Mixed Race Studies

New Rabbi at Manhattan’s Central Synagogue ‘a Pioneer’

The Wall Street Journal
2014-01-17

Sophia Hollander

Rabbi Angela Warnick Buchdahl Is Daughter of a Korean Buddhist Immigrant and an American Jew

Growing up as the daughter of a Korean Buddhist immigrant and an American Jew in Tacoma, Wash., Rabbi Angela Warnick Buchdahl said some family members always wondered: Could she ever be fully accepted as a Jew?

Any lingering doubts were eliminated last week when the congregation of Midtown’s historic Central Synagogue voted her to succeed Rabbi Peter Rubinstein, 71, when he retires later this year. Her appointment will take effect July 1.

Rabbi Buchdahl, who is 41, will become one of only a few women—and likely the only Asian-American—leading a major U.S. synagogue. Central Synagogue boasts 100 full-time employees and an endowment that exceeds $30 million.

“She really is a pioneer,” said Rabbi B. Elka Abrahamson, president of the Wexner Foundation, which develops Jewish leaders in North America and Israel. “She represents a new generation of women.” According to the Central Conference of American Rabbis, the largest rabbinical organization in North America, about 30% of Reform-movement rabbis are women.

Her appointment comes at a critical moment for American Judaism. A recent survey by the Pew Research Center found that the number of U.S. adults identifying as Jewish has dropped by half since the late 1950s. Fewer than a third of Jewish adults said they belonged to a synagogue, temple or other congregation…

…In addition to her unusual cultural heritage, Rabbi Buchdahl has been quick to blur other lines. According to the Central Conference of American Rabbis, she is one of only about a dozen people in the U.S. and Canada ordained as both a rabbi and a cantor…

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The Romance of Race: Incest, Miscegenation, and Multiculturalism in the United States, 1880-1930 [Joseph Review]

MELUS: Multi-Ethnic Literature of the United States
Published online: 2014-01-26
DOI: 10.1093/melus/mlt079

Ralina L. Joseph, Associate Professor of Communication
University of Washington

The Romance of Race: Incest, Miscegenation, and Multiculturalism in the United States, 1880-1930. Jolie A. Sheffer. New Brunswick and London: Rutgers University Press, 2013. 248 pages. $72.00 cloth; $24.95 paper; $24.95 electronic.

Late nineteenth- and early twentieth-century multiracial characters in US popular culture almost always have been dismissed by critics as tragic. They are the torn victims of race crossing whose inevitably dismal fates result from their race-infringing parents and are exacerbated by their own romantic adventures across racial lines. Mixed-race characters bear epithets such as the tragic mulatto, the half-caste, and the half-breed; their downfall is unchangeable presumably because of the incompatible white and minority bloods that flow within their veins. Stories about multiracial characters function in US culture as barometers of race relations. Tragic mixed-race tales illuminate the white nation’s pathological fear of the deepest and most permanent form of integration: miscegenation.

Jolie A. Sheffer warns that this is not the full story. In The Romance of Race: Incest, Miscegenation, and Multiculturalism in the United States, 1880-1930, Sheffer imagines mixed-race subjects in turn-of-the-twentieth-century literature and their women of color (often mixed-race) authors as not just the embodiment of tragedy but the active agents of resistance and change. Sheffer writes that while stories of miscegenation and incest, which she terms racial romances, serve the function of “reveal[ing] a history of exploitation of racialized…

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Dark skin, blue eyes: Genes paint a picture of 7,000-year-old European

NBC News
2014-01-26

Alan Boyle, Science Editor

A 7,000-year-old man whose bones were left behind in a Spanish cave had the dark skin of an African, but the blue eyes of a Scandinavian. He was a hunter-gatherer who ate a low-starch diet and couldn’t digest milk well — which meshes with the lifestyle that predated the rise of agriculture. But his immune system was already starting to adapt to a new lifestyle.

Researchers found all this out not from medical records, or from a study of the man’s actual skin or eyes, but from an analysis of the DNA extracted from his tooth.

The study, published online Sunday by the journal Nature, lays out what’s said to be the first recovered genome of a European hunter-gatherer from a transitional time known as the Mesolithic Period, which lasted from 10,000 to 5,000 years ago. It’s a time when the hunter-gatherer lifestyle was starting to give way to a more settled existence, with farms, livestock and urban settlements.

The remains of the Mesolithic male, dubbed La Braña 1, were found in 2006 in the La Braña-Arintero cave complex in northwest Spain. In the Nature paper, the researchers describe how they isolated the ancient DNA, sequenced the genome and looked at key regions linked to physical traits — including lactose intolerance, starch digestion and immune response.

The biggest surprise was that the genes linked to skin pigmentation reflected African rather than modern European variations. That indicates that the man had dark skin, “although we cannot know the exact shade,” Carles Lalueza-Fox, a member of the research team from the Spanish National Research Council, said in a news release. At the same time, the man possessed the genetic variations that produce blue eyes in current Europeans…

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“The performance was hands-down the best Choate performance I have ever seen. I’ve seen a lot of white struggle stories, and a lot of black struggle stories, but I don’t think I’ve ever seen a mixed struggle story.” —Zemia Edmondson description of Fanshen Cox DiGiovanni’s one-woman performance, One Drop of Love.

Alexandra Brunjes, “Getting Race-y in the PMAC,” The News: The official student newspaper of Choate Rosemary Hall, Wallingford, Connecticut, January 25, 2014. http://thenews.choate.edu/article/getting-race-y-pmac.

Getting Race-y in the PMAC

The News: The official student newspaper of Choate Rosemary Hall
Wallingford, Connecticut
Saturday, 2014-01-25

Alexandra Brunjes ’16, News Staff Reporter

“How does our belief in ‘race’ affect our most intimate relationships?” This is the question that Ms. Fanshen Cox DiGiovanni sought to answer during her one-woman performance, One Drop of Love, last Friday night, January 17th, on the Paul Mellon Arts Center [(PMAC)] mainstage, employing her relationship with her father as the primary example.

Using a collection of images and voice recordings and the astonishing ability to seamlessly shift personas in order to represent members of her family, Ms. DiGiovanni told the story of her experience with race. 

Ms. DiGiovanni originally meant for One Drop of Love to be a documentary for her Masters of Fine Arts thesis at California State University. “I always knew I wanted to look at race,” she stated. “I wanted to figure out why race was so important in my family, and why it was getting in the way of my relationship with my dad. It took me a long time to realize that the entire reason for my show was to have that final confrontation with my dad.”

Celebrity Ben Affleck, a childhood friend, attended Ms. DiGiovanni’s first show. He then consulted with co-producers from Argo and friend Matt Damon. They ultimately decided to produce her show. She said about this development, “[The show] gained this new trajectory that I never had imagined.”

“This is the largest crowd I have ever performed for, as well as the youngest,” Ms. DiGiovanni said of her Choate performance. “At the end, the response was beautiful. I’m so glad that it can have an impact on people.”

“The performance was hands-down the best Choate performance I have ever seen. I’ve seen a lot of white struggle stories, and a lot of black struggle stories, but I don’t think I’ve ever seen a mixed struggle story.” Zemia Edmondson ’16 described…

Read the entire review here.

Undoing Racial Identification and Redoing Ethical Cultivation: Passing as a Performance of Identity and an Ethics of Self-Making

Hofstra University, Hempstead, New York
Honors Thesis
Fall 2013
42 pages

Paige Meserve

Submitted to the Department of Religion

Paige Meserve uses contemporary affect theory and queer theory to explore how racial identities are performed (and taken apart) in novels from the 1920s Harlem Renaissance.  Drawing on Foucault’s notion of ethics as a practice of self-cultivation, Paige reads racial passing as one way that African-American women negotiate a world that refuses to sustain and feed them but which they cannot simply leave. Paige shows how such strangely performed identities constitute an ethics of dis-identification. By its means, these women hope to create cross-temporal communities that go beyond fixed racial identities of white and black, and therefore also go beyond existing moral codes of right and wrong – all in favor of imagining new styles of living that are not complicit with a racist world.

The Black Woman’s very life depends on her being able to decipher the various sounds in the larger world, to hold in check the nightmare figures of terror, to fight for basic freedoms against the sadistic law enforcement agencies in her community, to resist the temptation to capitulate the demands of the status quo, to find meaning in the most despotic circumstances and to create something where nothing was before. Katie Cannon, Black Womanist Ethics

INTRODUCTION: THEORIES OF MELANCHOLY, PERFORMANCE AND POSSIBILITY

In The Female Complaint, Lauren Berlant defines normativity as a “felt condition of general belonging and an aspirational site of rest and recognition in and by a social world”(5). Her work raises intriguing questions regarding how subjects outside of the mainstream culture can negotiate their existence and find happiness in a cultural landscape that doesn’t offer them the terms for it. How do these minority subjects manage such an ambivalent, but necessary, attachment to a social world simply incapable of providing them the means to thrive?

Berlant in Cruel Optimism uses the phrase cruel optimism to discuss this compromising bind. Cruel optimism is “a relation of attachment to compromised conditions of possibility whose realization is discovered to be impossible, sheer fantasy, or too possible, and toxic”(24). The subjects under consideration here are attached to creating a life for themselves in a terrain that makes it impossible. “Cruel optimism is the condition of maintaining an attachment to a significantly problematic object”(24). The optimistic attachment must be maintained to preserve the desire to keep on living; its cruelty, however, resides in the fact that the possibility of thriving in their cultural climate is severely limited.

José Muñoz describes a process he names disidentification as a way that a minority subject can work within the dominant culture while simultaneously critiquing it. In his work, Disidentifications, he refers to disidentification as “a hermeneutic, a process of production, a mode of performance”(25). To further outline what this process is, he writes: “Disidentification is, at its core, an ambivalent modality that cannot be conceptualized as a restrictive or “masterfully” fixed mode of identification”(28). In spaces where bodies and identifications are ungrounded and become scripts, the possibility emerges of discovering new ways of working with, inhabiting, or potentially abandoning the stunted cultural climate where identities serve more as a prison than a means to provide an affirming space for the self. Disidentification is “descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship”(4). In reading his work, I want to further explore the potential of performance spaces as ways a minority subject can work with the broken pieces society offers them as terms of existence. It is crucial to find these spaces that can perhaps provide an alternative way to negotiate and interact with a social system that tends to foreclose possibility.

A way that people of color have historically attempted to manage a society that brutally represses them and eliminates all possible avenues for a palatable existence, is racial passing, the process in which a person of one race adopts the mask of another race. As I will demonstrate throughout this analysis, racial passing is one of these potential performance spaces that enables these subjects to work with the dominant culture that suppresses them in new and different ways. In her introduction of Passing and the Fictions of Identity, Elaine K. Ginsberg writes: “passing is about identities: their creation or imposition, their adoption or rejection, their accompanying rewards or penalties. Passing is also about the boundaries established between identity categories and about the individual and cultural anxieties induced by boundary crossing.” She posits that the act of passing “interrogates the ontology of identity categories and their construction”(4). If passing treats race as a performance, then categories of race are destabilized and become an insufficient way to signify identity. Ginsberg questions: “when “race is no longer visible, it is no longer intelligible: if “white” can be “black”, what is white?”(8) These instances that destabilize identity demand different ways of understanding the category. I see passing as a site rich with possibilities that calls for further examination of its complexity and of its new potentialities…

Read the entire paper here.

A Man Called White: The Autobiography of Walter White

University of Georgia Press
1994 (First published in 1948)
392 pages
5.5 x 8.5
Paper ISBN: 978-0-8203-1698-7

Walter White (1893-1955)

Foreword by Andrew Young

The life story of a man who crossed the color line to fight for civil rights

First published in 1948, A Man Called White is the autobiography of the famous civil rights activist Walter White during his first thirty years of service to the National Association for the Advancement of Colored People. White joined the NAACP in 1918 and served as its executive secretary from 1931 until his death in 1955. His recollections tell not only of his personal life, but amount to an insider’s history of the association’s first decades.

Although an African American, White was fair-skinned, blond-haired, and blue-eyed. His ability to pass as a white man allowed him—at great personal risk—to gather important information regarding lynchings, disfranchisement, and discrimination. Much of A Man Called White recounts his infiltration of the country’s white-racist power structure and the numerous legal battles fought by the NAACP that were aided by his daring efforts.

Penetrating and detailed, this autobiography provides an important account of crucial events in the development of race relations before 1950—from the trial of the “Scottsboro Boys” to an investigation of the treatment of African American servicemen in World War II, from the struggle against the all-white primaries in the South to court decisions–at all levels—on equal education.

Flight: A Novel

Louisiana State University Press
April 1998 (Originally published in 1926)
304 pages
5.50 x 8.50 inches
Paperback ISBN: 9780807122808

Walter White (1893-1955)

Published amid controversy in 1926, Flight focuses on the dilemma of Mimi Daquin, a light-complexioned African American woman who passes, for a time, as white. In the New Orleans of her birth, Mimi never encountered the hierarchies of skin color that existed elsewhere. But when her family moves to Atlanta, she embarks on a lifelong lesson about what it really means to belong to a people. From the Atlanta riot of 1906 to her shameful expulsion from black bourgeois society because of an out-of-wedlock pregnancy, to her working-class status in Philadelphia and Harlem, Mimi eventually decides to escape her miseries by passing for white in New York City. There, her success exceeds her expectations but even so cannot quell a recurrent yearning.

Walter White (1893–1955), a blond-haired, blue-eyed African American, was a native of Atlanta and an adopted New Yorker. His other works are the novel Fire in the Flint and an autobiography, A Man Called White. He was a major figure in the NAACP for more than three decades.

Motivation to Control Prejudice Predicts Categorization of Multiracials

Personality and Social Psychology Bulletin
Volume 40, Number 5 (May 2014)
pages 590-603
DOI: 10.1177/0146167213520457

Jacqueline M. Chen, Post-doctoral Scholar
University of California, Davis

Wesley G. Moons, Assistant Professor of Psychology
University of California, Davis

Sarah E. Gaither
Department of Psychology
Tufts University, Medford, Massachusetts

David L. Hamilton, Research Professor of Social Psychology
University of California, Santa Barbara

Jeffrey W. Sherman, Professor of Psychology
University of California, Davis

Multiracial individuals often do not easily fit into existing racial categories. Perceivers may adopt a novel racial category to categorize multiracial targets, but their willingness to do so may depend on their motivations. We investigated whether perceivers’ levels of internal motivation to control prejudice (IMS) and external motivation to control prejudice (EMS) predicted their likelihood of categorizing Black–White multiracial faces as Multiracial. Across four studies, IMS positively predicted perceivers’ categorizations of multiracial faces as Multiracial. The association between IMS and Multiracial categorizations was strongest when faces were most racially ambiguous. Explicit prejudice, implicit prejudice, and interracial contact were ruled out as explanations for the relationship between IMS and Multiracial categorizations. EMS may be negatively associated with the use of the Multiracial category. Therefore, perceivers’ motivations to control prejudice have important implications for racial categorization processes.

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The Trouble with Transcendence: Is Defying the Gender Binary the New Racial Passing?

Nursing Clio: Because the Personal is Historical
2014-01-21

Mallory Nicole Davis
University of Oregon

In 2010, Thomas Araguz III, a Texas firefighter died on the job, leaving behind his two children and transgender wife, Nikki.[1] The couple was legally married because although the state of Texas only recognizes heterosexual marriages, the state will validate a transgender union if the trans partner’s identification documents dictate that s/he is the opposite legal sex of the spouse.[2] However, when Nikki sought survivor benefits after her husband’s unexpected death, Thomas’ family launched a case against Nikki, stating that Thomas did not know his wife was transgender. The suit argued that Nikki wrongfully deceived her husband, while lobbying for the nullification of their marriage and subsequently, Nikki’s request for spousal benefits. The case was complicated further by the prosecuting attorney’s interrogation of a deposition taken from Thomas in a separate court case—a battle over custody of his two sons with his ex-wife—in which he stated that he did not know that Nikki was transgender.[3] In response to the scrutinizing of her late husband’s statement, Nikki insisted that Thomas lied during his deposition and pretended to be unaware of her transgender status in order maintain custody of his two small children. Nikki stated, “At the time, Thomas and I thought it was in the best interest of our children to lie. They were the center of (our) lives”.[4] Whether Nikki neglected to disclose her trans identity to her husband or that the couple collectively decided to lie to the court during their custody case for the sake of their children, deception surrounding Nikki’s trans status is at the center of this legal case; and undoubtedly, her credibility will be diminished regardless of how the court decides…

…Passing is a term typically used to denote a person’s ability to move imperceptibly across racial lines, though the word is equally fitting to describe a trans* person’s ability to transgress the gender binary. Nikki’s perceived deceptions echoes the case of Alice and Leonard Rhinelander, an interracial couple who were married in 1924 who made national headlines because Alice, a light-skinned African-American woman, passed for white and married into the affluent Rhinelander family.[5] When negative press threatened to tarnish the Rhinelander family name, Leonard disappeared without warning and filed for an annulment, claiming that Alice misled him by presenting herself as a white woman. Ultimately, it was proved that Leonard had, in fact, known that Alice was African-American, and Alice counter-sued Leonard for abandonment. Although the Rhinelander family ended up offering Alice a monetary settlement upon her agreement to a divorce, the character attacks launched on Alice and her family, based upon her alleged racial deception were devastating. And like Nikki, Alice’s identity came under fire in a torrential court case only after the transcendent nature of her identity proved threatening to the family of her husband…

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