Mixed Race Studies:

Critical Mixed Race Studies is the transracial, transdisciplinary, and transnational critical analysis of the institutionalization of social, cultural, and political orders based on dominant conceptions of race. CMRS emphasizes the mutability of race and the porosity of racial boundaries in order to critique processes of racialization and social stratification based on race. CMRS addresses local and global systemic injustices rooted in systems of racialization.

But before we could found an association we figured we should start small by organizing a conference. We sent out a call for papers in 2009 and by the time the inaugural conference “Emerging Paradigms in Critical Mixed Race Studies” took shape in November 2010 we had over 200 paper submissions and 430 people attended. What was unique about this first conference is that it wasn’t a student conference, as most large-scale meetings on multiraciality had been up to this point. It was an academic conference but it also recognized the movements community roots and included arts and community programming and it drew national and international participation. For our subsequent 2012 conference “What is Critical Mixed Race Studies?”, which over 450 people attended, we sought to keep this core spirit but wished to professionalize the process to ensure peer review but to also create a sustainable process for the conference can keep going. Camilla Fojas worked with an external panel of reviewers to select the papers and I partnered with Mixed Roots Stories to organize arts programming. We are doing this again for the Nov 13-15, 2014 conference “Global Mixed Race.”

To read in detail about the history of multiracial studies in the U.S. and the founding of Critical Mixed Race Studies, please read the inaugural issue of the Journal of Critical Mixed Race Studies article “Emerging Paradigms in Critical Mixed Race Studies” by G. Reginald Daniel, Laura Kina, Wei Ming Dariotis, and Camilla Fojas…

Read the entire interview here.

‘Mixed race’, ‘mixed origins’ or what? Generic terminology for the multiple racial/ethnic group population

Anthropology Today
Volume 25, Issue 2 (April 2009)
pages 3-8
DOI: 10.1111/j.1467-8322.2009.00653.x

Peter J. Aspinall, Emeritus Reader in Population Health
University of Kent, UK

A broad range of terms have been proposed and debated for the ‘mixed race’ population. Dissatisfaction with ‘mixed race’, the term most widely used but contested on the grounds that it references the now discredited concept of ‘race’, has led to the search for an alternative. In 1994 the Royal Anthropological Institute advocated ‘mixed origins’; despite subsequent further efforts, this alternative has gained little momentum. ‘Mixed race’ now competes with terms such as ‘mixed heritage’, ‘dual heritage’, and ‘mixed parentage’ amongst data users.  However, research indicates that the term of choice of most respondents in general population and student samples of this population group is ‘mixed race’, other terms – including ‘mixed origins’ – attracting little support.  Given its dominance, it is premature to argue that the term ‘mixed race’ should be replaced by candidates that are not self-descriptors.

Read the entire article here.

Concepts, terminology, and classifications for the ‘mixed’ ethnic or racial group

Journal of Epidemiolgy and Community Health
Volume 64, Issue 6 (2010)
Pages 557-560
DOI: 10.1136/jech.2009.088294

Peter J. Aspinall, Reader in Population Health
Centre for Health Services Studies
University of Kent, United Kingdom

Background: The way to categorise people born of inter-ethnic and racial unions – the ‘mixed’ group – remains unclear and requires new insights, given the increasing size and complexity of the group and its emerging health profile.

Methods: A mixed methods research study focussing on ethnic options of young ‘mixed race’ people (n=326) recruited in colleges and universities investigated respondents’ preferences with respect to concepts, terminology, and classifications.

Results: The overwhelming generic term of choice was ‘mixed race’, widely interpreted by respondents to include mixed minority groups. Respondents were able to assign themselves in a valid way to a 12-category extended 2001 England and Wales Census classification for ‘mixed’, which collapses into five main groupings and also maps back to the census categories. Amongst options tested for census purposes, multi-ticking performed poorly and is not recommended.

Conclusions: A more finely granulated classification for ‘mixed’ is feasible where needed but this requires more extensive testing before it can be judged preferable to a ‘tick one or more’ option that has been shown to have poor reproducibility in validation surveys.

Read or purchase the entire article here.