Mixed Race Studies

Race Card Project Creates New Type of Conversation

The Associated Press
2012-11-30

Jesse Washington, National Writer on Race and Ethnicity

She asked for just six words.

Michele Norris, the National Public Radio host, was starting a book tour for her memoir, which explored racial secrets. Sensing a change in the atmosphere after the election of the first black president, and searching for a new way to engage and listen, Norris printed 200 postcards asking people to express their thoughts on race in six words.

The first cards that trickled into her mailbox were from Norris’ friends and acquaintances. Then they started coming from strangers, from people who had not heard Norris speak, from other continents. The tour stopped; the cards did not:

“You know my race. NOT ME!”

“Chinese or American? Does it matter.”

“Oh, she’s just another white girl.”

“Waiting for race not to matter.”

Such declarations brought the Race Card Project to life.

“I thought I knew a lot about race,” says Norris, 51, an award-winning black journalist. “I realized how little I know through this project.”

Two years later, the cards have become almost a parallel career for Norris, best known for her work on NPR’s “All Things Considered.” She and an assistant have catalogued more than 12,000 submissions on http://www.theracecardproject.com/. People now send them via Facebook and Twitter or type them directly into the website, leading to vibrant online discussions…

…Or the story of Arlene Lee, who posted: “Birthday present; you are black, sorta?”

On the night before Lee’s 50th birthday, she was going through the papers of her late mother, an immigrant from Peru. Lee found her mother’s real birth certificate, plus a fake one she had used to enter the United States in 1958. On the fake document, Lee’s mother had changed her race from black to white.

“My mother raised me to be white and I am, at least by self identification I guess,” Lee wrote on the Race Card Project website.

“It breaks my heart that we never had a chance to talk about it, that she didn’t feel she could trust her only child to understand and that she didn’t feel she could ever come out of hiding,” Lee wrote.

“And now, I have a new prism through which to see things.”…

Read the entire article here.

In Black and White

New York Magazine
2005-05-21

Mark Stevens

“Ellen Gallagher: DeLuxe” confronts issues of race not with hectoring but with clever, even antic, satire.

In Invisible Man, Ralph Ellison explored not only overt expressions of racism but also its more hidden, corrosive elements. African-Americans suffered from metaphysical wounds. They were “invisible,” seen not for who they were as individuals but for what they represented as a group. Blackness was a kind of impenetrable mask. Appearance was all. Historically, many African-Americans have tried to escape from this prison. Some whitened their skin or straightened their hair. Others took up the white-skirt profession of nursing. Still others made a fetish of blackness by wearing enormous Afros. Usually, however, one mask was merely being exchanged for another. The poster boy for such psychic wounds is, of course, Michael Jackson.

In a captivating small show at the Whitney Museum of American Art, Ellen Gallagher is now exhibiting a portfolio of 60 prints, called “DeLuxe,” that makes serious sport of this effort to fashion a new appearance that can pass inspection. Gallagher searched through black magazines such as Sepia and Our World, mostly from the years before the civil-rights era, looking for material on the theme. Often, she picked advertisements. Ads from old magazines are always fascinating—usually, things look simpler and more innocent, which is an appealing illusion. Here, the proffered promises are often poignant. A skin whitener is an elixir: You will be “Made for Kisses,” with “The Lighter, Smoother Skin Men Adore.” A presentation of wigs allows you to pick a ready-made identity, from “cutie” and “supreme freedom” to “semi-Afro” and “curly gypsy.”…

Read the entire article here.

Eurasian Hybridity in Chinese Utopian Visions: From “One World” to “A Society Based on Beauty” and Beyond

positions: east asia cultures critique
Volume 14, Number 1, Spring 2006
pages 131-163

Emma Jinhua Teng, T.T. and Wei Fong Chao Professor of Asian Civilizations; Associate Professor of Chinese Studies
Massachusetts Institute of Technology

 “Can Mixed-Blood Hybrids Really Improve the Chinese Race?” This provocative question appeared in chinesenewsweek.com in August 2001. Columnist and on-line pundit Shangguan Tianyi began his essay by contrasting the racialist thinking of the past with contemporary attitudes:

In the past, the German Nazis promoted the idea of Aryan superiority on the basis of the notion of racial purity…. Ironically, nowadays there are people who are taking an avid interest in racial intermixing and hybridity as a means of improving the Chinese race [Zhongguo renzhong], and of producing a more intelligent new generation….decades after [the Nazi era], the mixed-blood hybrid has unexpectedly become a figure of admiration…. In concrete terms, are we talking about interbreeding with Blacks, American Indians, Australian Aborigines or Pacific Islanders? The answer in each case is, no. Essentially, the scope of intermixing is limited to Whites, preferably Americans.

Shangguan then proceeded, in equally inflammatory terms, to critique what he identifies as a new interest in intermarriage as a tool for genetically reengineering the Chinese race and the fetishization of Eurasians as the breed of choice. This fascination is readily apparent in the Chinese media, particularly the entertainment industry where Eurasian models, actors, and athletes have become hot commodities, purported to be not only exceptionally beautiful and physically superior, but also more intelligent. Declaring this type of “blind faith” in Eurasian physical and mental superiority absurd, Shangguan asserts that only a geneticist in a lab could create the ideal child.

Shangguan’s (rather cantankerous) critique stands in sharp contrast to the celebratory discourses on hybridity current in both postcolonial studies and the emerging field of multiracial studies. The theoretical concept of hybridity as a metaphor for the new transcultural forms produced by the colonizer/colonized relation has become fashionable in academic circles since the late 1980s, thanks, among others, to the influential work of Homi Bhabha. Indeed, hybridity has become one of the most widely employed (and hotly disputed) concepts in postcolonial studies, and is frequently cited as a defining characteristic of “the postcolonial condition.” For example, the editors of The Post-Colonial Studies Reader write: “Hybridity and the power it releases may well be seen to be the characteristic feature and contribution of the post-colonial, allowing a means of evading the replication of the binary categories of the past and developing new anti-monolithic models of cultural exchange and growth.”

Whereas within postcolonial studies hybridity is largely conceptualized in cultural or discursive terms, multiracial studies concerns itself with hybridity in racial or bodily terms. Multiracial studies has emerged over the past decade in tandem with the growth of a multiracial movement in the United States, and related movements in Britain and elsewhere, dedicating itself to the analysis of the “multiracial experience” and “multiracial identity.” Largely due to its association with multiracial activism, multiracial studies tends to construct racial intermixing as a socially progressive and liberal phenomenon. As in postcolonial theory, hybridity is treated as a disruptive or destabilizing force, with mixed-race identity promising to break down racial boundaries and bring an end to racism, which is equated with the ideology of racial purity. As one of the leading voices of this emergent field, Maria Root, asserts: “The presence of racially mixed persons defies the social order predicated upon race, blurs racial and ethnic group boundaries, and challenges generally accepted proscriptions and prescriptions regarding intergroup relations. Furthermore, and perhaps most threatening, the existence of racially mixed persons challenges long-held notions about the biological, moral, and social meaning of race.” Hybridity, then, seemingly holds the promise of moving us beyond the old identity politics of white and black, colonizer and colonized, toward a boundaryless future where indeterminacy…

Biology, race and politics explored in upcoming Chancellor’s Lecture

Vanderbilt News
Vanderbilt University
2012-10-10

Kara Furlong

Is race a biological category written in our genes? Or are genomic scientists and biomedical researchers mistakenly using race to explain away health disparities among different population groups?
 
Dorothy Roberts, the Penn Integrates Knowledge Professor at the University of Pennsylvania, will explore this issue in an upcoming Chancellor’s Lecture at Vanderbilt University. Her talk, titled “Fatal Invention: The New Biopolitics of Race,” is scheduled from 5:30 to 6:30 p.m. Tuesday, Oct. 30, in Vanderbilt’s Sarratt Cinema…

…Roberts is the author of Fatal Invention: How Science, Politics and Big Business Re-create Race in the Twenty-First Century. A book signing and reception will precede her lecture from 4:30 to 5:30 p.m. in the Sarratt Cinema Lobby.
 
An acclaimed scholar of race, gender and the law, Roberts pored over scores of scientific studies and interviewed dozens of geneticists whose work claims that race is visible in our genes. As a result, biotechnology and pharmaceutical companies are tailoring medications and other patented products to treat illnesses seemingly prevalent among certain populations.
 
Roberts argues that race is and always has been a political system, that health disparities exist because of social inequalities, and to further the myth that race is a biological category does irreparable damage to social progress in the United States…

…In July 2012, Roberts became the 14th Penn Integrates Knowledge Professor at the University of Pennsylvania with joint appointments in the Department of Sociology and the Law School, where she is the inaugural Raymond Pace and Sadie Tanner Mosell Alexander Professor of Civil Rights. From 1998 to 2012, she was a professor of law, African American studies and sociology at Northwestern University…

Read the entire article here.

Consolidated Colors: Racial Passing and Figurations of the Chinese in Walter White’s Flight and Darryl Zanuck’s Old San Francisco

MELUS: Multi-Ethnic Literature of the U.S.
Volume 37, Number 4, Winter 2012
pages 93-117
DOI: 10.1353/mel.2012.0064

Amanda M. Page, Visiting Assistant Professor of English
Marywood University, Scranton, Pennsylvania

Narratives of racial passing frequently investigate how the boundaries of race can be reimagined. In these texts, the dominant black-white binary construction is often under scrutiny for its failure to accommodate the identifications of people who do not fit easily in either category. Throughout US literary history, many passing narratives have also challenged the logic of the “one-drop” rule, codified into law in the 1896 Supreme Court decision Plessy v. Ferguson. Gayle Wald explains how the “one-drop” principle shapes racial categorization in US culture:

By representing “whiteness” as the absence of the racial sign, [“one-drop”] has perpetuated the myth of white purity (a chimera that colors contemporary liberal language of the “mixed-race” offspring of “interracial” marriages). In a complementary fashion it has rendered the political and cultural presence of Asian Americans, Latinos, and Native Americans invisible (or merely selectively and marginally visible), thereby enabling the hyper-visibility of African Americans as that national “minority” group most often seen as “having” race. (13–14)

This construction presents whiteness as raceless, while the burden of racialized identity is shifted to African Americans. With this belief in white purity comes the expectation that racial impurity is something that visibly marks the black body. The passing subject, however, often challenges the expected hyper-visibility of the African American by subverting the cultural assumption that racial identity is visible. Though “one drop” is legally significant for a mulatta/o subject, the act of passing can resist the confines of legislated racial categorization by crossing the racial barriers meant to deny the full rights of citizenship to nonwhite peoples.

Just as the “invisible” passing subject often threatens the purity of white identity, so, too, does the existence of those other “invisible” peoples Wald describes. Because Native Americans, Latina/os, and Asian Americans do not fit into the black-or-white construction of race as defined in Plessy,1 these groups, like mulatta/o passing subjects, create problems of racial categorization. Authors of passing narratives frequently use characters from other binary-disrupting groups to draw parallels between the racial ambiguity of these groups and the passing subject. In one such passing narrative, Walter White’s novel Flight (1926), a Chinese figure is used to disrupt the conventional trajectory of the passing narrative and to offer an alternative vision of racial solidarity. In Flight, the heroine, Mimi Daquin, crosses the color line to gain the economic opportunity that would be denied to her if she continued to live as a black woman. Instead of permanently “crossing the line” to live as a white woman at the conclusion of the novel, however, White’s mulatta heroine returns to living as a black woman because of an encounter with a radical Chinese intellectual, Wu Hseh-Chuan. This Chinese intermediary, like the mulatta heroine, disrupts the US’s narrative of race as either black or white; White’s strategic deployment of these two characters works as a double challenge to the dominant construction. Furthermore, White draws on the connection of these characters as outsiders with subversive potential when Hseh-Chuan advocates for an international unity of people of color against global white supremacy. This encounter directly leads to Mimi’s racial reawakening, as Hseh-Chuan makes her realize the value of African American culture in its resistance to white racism.

Yet White’s move toward internationalism in his passing narrative does not indicate a trend toward greater inclusiveness in the culture, as even the passing trope—often a tool of African American activist authors trying to undermine racism—continued to serve contradictory agendas. Released only a year after White’s novel, the 1927 Warner Brothers film Old San Francisco puts a unique twist on the usual black-to-white passing narrative by depicting a Chinese American passing subject as a dangerous alien threat to (white) American identity. Written and produced by Darryl F. Zanuck and directed by Alan Crosland, Old San Francisco tells the story of a Spanish…

“Family Portrait in Black and White” Arrives on DVD

Interfilm Productions
2012-11-29

Julia Ivanova, Director

Family Portrait in Black and White – Award Winning Documentary on Super-Foster Mom and her 16 Bi-racial Children Arrives on DVD December 4, 2012

On the heels of National Adoption Month comes a documentary that explores the growing pains of the foster system in Ukraine, dissecting one foster mother Olga Nenya and her brood of 16 mixed race orphans. A martyr for the cause of abandoned children, this foster mother fights tooth and nail to keep her family together. Unfortunately, her overbearing control of the children’s freedom limits their future opportunities. This engaging film raises many questions about parenting and is available online at regular DVD retailers including Barnes & Noble, Best Buy and Amazon or can be saved on Netflix.

Documentary Family Portrait in Black and White introduces headstrong Olga Nenya, a foster-mother to 16 Ukrainian-African orphans struggling in a small village in racially charged Ukraine. Despite hardships caused by their lack of money and the racist attitudes of their compatriots, these abandoned kids function as a family under Olga’s relentless dictatorial guidance. The film offers deep insight into a fraught community surrounding this one-of-a-kind clan and into the passions, hopes and hardships of a unique self-made family. http://www.familyportraitthefilm.com/…

Read the entire press release here.

Appointment of a new Parliamentary Poet Laureate

Parliament of Canada
2011-12-20

December 20, 2011 (Ottawa) – The Speaker of the Senate, the Honourable Noël A. Kinsella, and the Speaker of the House of Commons, the Honourable Andrew Scheer, today announced the appointment of Fred Wah as Canada’s next Parliamentary Poet Laureate [2011-2013], effective immediately. Mr. Wah is the fifth poet to hold this office.

“As a distinguished poet, editor, and teacher Fred Wah is known across Canada for his interest in a range of subjects,” said Speaker Kinsella. “Mr. Wah brings forth a collaborative approach and unique perspective to his work inspiring younger poets, students and others both nationally and internationally with his reflections on Canadian culture.”

“Fred Wah’s poetry is grounded in Canada’s political and social landscapes,” said Speaker Scheer. “He has done much to encourage and promote the importance of literature, culture and language within Canadian society.”

Mr. Wah was selected by the Speakers upon the recommendation of the Selection Committee composed of Graham Fraser, Commissioner of Official Languages; Daniel J. Caron, Deputy Head and Librarian and Archivist of Canada; Robert Sirman, Director and CEO of the Canada Council for the Arts, and Sonia L’Heureux, Assistant Parliamentary Librarian.

Reflecting on his nomination, Fred Wah intends to share his enthusiasm for new poets and artists, and will bring to the position the passion and dedication he brings to all his work. “My work as Parliamentary Poet Laureate will continue to engage poetry as it represents our homes and migrations, our questions of history and identity. I’m grateful for the opportunity to sustain poetry’s presence in our national imaginary.”

Mr. Wah has been writing and publishing since 1965. Author of five limited-edition chapbooks and 18 books, his repertoire includes the 1986 Governor General Award-wining poetry book Waiting for Saskatchewan. Fred Wah has consistently challenged and thrilled readers and has had a major influence on multiple generations of writers…

Read the entire press release in HTML or PDF format.

Afro-Latin And The Negro Common: An Interview With Dr. Marco Polo Hernández-Cuevas

Racialicious
2012-09-05

Lamont Lilly

Marco Polo Hernández-Cuevas is the Interim Chair of the Department of Modern Foreign Languages at North Carolina Central University, where his interests lie in Transatlantic and Diaspora Studies. He is the author of five books, including The Africanization of Mexico from the Sixteenth Century Onward (2010) and Africa in Mexico: A Repudiated Heritage (2007). He is the founder and director of the Mexican Institute of Africana Studies. Read along as we discuss: Colonialism, Gaspar Yanga, Ivan Van Sertima and Mexico’s Little Black Sambo.

Marco Polo Hernández-Cuevas: Well, the reason you haven’t heard many refer to themselves as Afro-Mexican is because this is a relatively new term that was first coined by Eurocentric scholars like Melville Herskovits. It was Gonzalo Aguirre Beltrán who coined it in 1945 in Mexico City, during the foundational meeting of the Institute for African American Studies. However, that doesn’t mean that a color consciousness didn’t exist in Mexico. Prior to that, we had a host of names such as “Casta,” “Chilango,” “Jarocho,” and “Boshito,” all terms that refer to the lack of blood cleanliness of non-white persons. That would explain why many people in Mexico do not identify themselves as Afro-Mexican. They refer to themselves as Casta, or any of the other names previously mentioned. Recently however, there’s been a movement in the South Pacific side of Mexico whereby Afro-Mexicans do not want to be called Afro-Mexican. They just want to be called Nĕgro — Black. It erases the science and intellectuality of such embedded complexities…

…LL: Whether Maroon, Zambo or so called Negro, most persons of color throughout the Western Hemisphere are all “African Hybrids” of some varying degree. Considering such, how has colonialism maintained a successful barrier of division among our similar groups?

Hernández-Cuevas: These divisions you speak of Lamont, are engrained mostly through language. With the Spanish deploying a series of words that were heavily charged, yes, divisions were created. People were classified from the get-go when so-called “miscegenation” began. We were classified by the degree of whiteness we possessed. I don’t believe in this miscegenation business. Though all human beings are really one, various social constructs were invented to perpetuate European supremacy. Within a social pyramid, “pigmentocracy” was then introduced.

In the case of Mexico’s 500 years of colonization, which began in 1521, the physical colonization may have ended, but the mental “hold” continues to a certain degree. Many Spanish Eurocentric mental prejudices linger today as healthy as ever. Just look at the Mexican public school books our children use. We should examine more critically the one or two paragraphs that refer to African ancestry and their contribution to the building of the Americas. I can assure you, you’ll find very little, especially in Mexico. These barriers are nothing but the product of ignorance and manipulation. The trick is to unravel knowledge–to create connections by exposing similarities rather than exploiting differences…

Read the entire article here.

How “Commonsense” Notions of Race, Class and Gender Infiltrate Families Formed across the Color Line

Sociology Mind
Volume 2, Number 1 (January 2012)
pages 75-69
ISSN Print: 2160-083X
ISSN Online: 2160-0848
DOI: 10.4236/sm.2012.21010

Eileen T. Walsh, Assistant Professor of Sociology
California State University, Fullerton

This research presents data from in-depth interviews of sixty adults in Southern California who have formed families across the black/white color line. In a societal context where normative family formation remains mono-racial, many adults in multiracial families manage their social performances to mitigate the stigma associated with their unusual family pattern or to challenge social expectations associated with race, class, and gender. Their stories reveal how they deploy strategic exaggerations of gender and stereotypes of social class in their day to day lives. These deployments operate to manage social interactions when confronting commonsense expectations about what it means to be a man or woman who trespasses the color line in family formation.

Read the entire article here.

Non-profit Tuesday: Why Give? What you might not expect in return

Laura Kina
2012-11-27

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

Giving is hard. I’m not talking about birthday or Christmas gifts here. There is a social contract that you must give back to those who you love and who have loved and cared for you. That type of giving is easy. I’m talking about giving your time and money to non-profits. This is optional giving. After Black Friday and Cyber Monday, November 27, 2012 has been designated “Non-Profit Tuesday.” What do you believe in today? What do you want to take the time to stand behind and support?

I’ve spent most of my life being selfish, trying to build a career and family and take care of my own, but after the U.S. economy tanked in 2008 and my thin economic security was knocked out from under my feet, it coincided with a time when I have increasingly been asked to step up and give back. While this hasn’t always been easy, I want to share just a few things I got back in return that I really wasn’t expecting.

Make a list and check it (send $) twice today. Consider giving over the long haul. The best investments take time to mature.

Here are my top three non-religious non-profit suggestions for today:…

• MAVIN is based in Seattle and provides local programs/national and international research resources.
  • Mission: MAVIN builds healthier communities by providing educational resources about Mixed Heritage experiences.
  • What I gave: Time, expertise, and board dues – former working board member (2010-12) and current advisory board member.
  • What I was given in return that I didn’t expect: What started from a little magazine feature back in 2004 in MAVIN magazine on my art and sharing suggestions for the mixedheritagecenter.org and then meeting and working with folks like Eric Hamako and Louie Gong (see picture above) that has since led to a network of over 500+ activists, academics, artists, and friends interested in mixed-race issues. Today, I teach a class on “Mixed Race Art and Identity” at DePaul University in our Honors program and have been working with other colleagues, scholars and creatives on the Critical Mixed Race Studies conference, the Journal of Critical Mixed Race Studies and Wei Ming Dariotis and I have a forthcoming book and exhibition WarBaby/Love Child: Mixed Race Asian American Art….

Read the entire article here.