Mixed Race Studies

Kiss & Tell: A Romantic Résumé, Ages 0 to 22

HarperCollins
2011-03-15
336 pages
Trimsize: 6 3/4 x 9 1/4
Paperback ISBN: 9780062009234; ISBN10: 0062009230
eBook ISBN: 9780062078650; ISBN10: 0062078658

MariNaomi

From her father and mother’s interracial marriage to her own “you show me yours, I’ll show you mine” moments on the playground—from drug experimentation to sexual/identity questions—MariNaomi lays her inner life bare. Kiss & Tell is her funny and frank memoir in graphic form: a fresh and offbeat coming-of-age story unfolding against the colorful backdrop of San Francisco in the ’80s and ’90s. Through deft storytelling and charming illustration, MariNaomi carries us through first love and worst love, through heartbreak and bedroom experimentation, as she grows from misfit teen to young woman.

Podcast interview with Paisley Rekdal, poet and 2013 UNT Rilke Prize winner

University of North Texas, Denton, Texas
2013-04-29

Julie K. West, Publications Specialist
Office of Research and Economic Development

Poet Paisley Rekdal is the 2013 recipient of the University of North Texas Rilke Prize. The $10,000 award, named for the great German poet, Rainer Maria Rilke, recognizes a book written by a mid-career poet and published in the preceding year that demonstrates exceptional artistry and vision. Paisley visited the UNT Department of English in April 2013 to accept the award for her prize-winning collection of poetry, “Animal Eye,” published by the University of Pittsburgh Press. She joins Julie West, publications specialist with the UNT Office of Research, in an audio podcast interview to discuss her poetry and the creative writing process.

…JW: But yet that does seem to be somewhat of a theme running not only through this work but you, yourself, as a Chinese-American with Norwegian ancestry … surely you are used to switching lens …

PR: doubled

JW: … and having that doubled perspective, and I’m just now thinking of that, even, as I hear you read this last poem.

PR: I think that’s very true. I think that’s a really good point. What’s funny though, is the doubled-ness of my vision is not cultural because I grew up in America. So, to a certain extent, the doubled-ness of my vision is something that’s been placed on me. The ways in which — depending on who’s looking at me — I’m either potentially Chinese, or White, or a mixture of both … when people are interested in my ancestry and they’ll ask me questions about that. For me I feel like there’s a real — even though any self contains multiplicities and complexities — I feel like there’s a real unity to my vision. But the experience of being biracial in America means that I do recognize how I can appear two ways and what I mean can mean multiple things. So the willingness and the interest in playing with multiple perspectives — moving in and out of different bodies — I think reflects that, for sure, what you’re just pointing out — that experience of being biracial. But it doesn’t actually reflect my own identity, if that makes any sense. How biracialism exists outside of me, even though I, myself, am biracial…

Listen to the podcast here. Read the transcript here.

You don’t have to be mixed-race to have a mixed identity

The Seattle Globalist: Where Seattle Meets the World
2013-06-24

Maggie Thorpe, Graduate student in Japan Studies
University of Washington

Editor’s note: Laura Kina, who is quoted throughout this post, disagrees with the representation of her perspective here. You can read her response in the comments.

A new exhibit at the Wing Luke museum is part of a growing movement that says our racial identity is a personal choice, not a fact of birth.

“Aren’t you insulted by that?”

Michael Tenjoma, 23, set down the rolled-out slab of Japanese noodle dough and looks at the blackboard specials beside him in the Seattle restaurant.

“What?” asked the fifth-generation Japanese-American from Hawaii.

“That!” The irate customer pointed at the words “Jap. Satsuma Potato.”

Tenjoma let out a chuckle.

“It has a period after the word ‘Jap’. There’s nothing insulting about it.”

The customer stormed away, irate.

“I’m not Japanese,” Tenjoma said after telling this story. “Whenever I was in Japan, everyone kept asking me what I really was. But I’d just answer that I’m American. It seemed to bother everyone that I couldn’t give them a straight reply. But when I’m in Hawaii, I’m Japanese. It all really depends on where I am.”

In 2000 the U.S. Census allowed Americans to identify themselves as being two or more races for the first time. According to National Journal, people who identify themselves as multiracial have risen from 9.2 percent in 2000 to 32 percent in 2010.

“Under My Skin” — a recently opened exhibit at the Wing Luke Museum — discusses the issues of race and identity through art. Each piece weaves an intricate story evoking introspection, whether through modern art installations or traditional oil paintings. It is a quiet place with all 26 artists’ emotions and perspectives prodding into each attendee as they view each display.

Laura Kina, a contributing artist to the exhibit, is mixed. Her father’s side of the family is from Okinawa, Japan and her mother is of mixed-European ancestry with origins in small town Washington…

Read the entire article here.

What’s it like to “come out” as a Third Culture Kid on stage? Elizabeth Liang tells all!

The Displaced Nation: A home for international creatives
2013-06-20

The Displaced Nation Team

As reported here last month, Elizabeth Liang spent the month of May performing, at a venue in Los Angeles, a one-woman show about being a Third Culture Kid, or TCK. As some readers may recall, Liang is a self-described Guatemalan-American business brat of Chinese-Spanish-Irish-French-German-English descent. She was brought up by peripatetic parents in Central America, North Africa, the Middle East, and Connecticut. Many of us were curious about not only how she could pack all of that personal history into a solo stage performance, but also how the (mostly American) audiences would respond. Today is the day we get to find out. Take it away, Elizabeth!

—ML Awanohara

I had no idea what to expect from audiences when I opened my solo show, Alien Citizen, in Hollywood, California, on May 3rd (it closed June 1st).

Since the show is about my upbringing as a dual citizen of mixed heritage in six countries, I assumed it would appeal mainly to Adult Third Culture Kids (ATCKs) and people of mixed heritage—the people I wrote it for, since we rarely see our stories portrayed on stage or screen.

I wanted the show to be funny, but wasn’t sure if the humor would translate.

And I wanted people to be moved by the story…

Read the entire article here.

Hapa Hoops: Japanese American Basketball and Community with Rex Walters

Japanese American National Museum
100 North Central Avenue
Los Angeles, California, 90012
Saturday, 2013-06-22, 14:00 PDT (Local Time)

Join us as we explore the experiences of Hapa Japanese Americans and their experiences in Japanese American basketball leagues. Hapa Hoops will feature a screening of JANM’s basketball documentary Crossover  and will be followed by a conversation by Rex Walters, a veteran of both Japanese American basketball leagues and the NBA.

In conjunction with the exhibition Visible & Invisible: A Hapa Japanese American History

For more information, click here.

Yellow: Race in America Beyond Black and White

Basic Books
2002
416 pages
5.3 x 1.1 x 8 inches
Paperback ISBN: 9780465006403; ISBN-10: 046500640X

Frank H. Wu, Chancellor & Dean
University of California, Hastings College of Law

Writing in the tradition of W. E. B. Du Bois, Cornel West, and others who confronted the “color line” of the twentieth century, journalist, scholar, and activist Frank H. Wu offers a unique perspective on how changing ideas of racial identity will affect race relations in the twenty-first century. Wu examines affirmative action, globalization, immigration, and other controversial contemporary issues through the lens of the Asian-American experience. Mixing personal anecdotes, legal cases, and journalistic reporting, Wu confronts damaging Asian-American stereotypes such as “the model minority” and “the perpetual foreigner.” By offering new ways of thinking about race in American society, Wu’s work dares us to make good on our great democratic experiment.

Table of Contents

• 1. East Is East, East Is West: Asians as Americans
• 2. The Model Minority: Asian American “Success” as a Race Relations Failure
• 3. The Perpetual Foreigner: Yellow Peril in the Pacific Century
• 4. Neither Black Nor White: Affirmative Action and Asian Americans
• 5. True But Wrong: New Arguments Against New Discrimination
• 6. The Best “Chink” Food: Dog-Eating and the Dilemma of Diversity
• 7. The Changing Face of America: Intermarriage and the Mixed Race Movement
• 8. The Power of Coalitions: Why I Teach at Howard
• Epilogue: Deep Springs
• References
• Notes
• Acknowledgments
• Index
• About the Author

War Baby/Love Child: An Interview with Richard Lou

Visual Memphis
2013-06-12

According to the project’s website, War Baby/Love Child: Mixed Race Asian American Art “investigates constructions of mixed heritage Asian American identity in the United States. As an increasingly ethnically ambiguous Asian American generation is coming of age, this multi-platform project (book, traveling art exhibition, website and blog) examines how, or even if, mixed heritage Asian Americans address hybrid identities in their artwork, as well as how perspectives from critical mixed race studies illuminate intersections of racialization, war and imperialism, gender and sexuality, and citizenship and nationality.”

The exhibition features work across diverse mediums by 19 emerging, mid-career and established artists who reflect a breadth of mixed heritage ethno-racial and geographic diversity: Mequitta Ahuja, Albert Chong, Serene Ford, Kip Fulbeck, Stuart Gaffney, Louie Gong, Jane Jim Kaisen, Lori Kay, Li-lan, Richard Lou, Samia Mirza, Chris Naka, Laural Nakadate, Gina Osterloh, Adrienne Pao, Cristina Lei Rodriguez, Amanda Ross-Ho, Jenifer Wofford and Debra Yepa-Pappan.

The exhibition is on display right now through June at the DePaul University Art Museum in Chicago. It will travel to the Wing Luke Museum of the Asian Pacific American Experience in August and will remain there through January 19, 2014. If your travels don’t take you to either of these places, you may purchase the book on Amazon that includes a series of critical essays, interviews and images of artwork associated with the exhibition. For updates on upcoming events, see the War Baby/Love Child Facebook page.

Richard Lou, Art Department chair at the University of Memphis, is kind enough to share some of his knowledge of and experiences with War Baby/Love Child here…

Read the entire interview here.

Panel Discussion: “Mixed Race Asian American Art and Identity”

DePaul University Art Museum
935 W. Fullerton
Chicago, Illinois 60614
Phone: 773-325-7506
Wednesday, 2013-05-29, 18:00 CDT (Local Time)

War Baby / Love Child: Mixed Race Asian American Art

Debra Yepa-Pappan, “Live Long and Prosper (Spock was a Half-Breed),” digital print.

Laura Kina, Vincent DePaul Associate Professor of Art, Media and Design
DePaul University

Camilla Fojas, Vincent DePaul Professor of Latin American and Latino Studies
DePaul University

Debra Yepa-Pappan, Jemez Pueblo and Korean Artist
Chicago, Illinois

This event is cosponsored by the Japanese American Service Committee, DePaul’s Office of Institutional Diversity and Equity President’s Diversity Series, and Latin American and Latino Studies.

For more information, click here.  Watch the video of the presentation here.

Paper Bullets: A Fictional Autobiography

University of Washington Press
2001
282 pages
6” x 9”
Paperback ISBN: 9780295980799

Kip Fulbeck, Professor of Performative Studies, Video
University of California, Santa Barbara

Award-winning videomaker, performance artist, and pop-culture provocateur Kip Fulbeck has captivated audiences worldwide with his mixture of high comedy and personal narrative. In Paper Bullets, his first novel, Fulbeck taps into his Cantonese, English, Irish, and Welsh heritage, weaving a fictional autobiography from 27 closely linked stories, essays, and confessions. By turns sensitive and forceful, passionate and callous, Fulbeck confronts the politics of race, sex, and Asian American masculinity head-on without apology, constantly questioning where Hapas fit in a country that ignores multiracial identity.

Raised in southern California by a Chinese-born mother and a Caucasian father, Fulbeck pushes the conventions of literary form as he simultaneously draws from, recreates, and fabricates his own life history. His range of experiences – from college professor to youth outreach volunteer, blues player to surfer and lifeguard—informs his witty and humane writing. Like himself, his protagonist is a young man shaped by the conflicting mores, stigmas, desires, and codes of male conduct in America. He searches for and mismanages love and independence, continually experimenting with sex along the way. Sometimes hilarious, always heartfelt, surfing the trivia of pop culture and sound bits, his inner voice shifts continually among the real, the perceived, and the imagined.

Kip Fulbeck is an ocean lifeguard, guitar junkie, dubbed kung fu grandmaster, Lakers fanatic, and associate professor of art studio and Asian American studies at the University of California, Santa Barbara.

Writing Mixed Race Asian Americans into the Nation: Narratives of National Incorporation in the Bildungsroman and the Multiracial Movement

Wesleyan University
May 2013
80 pages

May Lee Watase

A thesis submitted to the faculty of Wesleyan University in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Departmental Honors in American Studies

Introduction

In spring 2011, during my sophomore year at Wesleyan, the student group I was a member of, MIX (an acronym for mixed heritage, interracial, cross-cultural), invited Ken Tanabe, a multiracial graphic designer and social activist to host a Loving Day celebration on Wesleyan’s campus. Tanabe is the founder of Loving Day, an event that celebrates interracial love, multiethnic identity, and marks the 1967 anniversary of the Loving v. Virginia case that legalized interracial marriage. At our own event, Tanabe and a few other representatives of the Loving Day organization gave us Loving Day buttons, showed us a power point presentation, and chatted with us about our mixed race identities. At the end of the hour, Tanabe asked to take a picture of the group, snapping the exact moment the ten of us jumped in the air. About a month ago, two years following our celebration with Tanabe, I opened an email from the Loving Day listserv to find the following:

The Loving Day Project is pleased to announce the launch of Loving Day ON CAMPUS… a resource guide and forum to help students across the country connect, share, and inspire…Students have celebrated this important civil rights milestone in a variety of ways…We want every student and organization to have the best events possible, so we have created the Loving Day ON CAMPUS facebook page.

I clicked the link and found the picture of the Wesleyan MIX group on the Facebook page—there we all were, happy and smiling as the unofficial faces of Loving Day ON CAMPUS. I was slightly surprised to see myself there and began scrolling through the rest of the Loving Day website, becoming increasingly aware of the fact that Loving Day’s marketing strategy relied heavily on a celebratory “mixed-race” look…

In this thesis, I examine the relationship between the multiracial movement, the genre of the bildungsroman, or “coming of age novel,” and mixed race Asian American novels that are contextualized in the decade of the 1990s. The three novels I use in this study are Paper Bullets: a Fictional Autobiography, by Kip Fulbeck (2001); American Son: A Novel, by Brian Ascalon Roley (2001); and My Year of Meats, by Ruth Ozeki (1998). I situate each novel within the rhetoric of the multiracial movement of the 1990s, which forwarded the institutionalization and legitimization of mixed race identity in American society both legally and socially, in the government, in education, and in popular culture. Each novel employs different functions of the bildungsroman, narrating the protagonists’ complex relationships with the boundaries of the nation, grappling with the notion of national belonging and validation. The bildungsroman structure and the multiracial movement both construct a progressive, teleological discourse, narrating a trajectory from exclusion and  marginality to an endpoint of inclusion within the nation as a celebratory affirmation of identity. By focusing on the ways in which these three mixed race Asian American texts subvert, manipulate, or are confined by the form of the bildungsroman and the rhetoric of the multiracial movement, I examine the pathways to inclusion in the American body politic and the positionality of the mixed race Asian American subject within and beyond the boundaries of the America. My studies of each text draw from contentious moments in the United States in the 1990s: the rhetoric of Ethnic Studies and cultural nationalism, the Rodney King beating and L.A. Riots, and the ascendancy of Asian economic power—all discourses that intervene in the narrative progress of the mixed race Asian American subject in American public discourse…

Read the entire thesis here.