Mixed Race Studies

The Dougla Defect

Without Wax
2013-12-15

Sara Bharrat

Dougla Defect?
Indian speaks to a Dougla woman about her Dougla baby
Indian: The baby getting nice now.
Now he complexion comin’ lil clear.

—(Rochelle Etwaroo photo and testimony)

For Rochelle Etwaroo: the hybrid of two great people and a seed of hope.

The Dougla Defect is evidence of Guyana’s ongoing Black and Indian war. It is a source of shame to both the Black and Indian man who insists on remaining entrenched in fear. They have both condemned the hybrid of themselves to that cold, cruel no man’s land that separates them.

It is not the Black man or the Indian man who has suffered the most painful wounds in this war. It is the hybrid who suffers; the Dougla boy, the Dougla girl, whose only crime has been birth. The war has stolen home and identity from the Dougla and replaced it with hurt and displacement. How can a nation be so cruel to its children?…

Read the entire article here.

“Not a Moor exactly”: Shakespeare, Serial, and Modern Constructions of Race

Shakespeare Quarterly
Volume 67, Number 1, 2016
pages 30-50
DOI: 10.1353/shq.2016.0009

Vanessa Corredera, Assistant Professor of English
Andrews University, Berrien Springs Michigan

As scholars of early modern literature know, Renaissance constructions of alterity were inconsistent and varied. This critical consensus regarding the fluidity of early modern conceptions of otherness has produced a dichotomy between “then” and “now” with which early modern race scholars in particular must grapple, and one that challenges all scholars and teachers of Shakespeare who engage with race in the classroom—if we concede we can talk about “race” at all. In the quest for responsible historical contextualization of early modern race, scholars have vigilantly attended to the differences between Renaissance culture and our own, leading to the assertion that early moderns conceived of race in a more protean way than our modern scientific, phenotypical, stable approach. In doing so, however, they enact a different methodological pitfall—imposing an assumed set of views about race upon moderns. This approach blinds us to the reality of our own racial discourses, which, I suggest, likewise depend on and perpetuate a fluid understanding of race. In turning to a specific example—the nexus of issues raised by a Shakespearean reference to Othello in season 1 of the hit NPR podcast Serial—we find that myriad factors like language, religion, and descent play pivotal roles in modern constructions of race. By recognizing this multiplicity, we can more effectively use nuanced understandings of early modern race to help us uncover the complexities of contemporary racial ideology. And just as significantly, we can employ current conversations about racial identity as a fresh way of reconsidering canonical Renaissance texts.

The Pleasures of Taxonomy: Casta Paintings, Classification, and Colonialism

The William and Mary Quarterly
Volume 73, Number 3, July 2016, 3rd series
pages 427-466

Rebecca Earle, Professor
School of Comparative American Studies
University of Warwick, Coventry, United Kingdom

A new model for thinking about the socioracial categories depicted in casta paintings (remarkable eighteenth-century Spanish American images representing the outcome of “racial mixing”) takes seriously both their fluidity and their genealogical character. Approaching classification, and casta paintings, from this direction clarifies the underlying epistemologies that structured colonial society and helps connect the paintings more explicitly to the debates about human difference that captivated Enlightenment thinkers. Ultimately, however, these paintings were produced and collected in the hundreds not simply because they visualized Atlantic debates about classification and human difference but because these visualizations were interesting and pleasant to contemplate. They agreeably roused the pleasures of the imagination via their taxonomic as well as their narrative power. Linking casta paintings to the importance accorded to pleasure in both the scientific and the colonial imagination helps explain their fascination, which derived from their ability to condense the complex interconnections of classification, colonialism, and sexuality into appealing images.

‘War Brides of Japan’ To Take Focus in New Documentary

NBC News
2016-08-10

Frances Kai-Hwa Wang

Journalist and filmmaker Yayoi Lena Winfrey is looking for more Japanese “war brides” to interview as she completes the filming for her feature-length documentary film, “War Brides of Japan.” With many of these women in their mid-80s, Winfrey said that time is critical to document their stories. With interviews already scheduled for 11 and their adult children in eight cities and three states this month, Winfrey hopes to find more women and families to interview along the way…

According to Winfrey, approximately 50,000 “war brides” came to the United States from Japan starting in 1947. Many were disowned by their families for marrying those who had bombed Hiroshima and Nagasaki and then occupied Japan, Winfrey said. Others were rejected by their American in-laws for being foreigners. Some were abandoned by the American servicemen who married them while some were also ostracized by the Japanese-American community, only just released from the incarceration camps of World War II. Some were falsely stereotyped as prostitutes, while others were blamed for causing World War II, she said…

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Raising My Black Son

Brian, Child: the magazine for thinking mothers
2016-08-09

Suanne Schafer

Twenty years ago, I adopted an interracial child—I’ll call him M—thinking a mother’s love could overcome all barriers, even racial ones. Twenty years later, I’m not sure I did my son any favors. I’m a white mom trying to figure out how to raise a black child in a hostile—and potentially lethal—environment.

M came up for adoption during my fourth year of medical school, the unwanted love child of a sixteen-year-old white mother and a black seventeen-year-old father. Unable to take her mixed-race baby home to her blue-collar family, the young woman kept her pregnancy secret from everyone except her mother then gave the baby up for adoption.

My family was tickled to have a grandchild, whatever his color…

Read the entire article here.

‘Blasian Narratives’ struggles with the question: Black enough? Asian enough?

Kore Asian Media
2016-08-16

Tae Hong

“Blasian Narratives” performs inside Stanford Theatre. (Harrison Troung/Courtesy photo)

Teaching third graders in an underserved area of Brooklyn, Cenisa Gavin often looks out at her mostly black and Latino students and is reminded of the failings of her own teachers when it came to discussions about race and identity.

Gavin, 23, is black on her father’s side, and Korean Eskimo on her mother’s side. She has long, thick hair and, by her own description, slanted eyes. Growing up as a mixed-race child in Anchorage, Alaska, was one thing – she could never, for one, converse with her Korean great-grandmother because of a language barrier, and that was always the way it had been for her family – but coming across the term “Blasian” as a high schooler, and then joining a group of them to talk about her heritage as black and Asian on a theater stage at Spelman College years later, was another.

“I think my teachers did us a disservice by not discussing what it is to be colorblind, and how being colorful is greater than that,” Gavin said. When she told her students about her mixed race last year, she said, and when they saw her black father, the kids were surprised: “They said, ‘Ms. Gavin’s dad is black? You’re black?’”

This is one of the themes carried in the stories told by the seven-member group with which Gavin has now starred in a film project, “Blasian Narratives,” started by Cambodian American director Omnes “Canon” Senmos and looking toward release this fall…

Read the entire article here.

The face of change: Census racial categories aren’t so black and white

The Dallas Morning News
2016-08-19

Jill Cowan, Staff Writer

Gloria Fortner, 13, says she values all of the influences of her parentage. Her father, Bruce Fortner, is a black pastor, and her mother, Florencia Velasco Fortner, is a Mexican immigrant who heads a nonprofit. (Ting Shen/The Dallas Morning News)

When Gloria Fortner was a little girl, a classmate of black and white parentage claimed to be a “better mix” than her. It was a jarring experience — one that has stayed lodged in her mind over the years.

But now, Gloria, the daughter of a black pastor and a Mexican immigrant who heads a nonprofit, said she’s forgiven if not forgotten.

“It’s OK,” the lanky violinist said on a recent afternoon. “We follow each other on Instagram now, so it’s fine.”

Gloria is 13…

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“I identify as a black woman”

Kings Review
King’s College, Cambridge
2016-08-09

Tanisha Spratt
Department of Sociology
Cambridge University

Rachel Dolezal poses with her interracial family in 2013 Source: Facebook.

In the United States race transcends physicality. A black person can look physically white but identify as black if he or she is supported by the right credentials, and a white person who looks racially “other” can pass as black or white if he or she “acts the part.” Racial passing requires a great deal of work. In order to pass successfully the subject has to not only diligently maintain their physical appearance and actively form relationships with people from outside of their race but also, often, deny their families and other close acquaintances because their presence threatens his or her fabricated racial identity. In the late nineteenth and early twentieth centuries numerous blacks who were light-skinned enough to pass as white did so in order to evade the social and legal barriers that blacks of all shades faced.

One of the primary incentives to pass was the prospect of living a life that was not conditioned by their inferior racial status. By passing they were given greater access to social, educational, and economic opportunities. Conversely, today there are many benefits of passing as black in the United States. A person who does so is given access to affirmative action programs, social networking groups such as Jack and Jill of America, Inc.,[1] and job opportunities that are race specific.[2] In their 2010 study “Passing as Black: Racial Identity Work Among Biracial Americans” Nikki Khanna and Cathryn Johnson note that the majority of their biracial respondents “have, at one time or another, passed as black and they do this for several reasons – to fit in with black peers, to avoid a [white] stigmatized identity, and/ or for some perceived advantage or benefit.”[3] Too dark to pass as white in a white setting, respondents often claimed to “pass as black [in order] to find a place with their black peers” and, thus, avoid complete social isolation. Passing has been, and continues to be, orchestrated by many biracial Americans in order to navigate the strict and seemingly impermeable borders governing “blackness” and “whiteness.”…

Read the entire article here.

Our Diversity Isn’t Looking Very Diverse

Affinity Magazine
2016-08-20

Etienne Rodriguez
Rutgers, The State University of New Jersey

Look alive, True Believers, if the rumors are to be believed, then Zendaya is playing the role of Mary Jane Watson in the upcoming Spider-Man movie. This is the latest in a series of black women being cast in traditionally white comic book roles. First it was Candice Patton being cast as Iris West in CW’s The Flash, then Tessa Thompson as Valkyrie in Marvel’s Thor: Ragnarok, followed by Kiersey Clemons being cast in Warner Brother’s The Flash, and now Zendaya. While they’re all great actresses and I can’t wait to see them in action, it’s hard not to notice that only a certain type of black girl is being cast.

We all want to celebrate the fact that black women are getting more roles, but we need to address the colorism in these casting. Zendaya, Kiersey, Tessa, and Candice are all lightskin black women. These aren’t coincidences; these are products of our society’s devaluing of darkskin black women, especially those that don’t meet Eurocentric beauty standards. These actresses received/continue to receive a lot of hate, doused in racism no doubt, but nothing in comparison to what Leslie Jones went through just last month.

Leslie is a darkskin black women with Afrocentric features, and the internet sure as hell wanted her to know it. Through comparison to gorillas, various racial slurs, and general bigotry, she was forced to retreat from Twitter and thus interacting with her fans. Women like her are rarely given the chance to shine and when they are, they’re met with harassment and abuse…

Read the entire article here.

My Multiracial Identity Isn’t A Party Trick

The Establishment
2016-06-16

Natasha Diaz

We sat in a diner at 4 a.m. with a stack of chocolate chip pancakes and chicken fingers between us, the only meal that made sense at that time of night. After a while, the food soaked up enough of the alcohol that we could converse somewhat effectively. He looked up at me and smiled, pancakes drooping from his fork. “Babe,” he said, “the guys and I were talking last night, trying to figure out who had hooked up with the most girls of different races. And I won!”

I sat stiffly as he listed off different ethnicities, not attaching a name or even an anecdote to any of these women, as if he was running through ROYGBIV for some elementary school test. When he finished, he took another bite of pancakes and added triumphantly, “We thought no one had hooked up with a mixed girl, but then we realized: Natasha! She’s ­… what was that word for you? Mulatto?”

I took a sip of water, stalling for time to gather my thoughts. I ran through the timeline of our three-week relationship. I was a freshman, newly free from my childhood; he was a senior, well­-liked on campus. Over warm keg beers, he had vowed that he would watch over me. But this wasn’t the first time I had told myself, “He’s just drunk. He means it as a compliment.”

I had found myself making a lot of mental excuses during my first month of college. I’d been justifying the continual inappropriate jokes, invasive questions, and strange obsession with my lack of melanin: How can you be Black when you’re so… white?…

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