Mixed Race Studies

Black mixed-race men’s perceptions and experiences of the police

Ethnic and Racial Studies
Volume 42, 2019 – Issue 2
pages 198-215
DOI: 10.1080/01419870.2017.1417618

Lisa J. Long, Senior Lecturer in Criminology
Leeds Beckett University, Leeds, United Kingdom

Remi Joseph-Salisbury, Senior Lecturer in Education Studies
Leeds Beckett University, Leeds, United Kingdom

For black people in Britain, policing has long been a site of oppression and resistance. Whilst substantive change has been lacking, institutional racism within the British police has at least been acknowledged. Concomitantly, Critical Mixed Race Studies (CMRS) has shown that much of the race and ethnicity literature ignores the experiences of mixed-race populations. In this paper, we utilize two studies to consider black mixed-race men’s perceptions and experience of policing in Britain. In total, we draw upon interviews with 17 black mixed-race men. Whilst we recognize that their experiences are often homogenized with blackness, in the context of police contact, we show that many black mixed-race men believe they are seen as part of a black monolith. We conclude that, in this context, mixedness does not bring about clearly differentiated experiences from that of black men. The absence of clear particularities to mixedness is of significance to CMRS.

Read the entire article here.

Sorry Music Journalists, Drake is Black.

Canadaland
2015-04-30

Kyrell Grant

Drake, born Aubrey Graham in a city where almost one in ten people are black, is black. Toronto’s greatest civic triumphalist since Jane Jacobs is black. And yet Drake’s own identity – his nationality, his mixed race background that includes Jewish heritage and upbringing, the neighbourhood he once lived in, the schools he went to – is often taken to mean that his black experience is somehow inauthentic.

It feels ridiculous to have to say this: Drake is black.

Drake, born Aubrey Graham in a city where almost one in ten people are black, is black. Toronto’s greatest civic triumphalist since Jane Jacobs is black.

He is a black man as much as any other black man. And yet Drake’s own identity – his nationality, his mixed race background that includes Jewish heritage and upbringing, the neighbourhood he once lived in, the schools he went to – is often taken to mean that his black experience is somehow inauthentic. While certainly not the first artist to have this kind of analysis imposed on him, Drake’s profile means that his art in particular has been prominently used to deny his black experience when it doesn’t conform to someone else’s narrow vision of race…

Read the entire article here.

Open Auditions for Casta by Adrienne Dawes

Dougherty Arts Center
1110 Barton Springs Road
Austin, Texas 78704
Telephone: (512) 974-4000
Tuesday, 2019-03-19 17:00-22:00 CDT (Local Time)

Salvage Vanguard Theater announces open auditions for the world premiere of Casta by Adrienne Dawes. Casta will be directed by Jenny Larson and feature music by Graham Reynolds.

Casta is inspired by a series of casta paintings by Miguel Cabrera, a mixed-race painter from Oaxaca. Casta paintings were a unique form of portraiture that grew in popularity over the 18th century in Nueva España/colonial Mexico. The paintings depicted different racial mixtures arranged according to a hierarchy defined by Spanish elites. When a lowly apprentice is commissioned to paint a casta series for a wealthy patron, he tries to conform his work to a set hierarchy. The images revolt, illuminating a complex portrait of fluid Latinx identities.

For more information, click here.

‘Fresh Prince’ Star and First-Time Author Karyn Parsons Is Not Here for Your Labels

Shondaland
2019-03-12

Rebecca Carroll, Editor of Special Projects
WNYC New York Public Radio, New York, New York

Little, Brown, and Company

A conversation about her debut novel, “How High the Moon” dives into issues of identity and her focus on telling little-known stories of African Americans.

There is no shame in having loved Hilary Banks from The Fresh Prince of Bel Air. Sure, she was vapid and flighty and occasionally obnoxious, but she was also admirably ambitious, charmingly naive, and genuinely loyal to her very black family. So it’s a kind of poetic justice that the actress who played her, Karyn Parsons, has evolved out of that hallmark role into something of a black public intellectual, activist, and author — even if she wouldn’t call herself any of those things. Her first novel, How High the Moon, was published last week, and we sat down to talk about it, her nonprofit organization, Sweet Blackberry, race, and labels, and how she feels about acting today.

Rebecca Carroll: You founded Sweet Blackberry as a way to preserve and lift and amplify the achievements of black Americans throughout history, and now you’ve written a young adult novel about a light-skinned black girl coming of age in the Jim Crow South. How do you feel these two projects speak to each other?

Karyn Parsons: I think what Sweet Blackberry has to offer is knowing about these stories from the past, and how they serve us moving forward, especially young people. It shows children what they’re capable of — it teaches them so much about themselves and who they are and can be…

…RC: We’re both the product of one biological black parent and one biological white parent. I black identify, and actually think of it in part as a denouncement of white supremacy. And of whiteness in general. Do you identify as black or biracial?

KP: Biracial. I get what you mean, but I don’t want to feel in any way that I’m denouncing my father, who’s white. If it’s basically ‘What are you?’ I feel like I’m miscommunicating with people and these labels. I don’t do labels.

RC: But whiteness is not a label. It’s an identity.

KP: Well, it depends on who you’re talking to.

RC: Well, I’m talking to you.

KP: I think a lot of people are saying it as literally a physical category, not an experience, not cultural.

RC: You mean a phenotype?

KP: Yes.

RC: I would argue otherwise that only white people categorize blackness that way.

KP: Mmmmm, maybe.

RC: When you talk about not wanting to denounce your father, do you think he would be offended if you called yourself a black woman?

KP: Oh, no. It’s not about him. It’s just about me. What I’m saying when I say I’m mixed — I guess I’m not thinking that heavily into white culture…

Read the entire interview here.

How High The Moon

Little, Brown Books for Young Readers
2019-03-05
320 pages
Hardcover ISBN: 9780316484008
Ebook ISBN: 9780316484022

Karyn Parsons

To Kill a Mockingbird meets One Crazy Summer in this powerful, bittersweet debut about one girl’s journey to reconnect with her mother and learn the truth about her father in the tumultuous times of the Jim Crow South.

In the small town of Alcolu, South Carolina, in 1944, 12-year-old Ella spends her days fishing and running around with her best friend Henry and cousin Myrna. But life is not always so sunny for Ella, who gets bullied for her light skin tone, and whose mother is away pursuing a jazz singer dream in Boston.

So Ella is ecstatic when her mother invites her to visit for Christmas. Little does she expect the truths she will discover about her mother, the father she never knew and her family’s most unlikely history.

And after a life-changing month, she returns South and is shocked by the news that her schoolmate George has been arrested for the murder of two local white girls.

Bittersweet and eye-opening, How High the Moon is a timeless novel about a girl finding herself in a world all but determined to hold her down.

Descendants Tell Stories of Free People of ColorDescendants Tell Stories of Free People of Color

The New York Times
2019-03-12

Katy Reckdahl

Dwight and Beverly Stanton McKenna on the porch of the museum. “In this area, free people of color left their fingerprints on everything,” Ms. McKenna said. “This is who we are. This is our story.” Erica Christmas for The New York Times

NEW ORLEANS — Le Musée de f.p.c. is devoted to the story of the free people of color of New Orleans, as told by their descendants.

Kim Coleman, 29, a curator at the museum whose grandmother was born three blocks from Le Musée, says that she sees it as a “reminder of who built the city culturally, politically and economically,” even as the black population of the surrounding Tremé-Lafitte neighborhood dropped to 64 percent from 92 percent after Hurricane Katrina.

Before the Civil War, free people of color made up a higher proportion of the population in New Orleans than anywhere else in the United States. At the time of the Louisiana Purchase, free black residents made up about 20 percent of the city’s population, largely because French and Spanish officials had allowed enslaved people to purchase their freedom.

Le Musée de f.p.c. is on the first floor of a grand, white-pillared mansion on Esplanade Avenue. Two hundred years ago, French-speaking Afro-Creole free people of color owned much of the property along Esplanade, a broad boulevard shaded by massive, gnarled live oak trees…

Read the entire article here.

‘I’m from more cultures than you!’

BBC News
2019-03-07

One Culture: two generations, where we speak to British families and explore the differences between first- and second-generation immigrants.

Of the 1.2 million mixed race people in England and Wales, 0.5% of them identify as ‘Mixed other’. Bilal, who is of both Jamaican and South Asian Kenyan descent, has an open conversation with his parents Colleen and Asif about the pressures, and the positives of being mixed with two minority groups.

A part of #CrossingDivides – a BBC season bringing people together. For more stories like this go to bbc.co.uk/crossingdivides.

Produced and edited by Elizabeth Ashamu
Directed by Cebo Luthuli
Executive produced by Karlene Pinnock

Watch the video here.

It’s 2019, Why Are We Still Policing Blackness?

My American Melting Pot
2019-03-01

Lori L. Tharps, Host, Head Chef and Chief Content Creator; Associate Professor of journalism
Temple University, Philadelphia, Pennsylvania

Hello Meltingpot Readers,

As we wind down the Blackest month of the year, I wanted to write something positive and inspirational about Black people in America. Instead, I’m using this penultimate Black History Month blog post to lament the continuous policing of Blackness…

Read the entire article here.

Mamp Podcast Episode #8: The Challenges of Traveling as a Multiracial Family

My American Melting Pot
2019-03-01

Lori L. Tharps, Host, Head Chef and Chief Content Creator; Associate Professor of journalism
Temple University, Philadelphia, Pennsylvania

On episode #8 of the podcast, we’re discussing the challenges of traveling as a multiracial family. Thanks to Cindy McCain, the widow of Senator John McCain, this issue recently made headlines when Mrs. McCain believed she was witnessing a case of child trafficking at an Arizona airport. What McCain really saw was a mother traveling with her mixed-race child, but because the two didn’t “match” she thought they looked suspicious so she alerted the police. I’m joined by travel blogger and interracial justice worker, Carmen Sognonvi to talk about what it’s really like to travel with a family that “doesn’t match,” and to discuss the benefits and joys of family travel.

Listen to the episode here. Download the episode here.

Race and the Obama Administration: Substance, symbols, and hope

Manchester University Press
2019-03-01
256 pages
Hardcover ISBN: 978-1-5261-0501-1
eBook ISBN: 978-1-5261-0503-5
Paperback ISBN: 978-1-5261-0502-8

Andra Gillespie, Associate Professor of Political Science
Emory University, Atlanta, Georgia

• Timely publication in the aftermath of the Obama leaving The White House. Obama’s handling of race and equality is expected to determine his legacy as President.
• Compares the Clinton, Bush and Obama Administrations to determine if Obama’s performance on racial issues differed significantly from his immediate predecessors
• Analyses Barack Obama’s performance on substantive and symbolic issues of importance to African Americans
• Uses opinion polls of black voters to probe attitudes toward President Obama and explanations for his performance on racial issues
• Encourages readers to consider the ways that institutional constraints on the presidency and candidates’ campaign choices limit the role of the president to address racial issues

The election of Barack Obama marked a critical point in American political and social history. Did the historic election of a black president actually change the status of blacks in the United States? Did these changes (or lack thereof) inform blacks’ perceptions of the President?

This book explores these questions by comparing Obama’s promotion of substantive and symbolic initiatives for blacks to efforts by the two previous presidential administrations. By employing a comparative analysis, the reader can judge whether Obama did more or less to promote black interests than his predecessors. Taking a more empirical approach to judging Barack Obama, this book hopes to contribute to current debates about the significance of the first African American presidency. It takes care to make distinctions between Obama’s substantive and symbolic accomplishments and to explore the significance of both.

Table of Contents

• Introduction: how’s he doing? And what does that say about black politics?
• 1 The triple bind
• Part I: Substance
  • 2 How he did: the racial successes, failures and impact of the Obama presidency
  • 3 Executive orders
  • 4 Winks, nods and day-to-day bureaucratic work: a case study of three cabinet departments
• Part II: Symbols
  • 5 Race, appointments and descriptive diversity
  • 6 Rhetoric and racial eruptions
  • 7 Artistic representation and the presidency: an examination of PBS performances
  • 8 Michelle Obama
• Part III: Hope
  • 9 Public opinion
  • 10 Race, Obama and the fourth quarter
  • Conclusion: was it worth it?
• Index