Mixed Race Studies

‘My Racial Identity’ explores feelings about race

Montclair Local
Montclair, New Jersey
2018-06-08

Gwen Orel, Features Editor

Charles Williams of Montclair, 19, a Parsons School of Design rising sophomore, is creating a photography portfolio of mixed race friends, “My Racial Identity, Part 1,” and intends to dive deeper in Part 2. ADAM ANIK/FOR MONTCLAIR LOCAL

Montclair artist’s photo project delves into discussion

Growing up in Montclair, Charles Williams sometimes said his dad was Cuban.

That’s not really true.

“When I was younger, I looked a little bit towards Asian, then black, Hispanic. Growing up, we really didn’t talk about race in my household, so I didn’t really feel it was an issue. Until my friends, they would ask me, what are you?” Williams said. “Your mom’s not black. You have a white name.”

His mom is black. She’s from D.C., and his father is a white man from Florida, with some Cuban in him.

“‘My dad does look Cuban,” Williams said. So saying his father was Cuban was a way of ending the questions of what are you? and where are you from? “You kind of get sick of it, so you say something to let it go.”

Today, people talk about race. Williams is exploring it in his new photography project, “My Racial Identity,” that he started during his first year at Parsons School of Design. Williams’ photography can be seen at charleswilliams.work…

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Why Barack is black and Megan is biracial

Media Diversified
2018-06-28

Olivia Woldemikael, Ph.D. Candidate in Political Science
Harvard University

Olivia Woldemikael discusses the differences in how Megan Markle and Barack Obama present themselves racially and asks what it means for blackness as an identity

The exclusivity and purity of the racial categories, black and white, is a myth, and a destructive one. Yet, it is continuously perpetuated in national discourse and family conversations. As the personalities of celebrities and politicians continue to be venerated in America, the racial identity of public figures such as Barack Obama and Meghan Markle are important sites for changing our ideas about race.

It’s no surprise to me that Barack Obama was considered America’s first black president and Meghan Markle is considered the biracial princess of England. The two are similarly “light-skinned” in racial parlance. Yet, the manner in which each of them has constructed signifiers of their race explains the difference in public perception. While perception alone does not diminish either’s proximity to whiteness and privilege, which may help explain their success. It does, however, draw attention to the way individuals are able to exercise agency in determining their racial identity, undermining the monolithic American racial ideology. The divergent public personas that Obama and Markle have cultivated demonstrate the fragility of racial categories and hierarchies, as well as highlight the need for a paradigmatic shift in the way we discuss and represent race in the media…

Read the entire article here.

Is Neymar Black? Brazil and the Painful Relativity of Race

The New York Times
2018-06-30

Cleuci de Oliveira, Brasília-based reporter

Neymar da Silva Santos Júnior, center, celebrating a goal with his teammates during Brazil’s World Cup match against Serbia on Wednesday. Michael Steele/Getty Images

Ever since his “It’s not like I’m black, you know?” comment, Neymar has served as a focal point in the country’s cultural reckoning with racism, whitening, identity and public policy.

Years before he became the most expensive player in the world; before his Olympic gold medal; before the Eiffel Tower lit up with his name to greet his professional move from Barcelona to Paris, Neymar da Silva Santos Júnior, the Brazilian forward known to the world simply as Neymar, faced his first public relations controversy.

The year was 2010, and Neymar, then 18, had shot to fame in Brazil after a sensational breakout season. During an interview for the newspaper O Estado de S. Paulo, in between a conversation about Disneyland and sports cars, he was asked if he had ever experienced racism. “Never. Not in the field, nor outside of it,” he replied.

“It’s not like I’m black, you know?”

His answer was heard like a record-scratch across the country. Was this young man in denial about his racial identity? Particularly when in the same interview he outlined his meticulous hair care regime, which involved getting his locks chemically straightened every few weeks, then bleached blonde.

Or was there a less alarming explanation behind his comment? Could Neymar merely be pointing out that, as the son of a black father and a white mother, his lighter skin tone shielded him from the racist abuse directed at other players? Had he, at least in his context, reached whiteness? Whatever the interpretation, Neymar’s words revealed the tricky, often contradictory ways that many Brazilians talk, and fail to talk, about race in a country with the largest population of black descendants outside of Africa…

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Hidden Figures is a Black, not white, Women’s Story

Medium
2017-11-22

Chanda Prescod-Weinstein

NASA Administrator Charles Bolden presents an award to Katherine Johnson, the African American mathematician, physicist, and space scientist, who calculated flight trajectories for John Glenn’s first orbital flight in 1962, at a reception to honor members of the segregated West Area Computers division of Langley Research Center on Thursday, Dec. 1, 2016, at the Virginia Air and Space Center in Hampton, VA. Afterward, the guests attended a premiere of “Hidden Figures” a film which stars Taraji P. Henson as Katherine Johnson, Octavia Spencer as Dorothy Vaughan, and Janelle Monae as Mary Jackson. (image: a brown skinned man in a suit handing a plaque to a brown skinned woman in a wheelchair with a brown skinned woman standing behind the wheelchair.) NASA/Aubrey Gemignani

It’s important to know the difference between “marginalized” and “hidden”

These remarks were made in my role as respondent to a paper on the (white) women students of (white woman) astronomer Maria Mitchell at the 2017 Society of History of Technology meeting. They were well received by the person whose work I was commentating on.

I will respond by offering a history of my own knowledge of women in astronomy. My interest in the Hidden Figures has been strongly shaped by my own experiences as a Black woman working at the intersection of physics and astrophysics. As an undergraduate at Harvard in the early 2000s, I was aware of the white women who had acted as computers for the Harvard College Observatory — this was history that astronomy undergraduates were privy to and that someone (I don’t remember who) took some effort to ensure that at the least women undergraduates learned about. The idea that their history or role was hidden, for this reason, has always seemed jarring to me. They were not hidden to us even as we recognized that more broadly they were a site of disinterest for many, but it was always made clear to me as an undergraduate that while their opportunities were limited, white women astronomers had been part of early American astronomy and that they had played a significant role in my own sub field, cosmology. (As in, without Harvard Computer Henrietta Leavitt’s discovery of the cepheid variable luminosity relation, Hubble could not have discovered the expansion of the universe. Of course, I didn’t learn until much later that Leavitt was a deaf adult, and it is interesting what parts of her story were left out.)…

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What Race-Mixture in Colonial Latin American Literature Can Teach Us About Mixed-Race Identity in the United States and the Fantasy of White Supremacy

Critical Ethnic Studies
Published by University of Minnesota Press
2018-06-29

Monica Styles

There is a tendency in the United States to believe mixed-race experiences are exceptional or out of the ordinary because we live in a society that historically silences racial mixture. A recent exhibit at Monticello that highlights the denial of Jefferson’s affair with Sally Hemings is just one high profile example. Contrasting colonial Latin American racial discourses with our own provides a blueprint for understanding erasure of multiracial experiences and white racial anxiety.

Mixture produces people who inhabit what Zadie Smith defines as the “Dream City [or] a place of many voices, where the unified singular self is an illusion. Naturally, Obama was born there. So was I. When your personal multiplicity is printed on your face, in an almost too obviously thematic manner, in your DNA, in your hair and in the neither this nor that beige of your skin -well, anyone can see you come from Dream City.” As a Black biracial woman, I am confronted with frustration from people who struggle with my mixed identity…

Read the entire article here.

Adrian Piper’s Show at MoMA is the Largest Ever for a Living Artist. Why Hasn’t She Seen It?

The New York Times Magazine
2018-06-27

Thomas Chatterton Williams

Illustration by Hsiao-Ron Cheng

The conceptual artist’s life and work push against the boundaries

Adrian Piper, the conceptual artist and analytic philosopher, is almost as well known for what she has stopped doing as for what she has done. By 1985, she had given up alcohol, meat and sex. In 2005, she took a leave of absence from her job at Wellesley, sold her home on Cape Cod and shipped all of her belongings to Germany. On a lecture tour in the United States the next year, she discovered a mark on her plane ticket that suggested, to her, that she’d been placed on a watch list; she has not set foot in America since. Then, in 2012, on her 64th birthday, she “retired from being black.” She did this by uploading a digitally altered self-portrait to her website, in which she had darkened her skin — normally café très-au-lait — to the color of elephant hide. It was accompanied by a news bulletin announcing her retirement. The pithy text superimposed at the bottom of the photo elaborated: “Henceforth, my new racial designation will be neither black nor white but rather 6.25% grey, honoring my 1/16th African heritage,” she wrote. “Please join me in celebrating this exciting new adventure in pointless administrative precision and futile institutional control!” (Through extensive genealogical work, she later determined that her African heritage is closer to one-eighth.)

The piece was, like much of Piper’s art and writing, absurdly comical in no small part because it was so brutally honest. It was inspired by Piper’s dawning realization that she was unable to fulfill other people’s expectations through the lens of race; since the early 2000s, she had stopped allowing any of her artwork to be exhibited in all-black shows, which she came to see as ghettoizing. In 2015, she announced that she would no longer talk to the press about her work.

Such inflexibility has done little to damage her standing in the art world. On a drizzly evening in March, a well-turned-out crowd of several hundred alighted upon the Museum of Modern Art to sip prosecco, schmooze and Instagram snippets of Piper’s immense body of work. The occasion was the opening of the enormous, and enormously demanding for the casual viewer, 50-year career retrospective, “Adrian Piper: A Synthesis of Intuitions, 1965-2016,” on display through July 22. The exhibition draws its title from Kant’s “Critique of Pure Reason,” a lifelong touchstone for Piper, and marks the first time in MoMA’s history that the work of any living artist has earned the entirety of its sprawling sixth-floor special-exhibitions gallery. Alongside a Golden Lion award at the Venice Biennale, which Piper won in 2015, this is among the very highest honors the art world can proffer…

‘‘Self-Portrait Exaggerating My Negroid Features’’ (1981) The Eileen Harris Norton Collection. Adrian Piper Research Archive Foundation Berlin.

I’d flown from Paris to see the opening of “Synthesis” after having struck up a polite but formal email correspondence with Piper. In the last message she had sent me, about three weeks earlier, she refused to speak to me on the record unless she or her archivist could independently fact-check the article before publication. “I decided a long time ago that I would prefer no representation to misrepresentation,” she wrote, and it seemed that, with this impossible condition, she would not grant an exemption from her indefinite moratorium. She suggested, as an alternative, that I consult her website and extensive body of published writing, an incalculable number of academic articles, essays and books. But I had already read many of those, and they had left me convinced that she has been quietly conducting, from that vexed and ever-expanding blot on the American fabric where white and black bleed into each other, one of the smartest, funniest and most profound interrogations of the racial madness that governs and stifles our national life that I had ever encountered…

Read the entire article here.

A Sign of ‘Modern Society’: More Multiracial Families in Commercials

The New York Times
2018-06-03

Joanne Kaufman

A hapless man stands on the sidewalk, watching and wincing as an ex-girlfriend tosses his possessions out a second-floor window in a commercial for DirecTV Now. A husband and wife are overjoyed to learn from a Fidelity investments adviser that, yes, they have saved enough for retirement to realize their fondest dream, one that involves a boat and a grandchild. And a considerably younger couple is delighted with the possibilities presented by the Clearblue ovulation test system.

The men and women vary in age, circumstances and happiness levels, but they have one thing in common. They are all part of interracial couples.

Recently, companies and brands like JPMorgan Chase, Humira, State Farm, Smile Direct Club, Coors Light, Macy’s, Tide and Cadillac have featured multiracial couples or families in their advertising.

“There’s no doubt that the incidence of these commercials is at least double what it was five years ago,” said Larry Chiagouris, a professor of marketing at the Pace University Lubin School of Business…

Read the entire article here.

What it is like for a black student to go to Cambridge

The Financial Times
2018-05-30

Rianna Croxford

Rianna Croxford

Trailblazer discovers confidence sought by top universities can be learned

I am the first in my family to go to university and faced a lot of the obstacles students of colour encounter when aiming for Oxford and Cambridge.

Educated at state school, I graduated from Cambridge last year as one of only seven women of mixed white and black heritage in my year of 3,371 undergraduates.

As one of the first black students to read English at Trinity Hall college, I had to deal with different degrees of racism day to day, as well as cultural challenges that my background had not prepared me for.

I want to help make it easier for other students like myself to enter elite institutions that can offer a fast track to a successful career…

Read the entire article here.

What It’s Like Being an “Other”

College Magazine
2018-06-19

Mailinh McNicholas

Mailinh McNicholas

I’ve remained on the fringes of two different and separate Anchorage, Alaska communities. I have a Caucasian father and Vietnamese mother. My high school friends often talked about my ethnicity and attempted to place me into a defined racial category. Some of my peers pegged me as an Asian immigrant, some have asked if I am Native Alaskan, and others simply asked ‘What are you?’

Unfortunately, my hopes did not match my reality. A few months into my freshman year at GW [George Washington University] I found that my college peers also cast me as “the other.” Although I’m equal parts Asian and White, to my white friends I’m Asian and to my Asian friends, I’m white. My bi-cultural heritage once again left me excluded from being included in ether community…

Read the entire article here.

“Blood is Thicker than Water”: The Materialization of the Racial Body in Fascist East Africa

Zapruder World: An International Journal for the History of Social Conflict
“Performing Race,” Volume 4 (2017)

Angelica Pesarini, Social and Cultural Analysis, Faculty Member
New York University

Introduction

One of the major issues with the perception of “race” in modern Italy refers to what Alessandro Portelli defines as Italians’ “self-reflexive colour blindness.”¹ What occurs in Italy is not simply a denial of race. Rather than seeing themselves as “White,” according to Portelli, Italians see themselves as “normal.” As a result, because colour is unspoken and not openly mentioned, it is believed that Italians are immune from racism. Such a structural colour-blindness, however, is problematic because it associates Whiteness with normality and, consequently, with Italianness.² Simply put, to be Italian is to be White. Within this discourse, those who do not fit the alleged (White) Italian type are deemed outside the Nation on a number of levels.³

In order to understand and unpack such dynamics it is necessary to consider the category of “race” and the influence this had on the construction of Italian national identity. If “race” is a social construct devoid of scientific validity, it still retains enormous power in the modern world. In the case of Italy, the racial construction of national identity shows a complex ambivalence embedded in discursive practices revolving around an ambiguous production of both Whiteness and Blackness. Such an ambiguity, as highlighted by Tatiana Petrovich Njegosh stems from Italians’ liminal double racial status as racialisers (of Jews, southerner Italians and Africans) and racialised subjects in the U.S. and Australia.⁴ As a result, “race” in Italy today seems to be located within the interstices of a polarised discourse based on notions of “unspoken Whiteness”⁵ able to visually recognise “Italians” from “Others,” namely those called stranieri (foreigners), extracomunitari (a term used to define migrants coming from outside the EU) and the new “migranti” category (broadly used to address African migrants crossing the Mediterranean). Although colour is not openly named, meaningful biological connotations based on phenotypic features located on the body are at the core of Italian national identity. It is important to notice that such a disjunction does not work merely at a visual level. The racialisation of national identity, in fact, transversally affects Italian society and the everyday life of racialised subjects extending from education to housing, labour rights, work opportunities, political participation, health, personal safety, and legal discourse too, as discussed in this paper.

Drawing on ideas of performativity as applied to race, this essay illustrates some of the reasons why in contemporary Italy the idea of Blackness associated with Italianness still appears, to some, an impossible semantic match, an irreconcilable paradox. Owing to the interdependence of colonialism, ideas of “race” and “mixed race,” and the normative construction of Whiteness in relation to national identity, it seems necessary to investigate the nexus of race, gender and citizenship, through a performative lens. In order to do so, I focus on a series of laws and decrees passed during the Liberal and Fascist periods. These include the Codice Civile per la Colonia Eritrea (Colonial Civil Code for the Colony of Eritrea) of 1909, Law 999 of 1933, introduced to regulate the legal identity of “mixed race” children born in the former Italian colonies in East-Africa, and the racial laws enacted between 1937 and 1940. The investigation of these pieces of legislation is useful to highlight not only the influence that Liberal norms had on the promulgations of Fascist racial laws, but also how Italian citizenship, today, is still rooted in the idea of an alleged “racial citizen.”…

Read the entire article here.