Mixed Race Studies

The New Normal

The Rafu Shimpo: Los Angeles Japanese Daily News
2013-04-11

Mia Nakaji Monnier, Rafu Staff Writer

Hapa Japan Festival and JANM exhibit celebrate mixed Japanese and Japanese Americans

Outside the newest exhibit at the Japanese American National Museum hangs a banner. Up close, visitors can make out individual pictures—each about the size of a postage stamp. These are family photos: grinning kids in kimono, extended families three rows deep posing in the yard, teenagers gathered around Grandpa and his birthday cake. But take a few steps back, and the photos disappear like the strokes of an impressionist painting. Together, they add up, to make enka star Jero.

Why Jero?

Duncan Williams, one of the curators of the exhibit, “Visible & Invisible: A Hapa Japanese American History,” says Jero represents the future: not just the of Japanese America, but of America in general. Born Jerome White in Pittsburgh, Pa., Jero is mixed— three quarters African American, one quarter Japanese. Yet he’s become famous in Japan for singing traditional enka songs, which he grew up hearing from his Japanese grandmother.

Jero, to Williams, represents the complex identity of a growing group of Americans, whose looks and cultural identifications don’t fit into neat or expected categories. Up close, in those stamp-sized family photos, the kids in kimono have light skin, dark hair; black, white, Latino features. They don’t fit the typical image of Japan, or Japanese America, and yet, statistically, they’re fast becoming the new norm.

“The Japanese American community is now on the cusp of becoming majority multiracial,” said Williams, while leading a tour of the exhibit. By the 2020 Census, the majority of Japanese Americans will be mixed, or Hapa, making “Visible & Invisible” relevant—and, to many Japanese Americans of mixed race or ethnicity, a moving affirmation of their place in the community…

Read the entire article here.

Hafu: The Mixed-Race Experience in Japan

Los Angeles Asian Pacific Film Festival
29th Edition
2013-05-02 through 2013-05-12

2012
87 minutes
Directed by: Megumi Nishikura and Lara Perez Takagi
English, Japanese

Screening: Wednesday, 2013-05-08, 19:30 PDT (Local Time): National Center for the Preservation of Democracy

HAFU is more than a mere documentary about mixed race Japanese, or so called Hafu. The film seeks to break with the “one nation, one culture, one race” paradigm which has shaped much of contemporary Japan’s self-image, and makes a compelling argument for the hybrid reality of Japanese identity today. At the same time, Megumi Nishikura and Lara Perez Takagi, both Hafu themselves, render visible the hardship of those subjects who do not comfortably fit into common categories of belonging, and offer them a platform to be heard. What happens if my looks do not match my nationality, or if my language does not reflect my home country? Who defines the compatibility of subjects and their identities in the first place?

Most of the featured protagonists grew up in Japan, but cannot escape the role of the foreigner. As a Venezuelan citizen, Ed has to renew his visa every few years, despite being raised by his Japanese mother in Japan. Every time again, he is confronted with his identification as an outsider to Japanese society and the prospect of being expelled from the country he identifies both as home and hostile. Fusae is part of that same community of “foreigners within.” Part Korean and part Japanese, she appears with a strong sense of belonging at first, “I was born in Kobe, so this is where I want to work and pay taxes.” After a while, however, Fusae allows a deeper look into the traumatic experience of being mixed race in Japan and the tears she sheds reveal the inner turmoil that defines the lives of many other Hafus: of David, born to a Japanese father and Ghanaian mother, who surprised the other kids with the fact that his blood was not green, but red as theirs; of Sophia, who grew up in Australia ashamed of her bento box lunch and secretly wishing to be blond like her class mates. What all of the here depicted Hafus share, is the longing to belong. Not just to be acknowledged, as Ed puts it, but to be understood and accepted.

—Feng-Mei Heberer

For more information, click here.

Stepping toward multiculturalism

The Korea Herald
2013-04-03

Cho Chung-un

Experts call for a long-term vision of Korea as a multiethnic society, social agreement on overall immigration policy

Globalization, demographic change and economic growth have led Korea to embrace cultural diversity and tolerance toward others. But biases and discrimination against foreigners remain and Koreans’ pride for ethnic purity is deeply entrenched. This 10-part series will offer a glimpse into the nation’s efforts to promote multiculturalism and challenges in immigration law, education, welfare, public perception, mass culture and more. ― Ed.

Korea is one of a few countries that have long remained racially homogenous. But a growing number of immigrants since the late 1990s have prompted the nation to embrace multiculturalism as a key national policy and cultural movement.

It is no longer rare to see mixed-raced children mingling with Korean peers at schools and streets. More Koreans marry foreigners and immigrants are playing an increasingly big role in society. The nation now has its first foreign-born lawmaker representing ethnic minorities.

Despite diminishing prejudices and discrimination against the newcomers, Korea still has a long way to go with its immigration laws, education and welfare policies and people’s tolerance toward different cultures, experts say…

…It is somewhat surprising that the Korean government started to take the immigration issue seriously only in 2006. At that time, then-President Roh Moo-hyun was under pressure from the international community to address concerns about Korea neglecting human rights issues involving immigrants and foreign workers and brides. The fear of losing the productive population in the future due to a record-low birthrate was another reason. But it was the visit by American football star Hines Ward that dramatically turned Koreans toward a multicultural society.

Ward, born to a Korean mother, became a proud son of Korea and inspired many that people from a multicultural background could also become an important asset to the country.

But it took four years for the government to launch the first phase of the comprehensive multicultural project. The 2010 plan focused on supporting them financially and institutionally. Critics said that the initial plans led many Koreans to build a new type of prejudice against multicultural families…

Read the entire article here.

War Baby/Love Child: Mixed Race Asian American Art [Exhibition]

DePaul Art Museum
935 West Fullerton
Chicago, Illinois 60614
2013-04-25 through 2013-06-30

As an increasingly ethnically ambiguous Asian American generation is coming of age, War Baby/Love Child: Mixed Race Asian American Art looks at the construction of mixed-heritage Asian American identity in the United States. Working in traditional media as well as video, installation, and other approaches, artists explore a range of topics, including US wars in Asia, multiculturalism and identity politics, racialization, gender and sexual identity, citizenship and nationality, and trans-racial adoption.

The exhibition features works across diverse mediums by 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 Jin Kaisen, Lori Kay, Li-lan, Richard Lou, Samia Mirza, Chris Naka, Laurel Nakadate, Gina Osterloh, Adrienne Pao, Cristina Lei Rodriguez, Amanda Ross-Ho, Jenifer Wofford, and Debra Yepa-Pappan.

Major funding for this exhibition was awarded through The National Endowment for the Arts Art Works Museums grant to DePaul University.

For more information, click here.

Virgil Westdale: Farm Boy, Pilot, Soldier, Inventor, Author, and Gentleman

Japanese American National Museum
Stories
2010-09-09

Esther Newman

Virgil Westdale’s exceptional life story might never have been published had he not attended a Halloween dance. Unsure of what to wear, the World War II veteran donned his Army uniform of the 442nd Regimental Combat Team, nearly sixty years after issue and still a perfect fit. On the dance floor, he met Stephanie Gerdes, who remarked, “it’s not really a costume, is it?” After many more questions spanning two years, the two collaborated on Westdale’s autobiography, Blue Skies and Thunder: Farm Boy, Pilot, Inventor, TSA Officer, and WWII Soldier of the 442nd Regimental Combat Team. Westdale has earned accolades in every occupation listed in the book’s lengthy subtitle through determination, talent and a strong work ethic. But his career path took an unforeseen turn because of his heritage. Westdale (born Nishimura) is half Japanese.

Virgil Westdale was born in 1918 on a farm in Indiana, the fourth of five children in the Nishimura family. Virgil’s father emigrated from Japan as a 16 year-old orphan, arriving first in Hawaii, moving on to San Francisco in 1906 and then to Denver, where he met and married his American wife of English and German heritage. After the birth of their first daughter, the family moved in with Virgil’s maternal grandparents in Toledo, Ohio and then to their grandmother’s 40-acre farm in Indiana. A good harvest of peppermint brought in enough income for the Nishimura’s down payment on a farm of their own in Michigan when Virgil was nine years old. It wasn’t an easy life and the family did without running water and electricity until long after the children were grown…

Read the entire article here.

Blue Skies and Thunder: Farm Boy, Pilot, Inventor, TSA Officer, and WW II Soldier of the 442nd Regimental Combat Team

iUniverse
2009-12-21
296 pages
E-Book ISBN: 978-1-44018-258-7

Virgil W. Westdale with Stephanie A. Gerdes

In 1942, Virgil Westdale was a successful young flight instructor when the government ousted him from the Air Corps and demoted him to army private. Having grown up as a Japanese American midwestern farm boy, Westdale had his first taste of Japanese culture when he was sent to train with the all Japanese American unit, the 442nd Regimental Combat Team. He was ultimately transferred to the 522nd Artillery Battalion, where, as a member of the Fire Direction Center, he helped push the Germans out of Italy, rescue the “Lost Battalion” in France, and free prisoners from Dachau Concentration Camp in Germany.

After the war, Westdale went on to pursue a career in research and development with large corporations. He received twenty-five U.S. patents and earned an international award for his work with photocopier components. In retirement, he has been working for the TSA, returning to the worlds of aviation and national security.

Written for the lay reader as well as the history buff, Westdale’s stories of World War II challenge preconceived notions of what we think we know about a soldier’s life in Europe and offer images that go beyond the history books.

Playwright, producer, actress and educator Fanshen Cox DiGiovanni and author Virgil W. Westdale at the 2013 Hapa Japan Conference in Los Angeles, California (April 2013). ©2013, Diego DiGiovanni

The son of a Caucasian mother and Japanese father, Virgil W. Westdale was born in 1918 and grew up on a midwestern farm. After the war, he obtained two university degrees and received twenty-five patents for his work as a scientist in research and development. He lives in Grand Rapids, Michigan and enjoys tap and ballroom dancing. Stephanie A. Gerdes teaches third grade in Grand Rapids, Michigan. She received her bachelor’s degree from Wheaton College in Wheaton, Illinois and her master’s degree in reading and language arts. She is active in her church, teaches piano, and enjoys history, reading, cultural events, and ballroom dancing.

Nihon NY – Episode 30 – JERO

Japan Society NYC
2012-06-18

Pittsburgh-native, Tokyo-based enka superstar JERO made his New York debut at Japan Society earlier this month. With his smooth voice and hip-hop stylings, JERO has breathed new life into this sentimental Japanese music genre often associated with themes of one’s hometown, lost loves and sake. Often referred to as the Japanese blues or Japanese country music, enka’s melodies and required vocal techniques make it a quintessentially Japanese musical style. Since releasing his debut single Umiyuki (Ocean Snow) in 2008, JERO has received the Japan Record Awards Best New Artist award and has appeared on Japan’s most prestigious New Year’s music spectacular Kohaku Uta Gassen. In this intimate evening, JERO will talk with the incomparable Japan expert and Japan Society’s former Executive Vice President John Wheeler, about his relationship with the Japanese world of enka and serenade audiences with his own original songs as well as enka classics including those of Misora Hibari (美空 ひばり) and Itsuki Hiroshi (五木ひろし) among others.

On this episode of Nihon NY, we feature snippets of his performance at our venue, as well as an interview about his origins and his career as an enka singer.

The song names in order of appearance:
1. Umiyuki　（海雪）
2. Harebutai　（晴れ舞台）
3. Yuki Guni　（雪国）
4. Tsugaru Heiya　（津軽平野）
5. Suki Yaki （上を向いて歩こう）

Interview begins at 00:11:29.

MIT Scholar Vivek Bald uncovers forgotten history of South Asian immigrants’ New York City arrival

New York Daily News
2013-01-17

Erica Pearson

New book chronicles little-known story of Muslims from what’s now Pakistan and Bangladesh, who built a multiracial community in Harlem decades before they were legally allowed to immigrate to the U.S.

Virtually all Asian immigration to the U.S. was banned when Aladdin Ullah’s father — who left East Bengal to work on a British steamer — jumped ship in the 1920s and settled in New York.

Like hundreds of other Muslim sailors at the time, he found a home in Harlem — marrying a Puerto Rican woman and opening one of the city’s first Indian restaurants. He stayed there until his death in 1983.

“I see, now that I’m older, he kind of romanticized what Harlem was to him,” said Ullah, 44, a comedian and playwright who grew up in the George Washington Carver Houses.

“I think my father looked at Harlem as where, ‘Here is where people greet you, These people embraced me for what I am.’ ”

Massachusetts Institute of Technology professor and filmmaker Vivek Bald, is the author of “Bengali Harlem and the Lost Histories of South Asian America,” published this month by Harvard University Press.

Bald believes Ullah’s family is the last in East Harlem with a direct connection to a little-documented community that thrived decades before the first large waves of South Asian immigration to the U.S…

… In many ways, the histories of these early immigrants became lost because they were forced into the shadows, Bald said. Race-based immigration laws — starting with the Chinese Exclusion Act of 1882 and extending until the quota system was overhauled in 1965 — made their presence illegal.

“If you were an Asian person, with very few exceptions you were legally barred from entering the U.S. like other immigrants,” said Bald. “You were not deemed fit to become a citizen, and in many states you could not legally own property.”

But in Harlem, Bengali immigrants married into African-American and Puerto Rican families and found jobs as doormen or dishwashers. In the 1940s, Bengali vendors sold hotdogs from carts along Madison, Lexington and Third Aves…

Read the entire article here.

Bengali Harlem and the Lost Histories of South Asian America [Event]

Schomburg Center for Research in Black Culture
Langston Hughes Auditorium
515 Malcolm X Boulevard
New York, New York 10037-1801
2013-04-06, 17:30-20:30 EDT (Local Time)

A book event with theater, film, and community forum presented by afro-latin@ forum, Asian American Writer’s Workshop and the Schomburg Center for Research in Black Culture.

Join us for a celebration of the publication of Bengali Harlem and the Lost Histories of South Asian America (Harvard University Press) by scholar and documentary filmmaker Vivek Bald. This special event will explore the little-known stories of Muslim men from the Indian subcontinent who settled in Harlem in the 1920s-50s, married Puerto Rican, African American, and West Indian women, and became a small but significant part of the neighborhood, selling hotdogs from pushcarts, opening the neighborhood’s first Indian restaurants, and interacting with Harlem’s other Muslim communities. 

Bald will read from his book, which traces out these and other early histories of Indian Muslim men who settled in places like Tremé in New Orleans and Black Bottom in Detroit. East Harlem actor/playwright Alaudin Ullah will perform an excerpt from his one-man show “Dishwasher Dreams,” which focuses on the story of his father Habib, who was one of the first Bengali men to settle in Harlem. The event will also include an excerpt from “In Search of Bengali Harlem,” the documentary film on which Bald and Ullah are collaborating, followed by a panel discussion and community forum with children and descendants of some of the Bengali men who settled in Harlem in the mid-twentieth century. Plus a special guest DJ set by Himanshu Suri, aka Heems, formerly of the rap group Das Racist.

For more information, click here.

Are Hapa White Asian Americans?

Stephen Murphy-Shigematsu
2012-02-01

Stephen Murphy-Shigematsu
Stanford University

Some people seem to think hapa means white Asian American, even though it originally refers to Hawaiian mixtures and is not confined to hapa haole. I never had that impression myself, as one of my first hapa friends was Margo Okazawa-Rey and she called herself, Afro Asian or black Japanese. One of my earliest colleagues was Velina Hasu Houston, who more than anyone publicly acknowledged the blackness while asserting her Japanese identity.
 
But the reality is that black Asians may still feel like they do not fully belong in hapa circles. In her blog, Grits and Sushi (gritsandsushi.com), Mitzi Uehara Carter writes of how she would meet other black Asians at the gatherings of hapa organizations and “we almost always whispered that we weren’t feelin’ the hapaness.” Not that she wasn’t feeling the “commonalities between us all–but the vast majority of the folks were Asian and white American. When I met with the other black Asians in the group, that’s when I felt a real connection emerge.”…

Read the entire article here.