Mixed Race Studies

Theatre Review: ‘An Octoroon’ at Woolly Mammoth Theatre Company

Maryland Theatre Guide
2016-06-05

Jennifer Minich

We need to talk about An Octoroon: a razor-sharp, thought-provoking, radical, comical blast from the past. Playwright and DC native (bonus points) Branden Jacobs-Jenkins returns to Woolly Mammoth for the DC premiere of An Octoroon, an adaption of the 1859 melodrama, The Octoroon, by Anglo-Irish playwright Dion Boucicault.

The Octoroon is set at Terrebonne, a Louisiana plantation on the brink of financial ruin. When the new owner, George Peyton (Jon Hudson Odom), takes ownership of Terrebonne, he falls in love with his uncle’s illegitimate, one-eighth black daughter, Zoe (Kathryn Tkel). When the flailing plantation goes up for auction, and Zoe along with it, violence and chaos ensue…

Read the entire review here.

Pat Cleveland: Early Supermodel and Author With Many Tales

The New York Times
2016-06-15

Guy Trebay, Chief Menswear Critic

The fashion model Pat Cleveland in her home studio in New Jersey. Credit Chad Batka for The New York Times

WILLINGBORO, N.J. — The peacocks were rooting around in the bushes, strutting and pecking and ruffling their trains. Occasionally, one — Boy or Big Boy, say, or Snow White — struck a pose, tipping its beak up to emit a banshee shriek.

“They’re just a bunch of drama queens, honey,” said Pat Cleveland, as she sat in the backyard of her house in a rural part of New Jersey, sipping on a sinister-looking juice drink the color and texture of algae. Drama queens, as it happens, is a topic on which Ms. Cleveland has some stories to tell.

This she does in “Walking with the Muses,” a picaresque new memoir about a tall, skinny mixed-race girl (“not black enough to be black or white enough to be white”) hailing from a section of East Harlem that she terms the Golden Edge.

In her 1950s childhood, Ms. Cleveland writes, that neighborhood was still representative of a now largely bygone city, a place where “the Jews, the blacks, the Irish and the Puerto Ricans all had a corner of their own.”…

…American fashion, in particular, during the era when Ms. Cleveland first appeared, was also more porous and racially diverse than it would be in the subsequent decades. Success in the business was measured in those days not by social media metrics but by an ability to bewitch the cognoscenti, to make yours a name they whispered about.

And seemingly Ms. Cleveland has been an object of fascination for those around her almost from the time she was born 65 years ago to a white Swedish saxophonist and an African-American artist from the South. Soon after, Ms. Cleveland’s father, Johnny Johnston, returned to Sweden, leaving her mother, Lady Bird Cleveland, to raise her freckle-faced young daughter alone.

“If you’re a single black woman and have a Swedish lover, life is never going to be easy, and Lady Bird didn’t have the opportunities in life,” Ms. Cleveland said. “But her lesson to me was always, whatever your circumstances are, it’s up to you to create your own world.”…

…At the height of her powers, that same skinny girl from Harlem was transformed into a star on the evening of Nov. 28, 1973, when she — one of 30 black models chosen to participate in a benefit runway show held at the Palace of Versailles outside Paris — took to the stage in front of 800 guests, many of them prominent or titled, and, spinning and twirling, left little doubt in the minds of observers that the immediate future of fashion belonged not to the Old World but to the New…

Read the entire article here.

Editorial Observer; Back When Skin Color Was Destiny — Unless You Passed for White

The New York Times
2003-09-07

Brent Staples

The New Yorker was trying not to speak ill of the dead when it described Anatole Broyard as the ”famously prickly critic for the Times, a man who demanded so much from books that it seemed he could never be satisfied.” From his early reviews for The Times in the 1960’s up to his death in 1990, Mr. Broyard was often gratuitously cruel and clever at the author’s expense.

The novelist Philip Roth was one of the favored few. Mr. Broyard praised him in the column ”About Books” and seemed to see his life through Mr. Roth’s work. When Mr. Broyard was diagnosed with cancer, for example, he compared his symptoms to those of Portnoy, Mr. Roth’s fictional alter ego in ”Portnoy’s Complaint.”

The comparison made perfect sense. Mr. Roth’s great theme was his own struggle to preserve selfhood against the smothering pressures of ethnic identity. That, in a nutshell, was Mr. Broyard’s life. He was a light-skinned black man born in New Orleans in 1920 into a family whose members sometimes passed as white to work at jobs from which black people were barred. The largest private employer of black labor at the time was the Pullman Company, which sought college-educated black men to work essentially as servants on train cars that accommodated white travelers only…

Read the entire article here.

Racial identity: Henry Louis Gates Jr. and Anatole Broyard

The Globe and Mail
1999-11-23

Robert Fulford

For many years, Anatole Broyard of The New York Times was a dashing figure in literary New York, a critic of exceptional charm and wit. He was said to be one of those people who talk spontaneously in well-shaped and often funny sentences. After his death in 1990, at the age of 70, a friend remarked in an obituary, “When Anatole entered, the room would light up.”

His essays were full of engaging ideas, but it turned out that his life was even more interesting. He had a secret that even his wife wasn’t allowed to mention. As they used to say, he was “passing.”…

Read the entire article here.

Words of Obama’s Father Still Waiting to Be Read by His Son

The New York Times
2016-06-18

Rachel L. Swarns

Family portraits, including one of President Barack Obama’s father, center, hang in his family’s house in Kogelo, western Kenya, in 2008. Credit Peter Macdiarmid/Getty Images

Letters written long ago by Barack Obama Sr. shed new light on a young Kenyan whose ambitions helped change the course of U.S. history. But for the president, they may also revive old pain.

The archivist stumbled across the file in a stack of boxes on the second floor of the Schomburg Center for Research in Black Culture in Harlem. The yellowing letters inside dated back more than half a century, chronicling the dreams and struggles of a young man in Kenya.

He was ambitious and impetuous, a 22-year-old clerk who could type 75 words a minute and translate English into Swahili. But he had no money for college. So he pounded away on a typewriter in Nairobi, pleading for financial aid from universities and foundations across the Atlantic.

His letters would help change the course of American history.

“It has been my long cherished ambition to further my studies in America,” he wrote in 1958. His name was Barack Hussein Obama, and his dispatches helped unleash a stream of scholarship money that carried him from Kenya to the United States. There, he fathered the child who would become the nation’s first black president, only to vanish from his son’s life a few years after his birth…

Read the entire article here.

9 Famous Faces On The Struggles And Beauty Of Being Afro-Latino

The Huffington Post
2016-02-18

Carolina Moreno, Editor

Afro-Latinos face many challenges when it comes to identity, particularly when people refuse to believe that being Black and Latino aren’t mutually exclusive experiences.

The Latino identity denotes an ethnicity, which means that Latinos exist in every color and race imaginable — and explaining the difference between race and ethnicity can be quite a cumbersome task to take on on a daily basis. And yet, many Afro-Latinos are often forced to do so after being told they’re not “Latino enough” or being asked to choose between being Black and Latino.

While many Latino actors have been brutally honest about the limitations that come with working in a predominately white industry, Afro-Latino celebrities often face even tougher challenges in Hollywood and beyond.

Take a look at what Laz Alonso (“The Mysteries of Laura”), Tatyana Ali (“Fresh Prince of Bel-Air”) and more famous Afro-Latinos have said about being Black and Latino…

Read the entire article here.

The Great New Orleans Kidnapping Case

Tripod: New Orleans At 300
89.9 FM WWNO
New Orleans, Louisiana
2016-06-16

Laine Kaplan-Levenson, Producer

The Provost Guard in New Orleans taking up Vagrant Negroes. (1974.25.9.190) THE HISTORIC NEW ORLEANS COLLECTION

It was June. It was hot. Kids were out of school, keeping busy outdoors. Parents were inside. Kind of like how it is now, except it was 146 years ago.

“It is a world turned upside down,” says Michael Ross, historian and author of ‘The Great New Orleans Kidnapping Case: Race, Law, and Justice in the Reconstruction Era.’ He’s talking about the year 1870, at the height of reconstruction. “You have five cities in the South that have integrated their police forces, at a time when not a single police force in the North had integrated.

It’s true. The NOPD first hired black officers in the 1860s. New York City didn’t have an African American in their ranks until 1911. This is one of the many things that makes New Orleans a stage for social change in the U.S. after the Civil War. One crime in particular brought these changes into focus.

Molly Digby is 17 months old and playing outside with her older brother. Two women of color walk up to the kids and start talking to them, until they’re all interrupted by a loud noise down the street. The women tell the boy he can go see what all the excitement is about, and they’ll watch the baby. He runs off, and when he comes back, the women, and baby Molly, are gone.

“A white baby is abducted by two mixed race women called Mulattos at the time,” Ross explains. “That story would have been just one of many terrible stories of that day that would have been buried in the third page of the newspaper. But a number of factors lead to it getting front page attention.”…

Read the story here. Listen to the episode here.

Star Trek’s Zoe Saldana Drops the Mic

Allure
June 2016

Sarah Van Boven

She doesn’t shy away from confronting sexism. She doesn’t shy away from facing issues of race in Hollywood. In fact, Zoe Saldana doesn’t shy away. Full stop.

Zoe Saldana is talking shit. No, for real: “Everybody told me, ‘Oh, don’t worry, I know you hate changing diapers, but when you have your own kid…. Well, guess what? I had my own kids, and I will do whatever I need to do to not change a dirty diaper,” the 38-year-old star of this month’s Star Trek Beyond says of her now-19-month-old identical twin boys, Cy and Bowie. “A blowout? I can’t do it—I end up with shit everywhere! There is shit on the boy; there is shit on me; there is shit in my hair. And I’m like, How did this happen?”

How did this happen? How did the little girl from Queens who got shipped off to the Dominican Republic at nine years old when her father died suddenly and her mother needed to focus like a laser on supporting her family end up here, dropping an ice cube into the glass of pink champagne she’s having to celebrate wrapping up a photo shoot with Patrick Demarchelier? Well, first of all, you get the feeling that things don’t “happen” to Zoe Saldana. She wills them into existence with the same titanium-core determination that propelled her from her breakout role as a mouthy ballet student in the 2000 movie Center Stage straight through to her impressive current position of starring in not one, not two, but three blockbuster movie franchises that have already grossed a cumulative $4.4 billion worldwide (and that’s before the filming of Guardians of the Galaxy Vol. 2 has even wrapped or Avatar 2, 3, 4, or 5 has come to an IMAX anywhere near you). But enough about her hugely successful career. Saldana wants to get back to talking about her toddlers…

…Which brings us to a topic that has dogged Saldana for almost five years: her role as the iconic black singer in the recently released biopic Nina. From her initial casting in 2012 to the first trailer on YouTube to the quiet, no-fanfare release of the film in April, Saldana has been pilloried online for having the audacity to play the dark-skinned, highly political singer. And after Saldana tweeted a quote from Simone, the singer’s estate tweeted, “Cool story but please take Nina’s name out of your mouth. For the rest of your life.” Saldana faces these criticisms, like everything else in her life, head-on.

“There’s no one way to be black,” she says quietly and slowly, clearly choosing her words carefully. “I’m black the way I know how to be. You have no idea who I am. I am black. I’m raising black men. Don’t you ever think you can look at me and address me with such disdain.”…

Read the entire article here.

Becoming American in Creole New Orleans: family, community, labor and schooling, 1896-1949

University of Sussex
May 2015
371 pages

Darryl G. Barthé, Jr.

Doctorate of Philosophy in History

The Louisiana Creole community in New Orleans went through profound changes in the first half of the 20th-century. This work examines Creole ethnic identity, focusing particularly on the transition from Creole to American. In “becoming American,” Creoles adapted to a binary, racialized caste system prevalent in the Jim Crow American South (and transformed from a primarily Francophone/Creolophone community (where a tripartite although permissive caste system long existed) to a primarily Anglophone community (marked by stricter black-white binaries). These adaptations and transformations were facilitated through Creole participation in fraternal societies, the organized labor movement and public and parochial schools that provided English-only instruction. The “Americanization of Creole New Orleans” has been a common theme in Creole studies since the early 1990’s, but no prior study has seriously examined the cultural and social transformation of Creole New Orleans by addressing the place and role of public and private institutions as instruments and facilitators of Americanization. By understanding the transformation of Creole New Orleans, this thesis demonstrates how an historically mixed-race community was ultimately divided by the segregationist culture of the early-twentieth century U.S. South.

In addition to an extensive body of secondary research, this work draws upon archival research at the University of New Orleans’ Special Collections, Tulane University Special Collections, the Amistad Research Center, The Archdiocese of New Orleans, and Xavier University Special Collections. This thesis makes considerable use of census data, draws upon press reports, and brings to bear a wide assortment of oral histories conducted by the author and others.

Most scholars have viewed New Orleans Creoles simply as Francophone African Americans, but this view is limited. This doctoral thesis engages the Creole community in New Orleans on its own terms, and in its own idioms, to understand what “becoming American” meant for New Orleans Creoles between 1896-1949.

Read the entire dissertation here.

The Strange Career of William Ellis: The Texas Slave Who Became a Mexican Millionaire

W. W. Norton & Company
2016-06-14
368 pages
6.1 × 9.3 in
Hardcover ISBN: 978-0-393-23925-6

Karl Jacoby, Professor of History
Columbia University, New York, New York

• Winner of the 2017 Phillis Wheatley Award for nonfiction from the Harlem Book Fair

A prize-winning historian tells a new story of the black experience in America through the life of a mysterious entrepreneur.

A black child born in the twilight of slavery, William Henry Ellis inhabited a world of fraught, ambiguous racial categories on the anarchic border between the United States and Mexico. He adopted the name Guillermo Enrique Eliseo and passed as a Mexican: traveling as Hispanic in first-class train berths, staying in the finest hotels, and eating in leading restaurants. A shrewd businessman, he became fabulously wealthy and found himself involved in scandalous trials, unexpected disappearances, and diplomatic controversies. Constantly switching identities, Eliseo was a genius at identifying and exploiting the porousness of the color line and the border line.

Through Ellis’s picaresque biography, Karl Jacoby presents an intriguing narrative set in a secret and ever-changing world. The Strange Career of William Ellis reinterprets the borderlands, showing how U.S. and Mexican histories intertwined during Reconstruction, and he offers new insight into the arbitrary and evolving definitions of race in America.

Visit the website here.