Mixed Race Studies

White Parents, Becoming a Little Less White

Motherlode: Living the Family Dynamic
The New York Times
2015-04-15

Jack Cheng

Amy Crosson

Former Gov. Jeb Bush made news recently because he checked “Hispanic” on a voter registration form. This is obviously ridiculous from a scion of the Bush family (and Mr. Bush has said he made a mistake). Yet, I understand, because the family he raised is not unlike mine.

A few years ago, in fact, my wife casually mentioned that she doesn’t consider herself 100 percent white any more. She has blond hair, blue eyes and fair skin, and as far back as anyone can remember, all of her ancestors have been Irish.

She was white when we were married. I know that because I’m Chinese and that made us an interracial couple. My wife jokes (I think she’s joking) that she married me in part because my increased melanin would protect her children from skin cancer.

She became less white when our son, and then our daughter, were born. I think the first bit of doubt surfaced the day we were on the subway with our newborn and a woman came up to my wife and said: “Oh, he’s so cute! When did you adopt him?” I was livid: Did it not occur to this woman that the father was sitting right next to his wife and child? It turned out that the woman really just wanted to talk about her own adopted granddaughter but somewhere in that moment my wife was identified as the mother of a nonwhite child…

…While it will take 18 years for that mixed race baby to vote, there is a parent in that family who suddenly has an altered perspective on the culture and policies of the United States. White mothers who realize that their sons will be victims of racial profiling, white fathers who suddenly feel a little squeamish about the fact that “Asian” is a category of pornography. There are white parents whose children look vaguely Middle Eastern and will face harder times getting onto airplanes…

Read the entire article here.

You’re the Model Minority until You’re Not

David Shih
Wednesday, 2015-04-08

David Shih, Associate Professor of English
University of Wisconsin, Eau Claire

As a Chinese American, I know that my racial identity occupies a space in the cultural imagination somewhere between white and black. I know that white supremacy often works in my favor to give me privilege and the benefit of the doubt. I know that the world is this way until it isn’t.

Peter Liang, who is also Chinese American, must know this too. On February 10, a grand jury ruled to indict the NYPD officer for killing Akai Gurley, who is black. Liang and his partner were in the stairwell of a public housing complex when Liang discharged his weapon and hit Gurley, who had entered from the floor below. The ruling followed three controversial grand jury decisions not to indict white officers Darren Wilson, Sean Williams, and Daniel Pantaleo for the deaths of Michael Brown, John Crawford, and Eric Garner, respectively. Because of this apparent racial double standard, the Coalition of Asian-Americans for Civil Rights plans to protest Liang’s indictment later this month and has called for national rallies on that day in support of Liang. “Officer Liang is being used as a scapegoat,” says Doug Lee, co-chair of the CAACR. Other Asian American organizations support the indictment, leading to some confusion over what justice looks like in this case. But there should be no confusion: Peter Liang should stand trial. Liang’s supporters are asking for the same standard that exonerated Wilson, Williams, and Pantaleo. It is a racist standard…

Read the entire article here.

The Daily Show’s Trevor Noah, and Japan’s Miss Universe Reveal Biracial Realities

Will Wright: Cinéma, Style, Race and Politics Permeate Our Lives. That Fascinates Me.
2015-04-09

Will Wright

Thanks in part to the changing of the guard at The Daily Show, biracial experiences and related politics have made headlines, and snuck into our minds. South African, Trevor Noah, once a correspondent for The Daily Show, has been named to host it, succeeding Jon Stewart. His immediate family tree seems about as strange to Americans as Senator Obama’s did when he began running for president; Mr. Noah’s mom is a Xhosa South African and his father Swiss.

But his mixed heritage is not the only one being discussed. If you pay attention to headlines about mixed race folks (who doesn’t, right?) then you’ve felt shockwaves from Japan’s Miss Universe contestant…

Read the entire article here.

What the Heck Are You? The Racial Guessing Game I Don’t Want to Play

Hapa Mama: Asian Fusion Family and Food
2015-04-13

Melinda Frank, Guest Blogger
Growing Up Ethnic

“I thought you were Dutch–you’re Indonesian?”

“I thought you were Irish–you’re Dutch?”

“Wait, you’re white and Asian?”

“What are you anyways?”

I hate answering the question “What are you,” because in my experience, that question always overshadows the more meaningful question of “Who are you?”…

Read the entire article here.

Beauty queen brings light to Japan’s racial issues

CBS News
2015-04-13

Walking through the Shibuya section of Tokyo, Ariana Miyamoto certainly turns heads — and she wants to use that attention to change attitudes.

When Miyamoto was crowned Miss Universe Japan in March, selected by a panel of seven Japanese judges, her surprise on stage was real, reports CBS News correspondent Seth Doane. She was the first-ever winner to be biracial. Her father is African-American, and her mother is Japanese.

“At first, I didn’t want to compete,” Miyamoto said in Japanese. “But then a close friend who was also biracial committed suicide. That’s when I decided to do something about the suffering he’d endured.”

She said the friend “really hated being half Japanese and not being fully accepted into Japanese society.”

“Japan still has racial issues, and I wanted to do something about it,” she said.

Japan, an island nation that didn’t open to the world until the late 1800s, still lacks real diversity today. Mixed-race children made up less than 2 percent of births in 2013.

At the Tokyo gym where she works out twice a week, it’s hard to imagine this now confident, stunning 20-year-old was once a bullied kid…

Read the article and watch the video here.

“Hafu” Filmmaker Spotlights Bicultural Japan

Nippon.com: Your Doorway to Japan
2013-12-27

Nishikura Megumi

The recent film Hafu documents the lives of five bicultural Japanese. Nippon.com spoke to one of the film’s two directors, Nishikura Megumi, to learn more about the film and the motivation behind it.

The number of Japanese citizens marrying foreign nationals has been increasing at a rapid pace, and every year more than 20,000 children are born in Japan to such international couples. These binational kids have been in the media spotlight lately, with many celebrities from such backgrounds appearing on television. But the image conveyed on the screen does not fully capture the reality.

Unlike many of these TV celebrities, who tend to be children of a Caucasian parent, around three-fourths of all international marriages in Japan involve a partner from another Asian country, most notably China, South Korea, and the Philippines (according to 2007 data from the Ministry of Health, Labor, and Welfare). So many of the children of these marriages do not superficially resemble what most people view as a binational—or hafu, as they are called in Japanese (from the English word “half”—as in “half-Japanese”).

The recently released film Hafu, co-produced by filmmaker Nishikura Megumi, follows the lives of five hafu raised in a bicultural environment. Nippon.com met up with Nishikura to learn more about the film and her own experiences as a bicultural person…

Read the entire interview here.

Black and Yellow: Blasian Narratives

Psychology Today
2015-04-07

Stephen Murphy-Shigematsu Ed.D.

Crossing racial borders through storytelling

Saturday night I went to an event called, Black and Yellow: Blasian Narratives, featuring students from Stanford joining a group from Morehouse and Spelman, two historically black colleges. The students presented both monologues and interactive storytelling. Their diversity was stunning, Asian being Korean, Chinese, Sri Lankan, Japanese, and Vietnamese, with diverse forms of Black as well, from the Caribbean to Ghana. The purpose of the project by Canon Empire, a Cambodian American filmmaker and storyteller, is to unite Asian and Black communities through “Blasian” narratives and intimate and critical dialogues about race. He seeks to illuminate the reality that two communities historically socialized to see each other as polarized opposites and as competition and comparisons actually have much in common.

The presentations showed the complexity of lives that cross borders and enter liminal and marginal spaces, where creativity can flourish. Each person, in their own unique way, expressed their identities-in-flux, as if they were re-creating it right there on stage. As I watched them perform I was reminded of the wisdom of the identity scholar Erikson, who reminded us that: “Identity consciousness is overcome by a sense of identity won in action.”…

Read the entire article here.

LAURA KINA Blue Hawai’i

The Brooklyn Rail: Critical Perspectives on Arts, Politics, and Culture
Brooklyn, New York
2015-04-02

Jonathan Goodman

HAROLD B. LEMMERMAN GALLERY, NEW JERSEY CITY UNIVERSITY JANUARY 27 – MARCH 3, 2015

As an Asian-American painter of mixed background, Laura Kina creates work that is as culturally relevant as it is emotionally resonant. Her father, who is of Japanese descent, grew up in Hawai’i, where he worked on sugarcane plantations before moving to the American mainland to become a doctor. In the compelling paintings shown in Blue Hawai’i, Kina addresses the persistence of Japanese culture among the sugarcane workers, many of whom, like the artist’s father, had family ties to the Japanese island Okinawa. In 2009, Kina and her father traveled to his plantation community in Hawai’i to gain a sense of his past; then, in 2012, Kina and her father traveled to Okinawa itself, again to research the immigration of poor Japanese who came to Hawai’i to harvest cane. The paintings on view in Blue Hawai’i allude to her discoveries, which entail both the remnants of Japanese habits among the Hawaiian workers—the word “blue” in the title of the show refers to the blue kimonos refashioned for plantation work—and the gradual, often troubled and troubling acculturation process. The exhibition consequently bridges inevitable feelings of displacement and loss with the desire to document Kina’s father’s past…

Read the entire review here.

A Sharp White Background

Renegade
2015-04-02

Kimiko Matsuda-Lawrence (aka the Blazian Invasion)

how I learned what race feels like

Just Words

I am riding home from middle school in Washington, D.C. one day when a white man gets on my bus full of black faces and calls us nigger. My stomach drops. The boys at the back of the bus rise. This is the first time I will hear that word exit the mouth of a real-life white person, not in the movies, but here, on my bus, on this bus full of blackness. As I walk home from the bus stop that day, I struggle to make sense of the feeling this man has left with me, the smallness, the brokenness, the shame slowly growing inside me. I will not hear this word shouted by a white man into a crowd of black and brown for another eight years, and eight years later I will still not know what to do.

In the basement cafeteria of my black elementary school, I am teased for the musubi I bring in my lunchbox, white rice wrapped in nori, pressed into pyramid in the salty palm of my mother’s hand. “Ewww, what is that smell?” “Seaweed,” I answer. The word feels foreign and wrong on my tongue, but I push it out anyway, attempting awkward translation. “Seaweed??” They crinkle their noses and I feel I am foreign, I am wrong, I do not fit into this landscape of lunchables, gushers, and frozen fishsticks. I go home. I ask my mother to pack me a sandwich. I miss musubi.

When my classmates pull their eyes into slits, contort their mouths into ching chong chinaman talk, and call our volunteer chess teacher Mr. Tsunami though that is not his name, my cheeks flash hot again. Do my eyes look like that? Are they talking about me? Somehow I know I am tied to this taunting, that I am target though they’re not looking at me, the words still clinging to my skin as if sensing the yellow beneath the brown. I look at my eyes in the mirror, turn my head to the side, search for slits. Who is this they’ve made of me?…

Read the entire article here.

Mixed-race Migration and Adoption in Gish Jen’s The Love Wife

Canadian Review of Comparative Literature / Revue Canadienne de Littérature Comparée
Volume 42, Issue 1, Mars 2015
pages 45-56

Jenny Wen-chuan Chu
National Kaohsiung Normal University, Taiwan

Migration is a way of geographic movement. It involves a sense of belonging, nostalgia and diaspora issues. Besides, adoption in the migrated family illustrates the fluidity and tenacity of racial boundaries in different national and racial origins. In Gish Jen’s The Love Wife, the question of Mama Wong’s motives haunts Blondie and Carnegie. Is Lan a nanny who teaches their two Asian daughters to be more Chinese, or is she a love wife who drives Blondie out? In contemporary America, an interracial marriage like Carnegie and Blondie’s is increasingly common. We might expect Carnegie to naturally speak Chinese and know his culture, but it is Blondie who speaks Chinese and instructs their adopted children on Asian heritage. It is not natural. However, when Carnegie discovers that he is adopted, and adoption is a natural occurrence in China, he finally realizes that nothing is unnatural. His home is based on mutual love and sharing multiple cultures, not blood or skin colour.

In the dimension of mixed-race migration, home is a discourse of locality, and place of feelings and rootedness. According to Henri Lefebvre, home belongs to a differential space, i.e., a spiritual and imaginary space. Our memories and souls are closely related to such differential space. Gaston Bachelard, too, argues that our home is a privileged entity of the intimate values that we take it as our differential space: “Our [home] is our corner of the world” (4). Home is no longer fixed, but fluid and mobile. Nostalgia is inevitable. But loving homes provide more stability than do memories of good old days. In the dimension of mixed-race adoption, the American dream is internalized as the way of the mixed-race family’s lifestyle. In America, Chinese culture is also highly strengthened in the diversity of Chinese American families. However, how can the second generation of Chinese immigrants enjoy their individual American dreams, but still have to cope with the demands and expectations of their familial Chinese parents?

In The Love Wife, we observe that the adopted children perceive and negotiate their ethnic/racial identities and sense of esteem as well as their acceptance and ease with such an adopted status. Wendy and Lizzy are both Asian Americans. Blondie, who has a WASP background, has always been at the mercy of Carnegie’s Chinese mother, the imperious Mama Wong. When Mama Wong dies, her will requires a “relative” of hers from China to stay with the family. The new arrival is Lan, middle-aged but still attractive. She is Carnegie’s mainland Chinese “relative,” a tough, surprisingly lovely survivor of the Cultural Revolution. Blondie is convinced that Mama Wong is sending Carnegie a new wife, Lan, from the grave. Nevertheless, through identifying the sweet home with multiple cultures, Carnegie and Blondie’s mixed-race family opens the room for the practices of migration and adoption.

The author, Gish Jen, is a second generation Chinese-American. Her parents emigrated from China in the 1940s, her mother from Shanghai and her father from Yixing. She grew up in Queens, New York, moved to Yonkers, and then settled in Scarsdale. Different from those prominent Chinese-American writers who look back at Chinese-American history for their subject matter and focus on the conflicts between Chinese parents and American children, such as Amy Tan, Maxine Hong Kingston, etc., Jen is developing her distinctive voice. She aims at full participation in American life and reveals in her writings a strong desire to be a real American. The Love Wife, her third novel, portrays an Asian-American family with interracial parents, a biological son, and adopted daughters as “the new American family.” Jen turns to the story of transnational adoption, addressing that kinship plays a crucial role in an interracial family.

Jen’s The Love Wife has been discussed critically in several articles. Fu-jen Chen and Su-lin Yu’s paper explores the imaginary binary relationship between Blondie and Lan, as well as Žižek’s “parallax gap,” through the gaze of the (m)Other in The Love Wife. It argues:

The polarized differences between Blondie and Lan are sustained on the grounds of a safe distance at which they…