Mixed Race Studies

The ‘white’ student who integrated Ole Miss

Cable News Network (CNN)
2014-02-05

Allyson Hobbs, Assistant Professor of American History
Stanford University

(CNN) — When Harry S. Murphy arrived at the University of Mississippi in the fall of 1945, he was nervous. He landed at Ole Miss by way of the Navy’s V-12 program, a wartime measure that allowed young men to take college classes, receive naval training and preparation to become officers.

Murphy was black, but university officials did not know that. He had a white complexion and wavy brown hair. A military official checked the “W” box for white when Murphy enlisted in the Navy.

This official unwittingly set Murphy on an entirely new path. Murphy explained that he had no intention to “pass,” and once at Ole Miss in Oxford, no one inquired about his race.

“I guess they just assumed I was white,” Murphy said.

If no one asked, why tell?

Passing—the choice to leave behind a black racial identity and present oneself as white—allowed many African-Americans to navigate a racist society. In today’s multiracial America, the decision to pass may seem unnecessary and unwarranted.

But historically, erasing one’s black identity was one of a limited number of avenues available to light-skinned African-Americans to secure a better life in the era of legalized segregation.

Those who passed often reaped financial rewards, gained social privileges and enjoyed the fun of “getting over” by playing a practical joke on unsuspecting whites and winning a clandestine war against Jim Crow America…

Read the entire article here.

Biracial, and also black

Cable News Network (CNN)
2014-02-12

Martha S. Jones, Arthur F. Thurnau Professor, Associate Professor of History
University of Michigan

(CNN) — My winter 2010 seminar began the way I start every class. I made introductory remarks about themes and requirements for my course on the history of race, law and marriage in the United States.

“Now,” I prompted, “let’s go around. Tell us about yourself and why you chose this course.”

This introduction was routine. But what I heard was anything but the norm: “My mother is black and my father is white.” “I’m in an interracial relationship.”

Ordinarily, I am silent, listening and taking notes. But by the time I heard a third student say “I am mixed-race, from a mixed race family,” I had set down my notebook and was perched at the edge of my seat.

“Me, too,” I heard myself say. And with that, I knew that the class would be anything but routine. Until that moment, I had always told a neater story about my identity. I was, simply put, black. And about my mother being white? That had been irrelevant for me and my “one drop rule” generation.

My students had another perspective…

Read the entire article here.

Miscegenating Racial Representations: Critical Mixed Race Strategies and the Visual Arts

College Art Association 102nd Annual Conference
Hilton Chicago
720 South Michigan Avenue
International South, 2nd Floor
Chicago, Illinois 60605
2014-02-15, 14:30-17:00 CST (Local Time)

Chairs:

Laura Kina, Associate Professor Art, Media and Design
DePaul University

Margo Machida, Associate Professor of Art History and Asian American Studies
University of Connecticut

This session will examine critical mixed race strategies for the miscegenation of racial representation in the visual arts. The 2000 U.S. Census was first to allow individuals to self enumerate as more than one race. Making multiracial populations visible both expanded the borders, blurred and posed a potential threat to existing monoracial categories. Beginning in the early 2000s there was a simultaneous neoliberal and conservative push for a postidentitarian/ postracial moment posed against the putative ossification of multicultural racial identity constructs. Curatorial frameworks and studio practices centered on race as a locus of investigation were challenged if not rendered invisible and seemingly obsolete. And yet race and attendant cultural issues have demonstrably remained pertinent for artistic production and analysis. A double tension has resulted in moves to both recognize the continuing importance of race and the critical push to reframe and disarticulate categories that cannot contain the complexity of increasingly miscegenated peoples, histories, and subjectivities. We will consider how dominant conceptions of race have changed (or not) in the visual arts as a result of the mounting discourses and bodies of artistic production that bring forward mixed race identity in various domestic, transnational and international contexts.

Beyond the Bronze Venus
Alison Fraunhar, Associate Professor of Art and Design
Saint Xavier University

Sensory Miscegenations: Representing Multiracial Bodies
Sita Kuratomi Bhaumik, California College of the Arts

Lacuna
Maya Isabella Mackrandilal, Independent Artist

Liminal Embodiments
Zavé Martohardjono, Independent Artist

Risky Subjectivity: Select Works by Korean Adoptee Artists
Eun Jung Park, Independent Scholar

Why I Can’t Be My Son’s Mother

The Blog
The Huffington Post
2014-02-04

Shannon Shelton Miller

My 6-month-old wouldn’t smile for his stage mom, no matter what faces she made or how much she cooed in his ear. So the photographer asked for my help. I positioned myself next to the camera, directly in my son’s view, then dangled his favorite toy frog above the lens. He burst into laughter and the photographer snapped away, getting the happy baby shots the company wanted for its new product packaging.

We were done. But as my son’s Mom-for-a-Day handed him back to me, I couldn’t help thinking about how much easier it would have been if I had been cast as the mother from the beginning.

My skin was just too dark.

Acting has been a longtime hobby of mine, and I’ve been lucky to land some small jobs for ads ranging from medical equipment to vacuum cleaners. When I took acting classes, my instructors often told me that directors preferred to cast parents with their own kids for family commercials so the emotions would appear more natural. But those teachers weren’t thinking about the glaring exceptions to that rule—the white mother with her cocoa-skinned children, or the African-American mother, like me, with her vanilla baby.

Last spring, a Cheerios commercial featuring a biracial family triggered an eruption of hate speech on the company’s YouTube channel. Consumers didn’t mind, though; supportive comments significantly outnumbered hateful ones, and nearly all agreed that the biracial daughter was adorable. The commercial was a winner for Cheerios, so much so that the cereal giant released a new version that aired on Super Bowl Sunday, continuing to push against a boundary that remains curiously in place in American advertising. It’s the one place where biracial families are still invisible.

Corporations will happily cast a rainbow of Caucasian, Hispanic, Asian and African-American actors for their commercials in the name of diversity, but they’re rarely cast together. I seethed last year when I read one casting call for a major retailer requesting “real” Caucasian and African-American families, and then, in capital letters in the next sentence: “NO MIXED FAMILIES.”…

Read the entire article here.

A Breakdown & Discussion of Upcoming Events with Our Very Own, Steve Riley

Mixed Race Radio
Blog Talk Radio
2014-02-12, 17:00Z (12:00 EDT)

Tiffany Rae Reid, Host

On Wednesday’s episode of Mixed Race Radio, Steve Riley (mixedracestudies. org) will join me to discuss some upcoming events and performances occurring all over the world. Whether you are in Chicago, Los Angeles, or Philadelphia, PA, there are things to do, places to go and people to meet.

If you are hosting an event or need someone to “go-with”, join us and share, share, share.

We’ve got updates from Laura Kina, Lisa Jones (Topaz Club), and Steve Riley. Oh yeah……If you reside in the Republic of Georgia, we’ll let you know where to go to get a mulatto spray tan….Yes, I said it!!!

You see we have a lot to discuss so please feel free to join us by dialing in or joining our chat room.

And don’t forget to tell a friend.

Also, we want to use this time to say “Thank You” to everyone who continues to follow us. You may have noticed that our site is missing a few episodes from the past few weeks. For anyone who doesn’t know, I’ve been broadcasting live from Northeastern Ohio since early January and Mother Nature continues to express her authority over all things by sending -35 degree temps and record snowfalls our way. Needless to say, when pipes burst, fire alarms begin to sound and therefore radio shows cannot be recorded. So, thank you for your continued support.

As long as Mother Nature allows, we will continue to bring you episodes that showcase some amazing people and even more amazing movements.

Keep the emails and phone calls coming.

WON’T YOU JOIN US?

Sex Tourism in Bahia: Ambiguous Entanglements

University of Illinois Press
December 2013
224 pages
1 map
6 x 9 in
Cloth ISBN: 978-0-252-03793-1
Paper ISBN: 978-0-252-07944-3

Erica Lorraine Williams, Assistant Professor of Anthropology
Spelman College, Atlanta, Georgia

Winner of the National Women’s Studies Association/University of Illinois Press First Book Prize

How sexism, racism, and socio-economic inequality interact in the Brazilian sex industry

Brazil has the largest economy of any Latin American country with a population five times greater than any other South American country, and for nearly a decade, Brazil has surpassed Thailand as the world’s premier sex tourism destination. As the first full-length ethnography of sex tourism in Brazil, this pioneering study treats sex tourism as a complex and multidimensional phenomenon that involves a range of activities and erotic connections, from sex work to romantic transnational relationships. Erica Lorraine Williams explores sex tourism in the Brazilian state of Bahia from the perspectives of foreign tourists, tourism industry workers, sex workers who engage in liaisons with foreigners, and Afro-Brazilian men and women who contend with foreigners’ stereotypical assumptions about their licentiousness.

In her analysis, Williams argues that the cultural and sexual economies of tourism are inextricably linked in the Bahian capital city of Salvador’s tourism industry. She shows how the Bahian state strategically exploits the touristic desire for exotic culture by appropriating an eroticized blackness and commodifying the Afro-Brazilian culture in order to sell Bahia to foreign travelers. Drawing on eighteen months of ethnographic research and in-depth interviews, Sex Tourism in Bahia: Ambiguous Entanglements combines historical, sociological, anthropological, cultural studies, and feminist perspectives to demonstrate how sexism, racism, and socio-economic inequality interact in the context of tourism in Bahia.

Stuart McPhail Hall was born on February 3 1932 in Kingston, Jamaica, into a middle class family which subscribed to what he called “the colonial romance”. His father, Herman, was the first non-white person to hold a senior position – chief accountant – with United Fruit in Jamaica. Both his parents had non-African components in their ancestry, though as he recalled: “I was always the blackest member of my family and I knew it from the moment I was born.”

Growing up in what he called the “pigmentocracy” of the colonial West Indies had a profound effect on Hall’s childhood and outlook. His mother forbade him from inviting black school friends home, even though to white eyes he was black himself. When his sister fell in love with a black medical student, their mother barred her from seeing him. As a result she suffered a mental breakdown.

“Stuart Hall – obituary,” The Telegraph, (London: February 11, 2014). http://www.telegraph.co.uk/news/obituaries/10629087/Stuart-Hall-obituary.html.

Stuart Hall obituary

The Guardian
2014-02-10

David Morley and Bill Schwarz

Influential cultural theorist, campaigner and founding editor of the New Left Review

When the writer and academic Richard Hoggart founded the Centre for Contemporary Cultural Studies at Birmingham University in 1964, he invited Stuart Hall, who has died aged 82, to join him as its first research fellow. Four years later Hall became acting director and, in 1972, director. Cultural studies was then a minority pursuit: half a century on it is everywhere, generating a wealth of significant work even if, in its institutionalised form, it can include intellectual positions that Hall could never endorse.

The foundations of cultural studies lay in an insistence on taking popular, low-status cultural forms seriously and tracing the interweaving threads of culture, power and politics. Its interdisciplinary perspectives drew on literary theory, linguistics and cultural anthropology in order to analyse subjects as diverse as youth sub-cultures, popular media and gendered and ethnic identities – thus creating something of a model, for example, for the Guardian’s own G2 section…

Read the entire obituary here.

Meaning of mixed race

Macalester College News
Saint Paul, Minnesota
2013-02-07

Americans are increasingly thinking about their racial identities, says American studies professor Jane Rhodes, with the whole question of mixed race identities getting more attention. “Academia is just starting to catch up with that conversation,” she says, which is one reason why her department is devoting its 15th annual conference to the topic February 27 and 28.

Macalester senior Hannah Johnson (Olympia, Wash.) is equally fascinated by the subject, which led her to write her sociology capstone paper about mixed race and multiracial identities. “We talk a lot at Mac about how we construct gender,” says Johnson, “but I wanted to explore how we construct race. Nobody really knows what mixed race is right now. It’s a great place to be in American history.”

Johnson interviewed 11 people in depth on the topic, and found that her fellow students and others “really want to talk about the issue—I’m still hearing from people excited to talk about mixed race,” she says.

She found that mixed race people have two distinct ways of thinking about their identity: as a combination of two or more racial groups (such as half Chinese, half African American) or as its own separate category. Many interviewees also reported that college was the first time they had really thought of themselves as mixed race…

Read the entire article here.

San Francisco Lithographer: African American Artist Grafton Tyler Brown

University of Oklahoma Press
2014
264 pages
8.5″ x 11″
Illustrations: 20 b&w and 125 color illus.
Hardcover ISBN: 9780806144108

Robert J. Chandler, Retired Senior Research Historian
Wells Fargo Bank

A lavishly illustrated biography of an often overlooked artist and his work

Grafton Tyler Brown—whose heritage was likely one-eighth African American—finessed his way through San Francisco society by passing for white. Working in an environment hostile to African American achievement, Brown became a successful commercial artist and businessman in the rough-and-tumble gold rush era and the years after the Civil War. Best known for his bird’s-eye cityscapes, he also produced and published maps, charts, and business documents, and he illustrated books, sheet music, advertisements, and labels for cans and other packaging.

This biography by a distinguished California historian gives an underappreciated artist and his work recognition long overdue. Focusing on Grafton Tyler Brown’s lithography and his life in nineteenth-century San Francisco, Robert J. Chandler offers a study equally fascinating as a business and cultural history and as an introduction to Brown the artist.

Chandler’s contextualization of Brown’s career goes beyond the issue of race. Showing how Brown survived and flourished as a businessman, Chandler offers unique insight into the growth of printing and publishing in California and the West. He examines the rise of lithography, its commercial and cultural importance, and the competition among lithographic companies. He also analyzes Brown’s work and style, comparing it to the products of rival firms.

Brown was not respected as a fine artist until after his death. Collectors of western art and Americana now recognize the importance of Californiana and of Brown’s work, some of which depicts Portland and the Pacific Northwest, and they will find Chandler’s checklist, descriptions, and reproductions of Brown’s ephemera—including billheads and maps—as uniquely valuable as Chandler’s contribution to the cultural and commercial history of California. In an afterword, historian Shirley Ann Wilson Moore discusses the circumstances and significance of passing in nineteenth-century America.