Mixed Race Studies

Mixed “Race” in Southeast Asia?: Racial Theories in Competing Empires (Sawyer Seminar V)

University of Southern California
Dana and David Dornsife College of Letters, Arts and Sciences
Center for Japanese Religions and Culture
University Park Campus
Doheny Memorial Library (DML), East Asian Seminar Room (110C)
2013-10-12, 10:00-16:00 PDT (Local Time)

USC Conference Convenors:

Duncan Williams, Associate Professor of Religion
University of Southern California

Brian C. Bernards, Assistant Professor of East Asian Languages and Cultures
University of Southern California

Velina Hasu Houston, Associate Dean for Faculty Recognition and Development, Director of Dramatic Writing and Professor
University of Southern California

PRESENTERS – MORNING SESSION

“Construction Process of the ‘Japanese Filipino Children’ Category and Beyond: What It Means to be Born from a Japanese-Filipino Couple in Japan”

Frédéric Roustan, JSPS Post-doc and Tokyo University of Science, Lecturer
Hitotsubashi University

“Fraternization Revisited: Post-War Legacies of Japanese-Dutch Unions”

Eveline Buchheim, Researcher
Netherlands Institute for War, Holocaust and Genocide Studies (NIOD)

Respondent: Duncan Williams, USC

PRESENTERS – AFTERNOON SESSION

“The Making of Race in Colonial Malaya”

Charles Hirschman, Professor of Sociology
University of Washington

“African, Métis, Eurasian, or French? Afro-Asian Children in the French-Indochina War and Beyond, 1946-1960”

Christina Firpo, Assistant Professor of History
California Polytechnic State University, San Luis Obispo

Respondent: Brian Bernards, USC

Presented by the Center for Japanese Religions and Culture’s “Critical Mixed-Race Studies: A Transpacific Approach” Andrew W. Mellon Foundation John E. Sawyer Seminars Series at the University of Southern California.

For more information, click here.

Haji, an Actress Featured in Cult Films by Russ Meyer, Dies at 67

The New York Times
2013-08-17

Daniel E. Slotnik

Haji [Barbarella Catton], a voluptuous actress who played one of three homicidal go-go dancers in Russ Meyer’s 1965 cult film “Faster, Pussycat! Kill! Kill!,” died on Aug. 9 in Southern California. She was 67.

Her death was confirmed by the dancer and actress Kitten Natividad, a friend, who said she did not know the cause. She said Haji had high blood pressure and heart problems in recent years and was taken to a hospital after falling ill at a restaurant in Newport Beach.

Haji, a brunette of Filipino and British descent, met Meyer, the celebrated B-movie director, in the mid-1960s while she worked in a strip club in California. He cast her as the lead in his biker movie “Motorpsycho” (1965) even though she had no acting experience…

Read the entire obituary here.

“A Universe of Many Worlds”: An Interview with Ruth Ozeki

MELUS: Multi-Ethnic Literature of the United States
Volume 38, Issue 3 (September 2013)
pages 160-171
DOI: 10.1093/melus/mlt028

Eleanor Ty, Professor of English and Film Studies
Wilfrid Laurier University, Waterloo, Ontario, Canada

That’s what it felt like when I was growing up, like I was a random fruit in a field of genetically identical potatoes.—Ruth Ozeki, All Over Creation (4)

Is death even possible in a universe of many worlds? —Ruth Ozeki, A Tale for the Time Being (400)

Immigrant and ethnic writing frequently addresses the dilemma of being caught between two worlds. More often than not, the protagonists in these works are torn between the desire to assimilate into American culture while negotiating with the original culture of their parents and the realization that their ethnic, racial, or religious difference is what makes them special as hyphenated subjects. For Ruth Ozeki, filmmaker and internationally acclaimed author of My Year of Meats (1998), being in between two cultures becomes a source of inspiration and strength. As the daughter of a Japanese mother and an American father, she feels that being outside of the mainstream can be an advantage. In an interview with Barbara Palmer, Ozeki said, outside “is the only place for a writer to be. Otherwise, you lose your perspective, your edge. You stop seeing things.”

In both My Year of Meats and her second novel, All Over Creation (2003), the protagonists are mixed-race Japanese Americans who do not quite fit the image of the “attractive, appetizing, and all-American” ideal woman represented in popular media (My 8). Jane Takagi-Little of My Year of Meats tries to explode this nostalgic “illusion of America” (9) by deliberately focusing on nonwhite, non-heterosexual, and nontraditional families when she gets a chance to direct a television show called My American Wife! for a Japanese audience. In All Over Creation, Yummy Fuller, who always had to play “Indian princess” in Liberty Falls Elementary School when she was growing up (7), runs away from her farming family…

Read or purchase the article here.

Art at Wing Luke Museum explores mixed-race heritage

The Seattle Times
2013-08-19

Robert Ayers, Special to The Seattle Times

The thought-provoking “War Baby/Love Child: Mixed Race Asian-American Art” exhibition is showing at the Wing Luke in Seattle through Jan. 19, 2014.

“War Baby/Love Child: Mixed Race Asian-American Art,” currently at the Wing Luke Museum of the Asian Pacific American Experience, is a jewel of an exhibition that has been organized and curated by Laura Kina and Wei Ming Dariotis.

As their provocative title suggests, the curators — both scholars in the field of mixed-race studies — see their role not only to present a group of stimulating high-quality works (which they have done anyway,) but also to encourage a new understanding of what “mixed race” means. The last thing they intend is a celebration of multiculturalism, and instead, they stress that there is nothing new or exceptional about mixed-race heritage. These are issues that are more than political for them, and for the artists they have included in the show, because they are part of the fabric of their own experience…

Read the entire article here.

‘Mixed Kids Are Always So Beautiful’

Motherlode: Adventures in Parenting
The New York Times
2013-08-19

Nicole Soojung Callahan

Like many other people of color, I am no stranger to awkward conversations about race. Strangers have complimented my English, remarked on how tall I am “for an Asian” and — more times than I can count — asked where I am really from. Since becoming a parent five years ago, I’ve had to learn to field a whole new set of questions and comments regarding my multiracial children.

“Korean, Irish and Lebanese is such a unique combination,” a friend exclaimed after my eldest daughter was born. “She’s like a poster baby for the U.N.!”

Several people in our diverse suburb of the District of Columbia have asked if I am my daughters’ baby sitter, presumably because they cannot spot the resemblance between us. At a party last year, a white woman asked if I was surprised when my children were born: “Did you expect them to look, you know, less white?” (No, I was pretty sure who their father was, so I wasn’t really shocked.)

Another person wanted to know if I thought the girls’ “coloring” would stay the same or “get darker” over time. Then there was the mother at the park who looked at my girls on the swing set and said bluntly: “What are they, exactly?”

The girls have even received compliments for not looking fully Korean. “Your daughter is so pretty,” a Chinese friend said to me last month. “Have you thought about having her model?”

“No,” I replied (possibly the truest thing I have ever said)…

Read the entire article here.

Two Cities: Guangzhou/Lagos

Nokoko
Institute of African Studies
Carleton University, Ottawa, Canada
Volume 2 (Fall 2011)
pages 174-197

Wendy Thompson Taiwo, Assistant Professor of African American Studies
San José State University, San Jose, California

I was in Nigeria in May, the year I turned twenty-nine. And aside from the few hours of electricity per day, the way most of the food twisted my stomach or burned my tongue, and that the terrible stifling heat made life difficult at times, I was excited to be exactly where I needed to be: Lagos. Once the political center of Nigeria, it is still reigning as the financial and economic capital. And from what I saw, it was a thriving, bustling, chaotic metropolis where swindling police officers, savvy market women, racing okadas, and the occasional goat shared the streets with everyday Lagosians.

I was pursuing the second leg of a research project devoted to examining the everyday lives of Yoruba traders I had met in Guangzhou. In 2009, a series of news reports shifted focus to a sizable West African trading community in southeastern China following a protest by an approximated two hundred African men in front of a police station that drew a crowd and shut down traffic. The protest was in response to earlier events in which an immigration raid staged by Chinese police in a clothing mall frequented primarily by Nigerian traders led to at least two reported injuries, one critical…

…I had so many questions and saw this as a once in a lifetime opportunity to sort out some of the anxieties I had about race, borders, and the bodies of my parents—one black and one Chinese. I assumed that many African traders would have had to interpret and negotiate these same themes and embarked on my journey to encounter these new global citizens…

Read the entire article here.

Japanese migration to Brazil was part of a peaceful expansionist policy

Agência FAPESP: News Agency of the Sao Paulo Research Foundation
2012-07-25

Elton Alisson

USP historian Shozo Motoyama makes the above assertion in a study on the first stage of Japanese immigration to Brazil, which covers the process of cultural integration

Agência FAPESP – Japanese immigration to Brazil beginning in 1908 represented a peaceful means for Japan to continue developing without the military excursions it was using to become a global power at the time.

However, the arrival of Japanese in Brazil under the auspices of the coffee barons during the Old Republic (1889-1930) split opinion and sparked an intense debate between those in Brazilian society who were in favor of and against this immigration.

The less than cordial integration of the two cultures through immigration is described in the book Under the sign of the Rising Sun: A Story of Japanese Immigration in Brazil – volume 1 (1908-1941) (Sob o signo do sol levante: Uma história da imigração japonesa no Brasil – volume I (1908-1941), penned by historian Shozo Motoyama, who is also a professor at Universidade de São Paulo’s School of Philosophy, Letters and Humanities (FFLCH) and president of the Nippo-Brazilian Studies Center.

Released at the end of April, the book describes the first stage of immigration to Brazil – begun in 1908 and ending in 1941 when Japan entered World War II – as part of a peaceful expansion orchestrated by the Japanese government…

…Supported by certain representatives of the Brazilian elite of that day, the theory known as “whitening” stated that Brazil’s lack of development was due to the country having been peopled by “inferior races” (blacks and Indians) and that the country would only develop as its population turned “whiter.”

As the cycle of immigration of Negros to Brazil ended, the focus shifted to the Japanese, who had begun to arrive in the country.

Defending the Japanese, the São Paulo farmers accepted an absurd theory touted by a Brazilian farmer and congress member that these immigrants were whiter than the Portuguese, who had undergone an intense process of miscegenation in the country…

Read the entire article here.

Alien Citizen, The Play

World Premier at the Asylum Lab
1078 Lillian Way
Hollywood, California 90038
Fridays & Saturdays @ 20:00 PDT (Local Time)
Preview May 3, 2013, Opens May 4 – June 1

Written and performed by Elizabeth Liang
Directed by Sofie Calderon
Associate Produced by Richard Lee, Karen Smith, and Wendy Belcher
Co-produced by Leila Ciszewski
Stage Managed by Michelle Hilyard
House Managed by Charls Sedgwick Hall and Kate Huffman
Lighting & Projection Design by Matt Richter
Sound Design by Dennis Yen
Graphic and Program Design by Gene Michael Barrera

Presented by HapaLis Productions in association with Multiracial Americans of Southern California (MASC)

Who are you when you’re from everywhere and nowhere? Alien Citizen is a funny and poignant one-woman show about growing up as a dual citizen of mixed heritage in Central America, North Africa, the Middle East, and New England.

Elizabeth Liang, like President Obama, is a Third Culture Kid or a TCK. Third Culture Kids are the children of international business people, global educators, diplomats, missionaries, and the military — anyone whose family has relocated overseas because of a job placement. Liang weaves humorous stories about growing up as an Alien Citizen abroad with American commercial jingles providing her soundtrack through language confusion, first love, culture shock, Clark Gable, and sandstorms…

Our protagonist deals with the decisions every global nomad has to make repeatedly: to adapt or to simply cope; to build a bridge or to just tolerate. From being a Guatemalan-American teen in North Africa to attending a women’s college in the USA, Alien Citizen reflects her experience that neither one was necessarily easier than the other. She realizes that girls across the world are growing into womanhood in environments that can be hostile to females (including the USA). How does a young girl cope as a border/culture/language/religion straddler in country after country that feels “other” to her when she is the “other?” Where is the line between respecting others and betraying yourself?

Humor is a great survival mechanism! And friends make all the difference.

For more information, click here.

“War Baby/Love Child~Capturing the Artistry of Mixed Identity

Mixed Race Radio
Blog Talk Radio
2013-08-07, 16:00Z (12:00 EDT)

Tiffany Rae Reid, Host

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

Born in Riverside, California in 1973 to an Okinawan father from Hawai’i and a Spanish-Basque/Anglo mother, Laura Kina was raised in Poulsbo, WA, a small Norwegian town in the Pacific Northwest, and currently lives and works in a Jewish and South Asian neighborhood in Chicago, Illinois. She is a visual artist, curator, and author whose research is focused on Asian American and mixed race identities and history. Kina is a Vincent de Paul associate professor of Art, Media, & Design at DePaul University and the coeditor, along with Wei Ming Dariotis, of War Baby/Love Child: Mixed Race Asian American Art (University of Washington Press, 2013).

Laura Kina is a cofounder of the DePaul biennial Critical Mixed Race Studies conference and cofounder and co-managing editor of the Journal of Critical Mixed Race Studies. She has exhibited her artwork across the U.S. and internationally including at the Chicago Cultural Center, India Habitat Centre, Nehuru Art Centre, Okinawa Prefectural Art Museum, the Rose Art Museum, and the Spertus Museum.

Laura Kina and Wei Ming Dariotis have curated an exhibition “War Baby/Love Child: Mixed Race Asian American Art,” which features the work of 19 contemporary artists. It debuted at the DePaul University Art Museum in Chicago this past spring and will open up tomorrow night, April 8, 2013 at the Wing Luke Museum of the Asian Pacific American Experience in Seattle and will run through January 19, 2014.

For more information, click here.

Japanese-Canadian hapa woman makes opera fun

Global Asian Women: Stories for and about Asian women around the world
2013-07-31

Elizabeth Noh

Her name means a solo piece in an opera, and it just so happens that Aria Umezawa is a trained opera singer.

The mixed Japanese-Canadian is also the co-founder and artistic director of Opera 5, a small production company in Toronto, Canada.

Fate or coincidence? Her parents had no idea when they named her 25 years ago.

“My parents joke that if they knew I would follow my namesake, they would have named me lawyer or doctor,” says Aria.

Her calling came at the age of 6, when she saw her first opera, Turandot by Puccini. “The music touched me.”

The experience lead her to study at the Royal Conservatory of Music in Toronto and later at McGill University in Montreal. She trained as an opera singer, but she found that she wasn’t cut out to be a performer and was more suited to be a director…

…Aria is bi-racial. Her mother is Caucasian from the province of Alberta in western Canada. Her father is Japanese who came to Canada as a teenager. Aria was born and raised in Toronto. She has two younger brothers.

Some people say Eurasian, but “hapa” is commonly used in North America. The term originates from Hawaii and means a person of mixed blood. We talk about her mixed background.

“Growing up, it never occurred to me that my family was different on any sort of substantial level. We ate foods that my friends didn’t eat, and I was enrolled in karate instead of ballet, but I figured every family had its quirks,” she says…

Read the entire article here.