Mixed Race Studies

Parallel Adele

Third World Newsreel
2008
Color
16 minutes
USA
English

Adele Pham, Director/Producer

Two half Vietnamese documentary filmmakers, both named Adele, weave a shared narrative of mixed Asian (hapa) experiences through interviews with 7 other mixed race subjects. History, memory, and anecdotes on multiracial ethnicity are represented through archival images, super 8 film, verité, and interview.

Screenings

• Los Angeles Asian Pacific Film Festival, 2009
• San Francisco International Asian American Film Festival, 2009
• Toronto Reel Asian International Film Festival, 2008
• Philadelphia Asian American Film Festival, 2008
• Slant: Bold Asian American Images, 2008

‘Yokohama Yankee’: a family’s lineage in both Japan and America

The Seattle Times Books
2013-04-01

David Takami, Special to The Seattle Times

‘Yokohama Yankee: My Family’s Five Generations as Outsiders in Japan’ by Leslie Helm Chin Music Press, 360 pp.

Leslie Helm’s remarkable family memoir begins at a point of personal distress. At a memorial for his father in 1991, he feels conflicted about his relationship with his father and memories of his childhood. A few weeks later, Helm and his wife decide to adopt a Japanese child. This momentous prospect triggers unease about his lifelong ambivalence toward Japan and prompts him to explore his family’s long history in the country.

Now a Seattle resident and editor of Seattle Business magazine, Leslie Helm is bilingual in Japanese and has worked as a journalist in Japan for Business Week and the Los Angeles Times.

Helm’s great grandfather, Julius Helm, traveled from his native Germany to Japan in 1869 near the start of the Meiji Restoration when the country was emerging from 200 years of feudalism and self-imposed isolation. Reformers were eager to modernize Japan and looked to Western Europe and America for guidance. Helm helped upgrade the Japanese military and subsequently built a successful stevedoring business that thrived for more than half a century in the port city of Yokohama…

Read the entire review here.

The Outsiders Within: Telling Australia’s Indigenous-Asian Story

University of New South Wales Press
June 2007
256 pages
234 x 153mm
Paperback ISBN: 9780868408361

Peta Stephenson, Honorary Fellow
Asia Institute, University of Melbourne

An engaging account of the ways in which over hundreds of years Indigenous and Southeast Asian people across Australia have traded, intermarried and built hybrid communities. It is also a disturbing exposé of the persistent—sometimes paranoid—efforts of successive national governments to police, marginalise and outlaw these encounters.

Contents

• Introduction
• 1. Trading places
• 2. Makassan meetings
• 3. Dangerous liaisons
• 4. Colonial encounters
• 5. Paranoid nation
• 6. Invasion narratives
• 7. Where are you from?
• 8. Detoxifying Australia
• 9. Old roots, new routes
• Bibliography
• Interviews
• Index

Introduction

With a gun in hand Ah Hong, a Chinese cook and market gardener, shouted these words at the police: ‘you sleep with black women too. My woman’s got my kids.’ It was Alice Springs in the early 20th century and Ah Hong had committed the ‘crime’ of fathering three ‘mixed-race’ children. Ah Hong met Ranjika, a Western Arrernte woman, after the white man who stole her from her tribal husband abandoned her. Government officials targeted Ranjika and Ah Hong’s children for removal because they were of mixed Aboriginal-Asian descent. Reminding local officials that they also had sexual relationships with Aboriginal women. Ah Hong underlined the hypocrisy of fining or deporting Chinese and other Asian men because of their relationships with women or Aboriginal descent.

Around the same time, more than 2000 kilometres east in Queensland, another triangular relationship between Aboriginal, Chinese and white Australians was being played out. White authorities had seized Princy Carlo and her family (like many other ‘fringe-dwelling’ Aborigines) from their home country and packed them off to a government reserve more than 200 kilometres south-east. Princy Carlo was a mixed-race woman of Chinese and Wakka Wakka descent (from the Eidsvold district of southern Queensland, about 430 kilometres north-west of Brisbane). She did not yield to the assimilationist intent of government policy. Instead, she and her family established a camp they called ‘Chinatown’ at the Aboriginal settlement of Barambah (now Cherbourg).

The longstanding attempt to legislate Indigenous-Asian relations out of existence continues to cast its shadow today. Cathy Freeman is identified as Australia’s most famous Indigenous sportswoman, but she is also of Chinese descent. In the late 19th century, her great-great grandfather moved from China to northern Queensland, where he worked on sugarcane farms. In 2001 Freeman supported Beijing’s bid for the 2008 Olympic Games because of her Chinese heritage, but the English-language Australian media has entirely overlooked it. By contrast, in Chinese-language media inside and outside Australia, Freeman’s multicultural heritage is celebrated; many Chinese-Australians even hoped Freeman would win gold in the Sydney Olympics because of her Chinese descent. Is the suppression of Freeman’s heritage a sign that white Australia still wants to keep Asians and Aborigines apart?

The Outsiders Within is the story of the triangular relationship between Asians, Aborigines and white Australia. The three anecdotes just recounted are the tip of an historical iceberg. A unique and fascinating tradition of cross-cultural alliances between Indigenous and Asian Australian people exists in Australia, but it is largely unknown. In Broome, Western Australia, by the 1940s, cross-cultural unions between Indigenous and Asian people had become so commonplace that a majority of the Aboriginal population had some Asian ancestry. And, while Broome is an exceptionally multicultural society, an Indigenous-Asian heritage is a feature of most communities across northern Australia. Nor is it confined to the north: as this study shows, it stretches south to the metropolitan centres and, more recently, in the work of artists, film-makers and writers it has become part of a vigorously pursued project to understand Australia’s past and present differently. For the story we have to tell is both troubled and troubling. It obliges us to confront a legacy of discrimination, and to ask why the social, political and geographical legitimisation of Australia as a nation-state depended so profoundly on declaring Indigenous-Asian alliances illegitimate…

Alien Citizen: Review

www.ReviewPlays.com
ALIEN CITIZEN
Asylum Lab
2013-05-13

Jose Ruiz

Elizabeth Liang steps on the solo stage to tell the world what it’s like to be a TCK (Third Culture Kid).  These are people who, as children, traveled the globe intermittently because their parents were sent to diplomatic, business or military assignments and the family had to constantly adjust to new schools, new friends, new customs and new languages.  Her father worked for a multi-national company and was sent to several different countries during her formative years.

That in itself is fodder for a fascinating story of growing up with indeterminate roots.  When the story comes from Elizabeth Liang, whose ethnic heritage spans three continents, from her paternal roots in China, to her birth roots in Central America, to her mother’s varied European background, it becomes more than just a story…

Read the entire review here.

‘War Baby’ is something to see, if you can let go

The Chicago Tribune
2013-05-08

Lori Waxman, Instructor of Art History, Theory and Criticism
School of the Art Institute of Chicago

It was the Hello Kitty tepee that did it for me.

Some exhibitions can be so challenging that it takes a particularly unexpected artwork for the viewer to finally let go and get into the swing of things. “War Baby/Love Child: Mixed Race Asian American Art,” currently up at the DePaul Art Museum and featuring work by a dozen-and-a-half artists, is one such show. A riotously colored digital print by Debra Yepa-Pappan featuring a purple-haired Native American woman, lifted from an iconic Edward S. Curtis photograph and set against a background of space-age tepees, one of them marked with the equally iconic and silent face of everybody’s favorite Japanese cat, is one such artwork.

Hilarious and weird and crazily of its time — i.e., now — Yepa-Pappan’s collage lifted my thoughts up and over the various stumbling blocks that “War Baby/Love Child” presents. Curated by Laura Kina, an artist and DePaul professor, and Wei Ming Dariotis, a professor of Asian-American Studies at San Francisco State University, the cogitative but overdetermined exhibition sets up a Catch-22. It wants to recognize the complex realities of a fast-growing segment of the American population — the 2.6 million who identify as Asian plus one or more other races — and to prove how far beyond stereotype those people go. And yet, two gargantuan cliches give their name to the exhibition itself.

The term “war babies” generally refers to the children of Asian or Pacific Islander women and the U.S. soldiers who were stationed in their home countries during World War II, the Korean War and the Vietnam War. “Love children” were born of the free love of a post-civil rights and flower-child era, and, as listed in the extensive exhibition catalog, their makeup includes Eurasians and Hapas (Mixed White Asians), Mixed Bloods (Mixed Asian Native Americans), Blasians (Mixed Black Asians) and Mestizaje (Mixed Latino Asians).

“War Baby/Love Child” thus finds itself in the counterintuitive position of wanting to replace its own title with a dozen less-loaded ones. Wall labels are one tool, and the ones here list an astonishing array of mixed identities as well as direct quotes from most of the artists, many of whom speak about personal experiences growing up amid racial presumption…

Read the entire article here.

Even The Rivers: A film about educating South Korea’s multiethnic generation.

April 2013

Cindy Lou Howe, Director

Matt Kelley, Producer

Uikwon Lee, Researcher

“In 10 years, even the rivers and mountains change.”
—Korean proverb

South Korea has seemingly always known dramatic change. Created after Japanese colonization and a devastating civil war, the nation became one of history’s most remarkable economic success stories. Today, many South Koreans are proud that their former “Hermit Kingdom” is a global economic and cultural powerhouse, hosting the Olympics and exporting everything from Galaxy smartphones to “Gangnam Style.”

Despite this constant change, South Korea remains one of the world’s most ethnically homogeneous societies. According to recent statistics, just two percent of South Koreans are immigrants, the bulk of whom are ethnic Koreans from China. Many Koreans cling to a “one blood” national identity that emphasizes so-called “pure” bloodlines, a notion borne of nationalist and anti-imperialist movements from the turn of the last century.

This self-concept, however, is increasingly at odds with the nation’s changing demographics. Urbanization, immigration and one of the world’s lowest fertility rates have resulted in a multi-ethnic baby boom for South Korea. According to the 2010 Census, there are over 150,000 children in the country with at least one parent of non-Korean heritage. By 2020, the government estimates there will be over 1.6 million multi-ethnic South Koreans, including half of all children living in rural areas…

For more information, click here.

A Discontented Diaspora: Japanese Brazilians and the Meanings of Ethnic Militancy, 1960–1980

Duke University Press
2007
256 pages
29 illus., 8 tables, 1 map
Paperback ISBN: 978-0-8223-4081-2 
Cloth ISBN: 978-0-8223-4060-7

Jeffrey Lesser, Samuel Candler Dobbs Professor of History
Emory University, Atlanta, Georgia

In A Discontented Diaspora, Jeffrey Lesser investigates broad questions of ethnicity, the nature of diasporic identity, and Brazilian culture. He does so by exploring particular experiences of young Japanese Brazilians who came of age in São Paulo during the 1960s and 1970s, an intensely authoritarian period of military rule. The most populous city in Brazil, São Paulo was also the world’s largest “Japanese” city outside of Japan by 1960. Believing that their own regional identity should be the national one, residents of São Paulo constantly discussed the relationship between Brazilianness and Japaneseness. As second-generation Nikkei (Brazilians of Japanese descent) moved from the agricultural countryside of their immigrant parents into various urban professions, they became the “best Brazilians” in terms of their ability to modernize the country and the “worst Brazilians” because they were believed to be the least likely to fulfill the cultural dream of whitening. Lesser analyzes how Nikkei both resisted and conformed to others’ perceptions of their identity as they struggled to define and claim their own ethnicity within São Paulo during the military dictatorship.

Lesser draws on a wide range of sources, including films, oral histories, wanted posters, advertisements, newspapers, photographs, police reports, government records, and diplomatic correspondence. He focuses on two particular cultural arenas—erotic cinema and political militancy—which highlight the ways that Japanese Brazilians imagined themselves to be Brazilian. As he explains, young Nikkei were sure that their participation in these two realms would be recognized for its Brazilianness. They were mistaken. Whether joining banned political movements, training as guerrilla fighters, or acting in erotic films, the subjects of A Discontented Diaspora militantly asserted their Brazilianness only to find that doing so reinforced their minority status.

Table of Contents

• Illustrations and Tables
• Preface and Acknowledgments
• Abbreviations
• Prologue: The Limits of Flexibility
• Introduction: The Pacific Rim in the Atlantic World
• 1. Brazil’s Japan: Film and the Space of Ethnicity, 1960-1970
• 2. Beautiful Bodies and (Dis)Appearing Identities: Contesting Images of Japanese-Brazilian Ethnicity, 1970-1980
• 3. Machine Guns and Honest Faces: Japanese-Brazilian Ethnicity and Armed Struggle, 1964-1980
• 4. Two Deaths Remembered
• 5. How Shizuo Osawa Became Mario the Jap
• Epilogue: Diaspora and Its Discontents
• Notes
• Glossary
• Bibliography
• Index

The Race of Birth: Systemic Racism Again?

Racism Review
2013-05-05

Sharon Chang, Guest blogger
Multiracial Asian Families

The other day I was reading and came across this:

Prior to 1989, the race on a newborn’s birth certificate was determined by the race of the parents. An infant with one White parent was assigned the race of the non-White parent. If neither parent was White, the child was assigned the race of the father. Since 1989, the race of the mother has been indicated as the child’s race on the birth certificate.[Note 1 below]

Of course being the mother of a multiracial Asian child, my curiosity was massively peaked. I didn’t remember identifying my son’s race/ethnicity after he was born. Did nurses mark it for us? What did they put considering both my husband and I are multiracial Asian too? I rushed to find my son’s birth certificate. No race listed. End of story? Of course not…

…Ultimately this all gets pretty sticky when we consider birth certificate data has played a long-standing role in public health planning, action and funding. Leaving me, as always, with more questions than answers. How does the inaccuracy of recording mixed race impact the lives and representation of multiracial people? And how do us parents experience this inaccuracy as we are asked again and again to identify our multiracial children?

Read the entire essay here.

FILM: Mixed-Race People Tell Their Stories in ‘Hafu’

The Rafu Shimpo: Los Angeles Japanese Daily News
2013-05-03

J.K. Yamamoto, Rafu Staff Writer

“Hafu,” a new documentary about mixed-race people in Japan, will be screened Wednesday, May 8, at 7:30 p.m. at the Japanese American National Museum, First and Central in Little Tokyo, as part of the 29th L.A. Asian Pacific Film Fest.

Directed by Lara Perez Takagi and Megumi Nishikura, the film had its Los Angeles premiere on April 5 at JANM during the Hapa Japan Conference. The Bay Area premiere was on April 7 at UC Berkeley.

The title, the Japanese pronunciation of “half,” is the most common term in Japan for people who are half Japanese. It is similar to the Hawaiian word “hapa,” which originally meant someone half Native Hawaiian and half Caucasian.

The film focuses on five stories that reflect the diversity of the Hafu experience:…

…At the L.A. premiere, Koji Sakai of JANM noted the connections between “Hafu” and the museum’s ongoing exhibition “Visible & Invisible: A Hapa Japanese American History”: “In a lot of ways the community, or people in general, think of Hapa as a new phenomenon, but in reality Hapas have been there from the very beginning in our community, and it’s time we acknowledge and support that.”

Duncan Ryuken Williams, co-director of the USC Center for Japanese Religions and Cultures, convener of Hapa Japan 2013, and co-curator of “Visible & Invisible,” had high praise for “Hafu”: “It’s a really thoughtful and inspirational film … The film directors did a great job of picking these five individuals. I think you’ll agree they represent the spectrum, the range of possible people in this Hafu experience … I’ve followed the making of this film and I know it’s a major labor of love for the two film directors. They put a lot into making this happen with the help of dozens of people who volunteered their time, most of whom were Hafu individuals.”…

Read the entire article here.

Chinese Cubans: A Transnational History

University of North Carolina Press
June 2013
352 pages
6.125 x 9.25
15 halftones, 3 maps, 7 tables, notes, bibl., index
Cloth ISBN: 978-1-4696-0712-2
Paper ISBN: 978-1-4696-0713-9

Kathleen López, Associate Professor of History and Latino and Hispanic Caribbean studies
Rutgers, The State University of New Jersey

In the mid-nineteenth century, Cuba’s infamous “coolie” trade brought well over 100,000 Chinese indentured laborers to its shores. Though subjected to abominable conditions, they were followed during subsequent decades by smaller numbers of merchants, craftsmen, and free migrants searching for better lives far from home. In a comprehensive, vibrant history that draws deeply on Chinese- and Spanish-language sources in both China and Cuba, Kathleen López explores the transition of the Chinese from indentured to free migrants, the formation of transnational communities, and the eventual incorporation of the Chinese into the Cuban citizenry during the first half of the twentieth century.

Chinese Cubans shows how Chinese migration, intermarriage, and assimilation are central to Cuban history and national identity during a key period of transition from slave to wage labor and from colony to nation. On a broader level, López draws out implications for issues of race, national identity, and transnational migration, especially along the Pacific rim.