Mixed Race Studies

Traveling Texts and the Work of Afro-Japanese Cultural Production: Two Haiku and a Microphone

Lexington Books (an imprint of Rowman & Littlefield)
June 2015
302 pages
6 1/2 x 9 1/4
Hardback ISBN: 978-1-4985-0547-5
eBook ISBN: 978-1-4985-0548-2

Edited by:

William H. Bridges IV, Assistant Professor of Japanese Studies
University of California, Irvine

Nina Cornyetz, Associate Professor
Gallatin School of Individualized Study
New York University

Traveling Texts and the Work of Afro-Japanese Cultural Production analyzes the complex conversations taking place in texts of all sorts traveling between Africans, African Diasporas, and Japanese across disciplinary, geographic, racial, ethnic, linguistic, and cultural borders. Be it focused on the make-up of the blackface ganguro or the haiku of Richard Wright, Rastafari communities in Japan or the black enka singer Jero, the volume turns its attention away from questions of representation to ones concerning the generative aspects of transcultural production. The contributors are interested primarily in texts in motion—the contradictory motion within texts, the traveling of texts, and the action that such kinetic energy inspires in readers, viewers, listeners, and travelers. As our texts travel and travail, the originary nodal points that anchor them to set significations loosen and are transformed; the essays trace how, in the process of traveling, the bodies and subjectivities of those working to reimagine the text(s) in new sites moderate, accommodate, and transfigure both the texts and themselves.

Transpacific Antiracism: Afro-Asian Solidarity in 20th-Century Black America, Japan, and Okinawa

New York University Press
July 2013
254 pages
4 halftones
Hardcover ISBN: 9780814762646
Paper ISBN: 9781479897322

Yuichiro Onishi, Assistant Professor of African American & African Studies and Asian American Studies
University of Minnesota, Twin Cities

Transpacific Antiracism introduces the dynamic process out of which social movements in Black America, Japan, and Okinawa formed Afro-Asian solidarities against the practice of white supremacy in the twentieth century. Yuichiro Onishi argues that in the context of forging Afro-Asian solidarities, race emerged as a political category of struggle with a distinct moral quality and vitality.

This book explores the work of Black intellectual-activists of the first half of the twentieth century, including Hubert Harrison and W. E. B. Du Bois, that took a pro-Japan stance to articulate the connection between local and global dimensions of antiracism. Turning to two places rarely seen as a part of the Black experience, Japan and Okinawa, the book also presents the accounts of a group of Japanese scholars shaping the Black studies movement in post-surrender Japan and multiracial coalition-building in U.S.-occupied Okinawa during the height of the Vietnam War which brought together local activists, peace activists, and antiracist and antiwar GIs. Together these cases of Afro-Asian solidarity make known political discourses and projects that reworked the concept of race to become a wellspring of aspiration for a new society.

Table of Contents

• Acknowledgments
• Notes on Japanese Sources and Names
• Introduction: Du Bois’s Challenge
• Part I: Discourses
  • 1. New Negro Radicalism and Pro-Japan Provocation
  • 2. W. E. B. Du Bois’s Afro-Asian Philosophy of World History
• Part II: Collectives
  • 3. The Making of “Colored-Internationalism” in Postwar Japan
  • 4. The Presence of (Black) Liberation in Occupied Okinawa
• Conclusion: We Who Become Together
• Notes
• Bibliography
• Index
• About the Author

My Music Is My Soul, My Language Is My Armor

Psychology Today
2014-12-02

Stephen Murphy-Shigematsu, Ed.D.
Stanford University

Byron’s story of identity, healing, and empowerment

“One night at a pub I heard the sound of traditional Okinawan folk music, and it was like being hit in the head with a hammer. The impact was like a bolt of lightning! The song told the story of how in life there are things that each of us is born to do. I realized that I had been trying to erase the reality that I was born and raised here on this island. Suddenly listening to the music my hardened heart melted and I was freed.”

Byron has captivated me with his story since we first met in 1999, two mixed race guys, one an elder researcher, the other a young searcher in the throes of an identity quest. Born and raised in Okinawa by a native woman and her family, his face is marked by the genes of his father, an American whom he never met and whose name remains a mystery. With looks that branded him as an American, associating him with an occupying army and military bases and making him a scapegoat for hostility, Byron’s youthful life was full of strife and he had to fight to stay alive and maintain his dignity. He struggled to find himself, even venturing to Los Angeles to become an American rock star.

But when he had his great awakening he put away his electric guitar and devoted himself to the study of the sanshin, a 3-stringed snake skinned instrument. He set out on a road of discovery, immersing himself in the study of Okinawan traditional folk music of the islands. Music led him to language, as he wanted to understand the words of the songs he was singing. But years of neglect have taken their toll and it is a language no longer used in daily life, understood only by the middle aged, spoken only by the elderly. Byron felt anger at the society that did not value its own language, though he understood the history of incorporation into the Japanese nation, subsequent forced assimilation into Japanese language and culture, and self chosen accommodation, that had drastically reduced the use of the language. So he sought out elders and asked them to teach him…

Read the entire article here.

They Pretend To Be Us While Pretending We Don’t Exist

BuzzFeed
2015-09-11

Jenny Zhang, BuzzFeed Contributor

Will Varner / BuzzFeed

White poet Michael Derrick Hudson’s use of the Chinese pen name Yi-Fen Chou was an act of yellowface that is part of a long tradition of white voices drowning out those of color in the literary world.

To be Other in America is to be coveted and hated at the same time. It’s never been enough to know that I feel it, but I know I am often asked to prove it before I am allowed to speak on it. When I was a graduate student at the Iowa Writers’ Workshop for fiction writing, I felt both coveted and hated. My white classmates never failed to remind me that I was more fortunate than they were at this particular juncture in American literature. “No one is going to pay attention to a name like mine,” a white dude who exclusively wrote stories about white dudes said to me one time when I was feeling particularly low about my writing. I couldn’t enjoy a scrap of validation or wallow in a sliver of self-doubt without someone interjecting some version of “You’re so lucky. You’re going to have an easier time than any of us getting published.” They were shameless about their envy, not shy or coy at all about their certainty that my race and gender were an undeniable asset, which, in turn, implied that I could be as mediocre and shitty as I wanted and still succeed. This was how some of my white classmates imagined the wild spoils of my literary trajectory. This was how they managed to turn themselves into the victims.

…I won’t be scandalized because what Hudson is doing isn’t anything that white male writers haven’t already been doing since the first recorded instance of our culture embracing any kind of excellence that did not include them: scramble to come up with ways to keep the playing field uneven, to keep the odds stacked in their favor. The scandal of Hudson performing the laziest act of yellowface (co-opting a Chinese name) to get his poem published and accepted into the Best American Poetry anthology is lurid fodder for our cultural conversation because of its explicitness, but it should not be strange or unbelievable. White people have always slipped in and out of the experiences of people of color and been praised extravagantly for it. After all, 50 years ago, when black voices were fighting to be heard, when their stories of trauma and abuse were struggling for legitimacy, it took John Howard Griffin, a white man who dyed his skin black and wrote about his experiences as a “black” man in his book, Black Like Me, for white Americans to believe that yes, black people were telling the truth about their lived experiences in the Jim Crow South. He was hailed a singular hero. Studs Terkel once said, “Griffin was one of the most remarkable people I have ever encountered. He was just one of those guys that comes along once or twice in a century and lifts the hearts of the rest of us.” It may seem totally nuts now, but as far as who gets credit for simply being affected by black pain, it doesn’t seem very removed from our current world where we heap lavish praise on someone like Jon Stewart for announcing on the Daily Show that he was too heartbroken to make jokes after the Charleston church shooting, as if all throughout this country’s present and past, black people and people of color have not been so heartbroken and so violated that we were left humorless, or worse, dead. To praise Stewart as excessively as he was praised is to say to black people: Your pain is unexceptional and does not matter until a white man feels it too…

Read the entire article here.

Hapa-palooza 2015: Celebrate mixed heritage and own your identity

Vancouver Observer
Vancouver, British Columbia, Canada
2015-09-06

Jordan Yerman

Mixed-race, outsider, or ‘half-breed’: you’re not alone at Hapa-palooza. Get in on Canada’s largest celebration of mixed heritage.

Tôi là người lai mỹ means “I’m an American half-breed”. Author and publisher Brandy Liên Worrall wrote it in her journal while sitting at an outdoor cafe during her first trip to Vietnam. She wrote in Vietnamese for the benefit of the locals who were reading over her shoulder. Worrall’s Vietnamese mother laughed at first, and then asked why her daughter didn’t just say she was Vietnamese. “Because, Mom,” replied Worrall, “I’m not just Vietnamese. I’m not just American. I’m gonna recognize that I’m người lai, and I’m going to own that word.”

“In that country, where I have origins,” says Worrall in a DTES cafe, “[being mixed-race] is still that stigmatized.” We’re sitting with Anna Ling Kaye, editor of Ricepaper Magazine and co-founder of Hapa-palooza, which returns for its fifth year on September 16. Kaye says, “In Taiwan, my extended family is certainly nonplussed by me. They’re complimentary: ‘Oh, you don’t need to perm your hair! You’re so curvy!’” Contrasting that was an encounter with a Chinese woman in Vancouver who told her, “You look how I feel!” The woman saw herself as presenting as Chinese, but feeling Canadian. “We don’t feel Hapa-palooza is only for people of mixed heritage. It’s for anyone who wants to talk about identity.”…

Read the entire article here.

Grits and Sushi: Mitzi Uehara Carter muses on being black and Okinawan

Metropolis Magazine
2015-09-06

Baye Mcneil

Mitzi Uehara Carter

Though Mitzi Uehara Carter was born on the opposite side of the Pacific, she’s kept herself anything but distant from her hereditary home. This Texas-native daughter of an African-American father and an Okinawan mother is currently a PhD candidate in the anthropology department at UC Berkeley, where she has recently completed her doctoral dissertation. She’s spent years doing research, including a year of field work collecting the personal stories of Okinawan families. In 2010, she started the blog Grits and Sushi to chronicle her musings on Okinawa, race, militarization, and blackness.

“I started the blog so I could have a place to think about my anthropological work and my personal life and experiences. It was a good way for me to merge those two worlds,” Uehara Carter explains. “Anthropology studies at Berkeley can be very intense and theoretical, so I wanted my blog to be a place where I could reflect on some of the field work I was doing in Okinawa, and have a landing page where I could also engage with other people dealing with similar questions about their lives, their identities, and about race.”

Grits and Sushi has since grown into a resource, an open journal, and a communal space, attracting readers from around the globe interested in things black and Okinawan, including interracial marriages, mixed-race citizens, and issues surrounding American military bases in Okinawa…

“I created these forums where I brought together black military personnel, Okinawan activists, and residents of Okinawa to have a conversation, a kind of ‘talk-story’,” she says, explaining the Okinawan term, “yuntaku.”…

Read the entire article here.

Vancouver’s Hapa Festival, All Grown Up

The Tyee
Vancouver, British Columbia Canada
2015-09-03

Christopher Cheung

From one generation to another, an identity conversation continues.

Jeff Chiba Stearns is about to be a father in November, and there’s an important conversation he wants to have with his daughter that he never had with his own family growing up.

It’s not about anything like table manners or the birds and the bees: it’s a conversation on race and ethnicity.

Stearns grew up in Kelowna in the 1980s, where most people were white. His mother was Japanese and his father had British, Scottish, Russian and German roots (one grandmother makes classic cabbage rolls), but “being mixed meant you were a full minority.”

Like many others with a multiethnic background, Stearns had confusion navigating his identity and faced being called things like “half-breed.”

“Not everyone goes through identity crises in their lives, but everyone has a story,” said Stearns. “Either they’ve rejected the fact they’re part of a minority group, or they’ve embraced that, or they’ve just wanted to be human [and say] I just want to blend in and fit in.”

There are a lot of different names for those with a colourful heritage. Sometimes it’s mixed-race or multiethnic, but it’s really up to the individual…

Read the entire article here.

Being ‘hafu’ in Japan: Mixed-race people face ridicule, rejection

Al Jazeera America
2015-09-09

Roxana Saberi

Among Japanese, the perception of pure ethnic background is a big part of belonging to the culture

TOKYO — Ariana Miyamoto was born and raised in Japan and speaks fluent Japanese. But she said most people in her homeland see her as a foreigner.

“My appearance isn’t Asian,” she said, “[but] I think I’m very much Japanese on the inside.”

Miyamoto, 21, was born to a Japanese mother and an African-American sailor who left Japan when she was a child. In Japan she’s considered a hafu, or half-Japanese. Some people prefer the term daburu to signify double heritage, but Miyamoto said she’s not offended by the word hafu.

“I don’t think the equivalent word for hafu exists overseas, but in Japan you need it to explain who you are,” she said.

In March she became the first half-black, half-Japanese woman to be named Miss Universe Japan. Many people in Japan cheered, tweeting messages such as “She represents Japan! Being hafu is irrelevant.”

But others complained on social media that she didn’t deserve the title…

Read the entire article here.

What Are You? A Personal Poetry Reading

Slide Share
2013-10-18

Gerry Yokota, Professor
Osaka University, Osaka, Japan

My reading of the 1971 poem by Nobuko JoAnne Miyamoto

when I was young
kids used to ask me
what are you?
I’d tell them
what my mom told me
I’m an American
Chin Chin Chinaman
you’re a Jap!
flashing hot inside
I’d go home
my mom would say
don’t worry
he who walks alone
walks faster…

Read the entire poem here.

An Interview with Celeste Ng, Author of Everything I Never Told You

The Toast
2015-09-02

Nicole S. Chung, Managing Editor

Celeste Ng is the author of the novel Everything I Never Told You, which was a New York Times bestseller, a New York Times Notable Book of 2014, Amazon’s #1 Best Book of 2014, and named a best book of the year by over a dozen publications. Everything I Never Told You was also the winner of the Asian/Pacific American Award for Literature and the ALA’s Alex Award, and was a finalist for numerous awards, including the Ohioana Award, the John Creasey (New Blood) Dagger Award, the VCU Cabell First Novelist Award and the Massachusetts Book Award.

Celeste grew up in Pittsburgh, Pennsylvania, and Shaker Heights, Ohio, in a family of scientists. She attended Harvard University and earned an MFA from the University of Michigan, where she won the Hopwood Award. Her fiction and essays have appeared in One Story, TriQuarterly, Bellevue Literary Review, the Kenyon Review Online, and elsewhere, and she is a recipient of the Pushcart Prize. Celeste and I first connected on Twitter after I read her book, and she graciously agreed to chat with me about the novel, her writing routine, being part of and writing about interracial families, how to address issues of race and representation without being pigeonholed, writing outside one’s own culture, what she’s working on now, and much more!…

…Apart from being caught up in the story and the beautifully drawn characters, your book was important to me personally because I’ve always been part of an interracial family — first through adoption and now through marriage as well. I so rarely read stories or see portrayals of families that look anything like mine. Why did you decide to make the family in your novel an interracial one, with biracial children? Was that always the plan for this story?

In the very early stages of the novel — when I was no more than about 15 or 20 pages in — I didn’t really think about the races of the characters at all. If anything, I thought of them as white because that’s so often the default mode for our culture. Then one of my advisors, Eileen Pollack, asked me about the characters’ ethnicity, and I started to realize that this was a racially mixed family: that tied into many of the issues they had to face and the concerns and misunderstandings they had with each other and with outsiders…

Read the entire interview here.