Mixed Race Studies

Dorothy Roberts: Bringing Different Perspectives into Class

University of Pennsylvania
Multimedia
2015-02-12

When Dorothy Roberts was 3 months old, she moved with her parents from Chicago to Liberia, where her mother, Iris, had worked as a young woman after leaving Jamaica.

It was the first of Dorothy’s many trips abroad, and one during which her father, Robert, took a bunch of photographs and filmed home movies with his 16-millimeter camera. The Roberts family moved back to Chicago when Dorothy was 2, and she can recall weekly screenings of the 16-milimeter reels from Liberia in the living room.

“I had a very strong interest in learning about other parts of the world from when I was very little,” says Roberts, the 14th Penn Integrates Knowledge Professor. “My whole childhood revolved around learning about other parts of the world and engaging with people from around the world.”…

Read the entire spotlight here.

Mixed Race 3.0: Risk and Reward in the Digital Age

USC Annenberg Press
2015-01-30
113 pages
ISBN: 9781625175564

Edited by:

Ulli K. Ryder
Department of Gender and Women’s Studies
University of Rhode Island

Marcia Alesan Dawkins, Clinical Assistant Professor
Annenberg School for Communication and Jounalism
University of Southern California, Los Angeles, California

Have you been asked, “what nationality are you” or “what country are you from”?
Have you been puzzled when forms tell you to “select only one ethnicity”?
Have you been disturbed to hear that you’re the “face of a colorblind future”?

If you answered ‘yes’ to any of these questions, this book is for you.

Mixed Race 3.0: Risk and Reward in the Digital Age is an e-book that contains 17 contributions (many with exclusive photos) from award-winning writers, researchers and artists who embody a “mixed mindset.” Audacious and razor-sharp, Mixed Race 3.0 exposes the many monochromatic portrayals of multiracial people’s richness, variety and struggles in history, politics, mass-media and technology. Fans of Loving Day, Race Remixed, Mixed Chicks Chat, The Mixed Experience Podcast, Mixed Girl Problems and Critical Mixed Race Studies will be captivated, incensed and inspired by the powerful discussions of risks and rewards of being multiracial today.

Beyond memoir or case study, this book offers three versions of what it means to be mixed from a variety of voices. Version 1 is “Mixed Race 1.0: A Monologue.” Or, how did multiracial identities emerge in the U.S. and what challenges did they face? Version 2 is “Mixed Race 2.0: A Dialogue.” Or, what are some core differences between how multiracials think and talk about themselves and how U.S. and global cultures think and talk about them? Version 3 is “Mixed Race 3.0: A Megalogue.” Or, where in the world is this entire thing going as technology plays more of a role?

With honest storytelling and up-to-date critical inquiry, Mixed Race 3.0 plots a path not just to being mixed in the 21st century, but one open to anyone interested in simply “how to be.” The result is a poignant, intelligent, and daring journey that dissects the controversial label—multiracial—and challenges any politician, pundit or provocateur that purports to speak for or about all multiracial people.

Table of Contents

• Foreword
  • Herman S. Gray
• Introduction
• Section 1 Mixed Race 1.0: A Monologue
  • Gary B. Nash
  • Peggy Pascoe
  • Jordan Clarke
• Section 2 Mixed Race 2.0: A Dialouge
  • Ken Tanabe
  • Lori L. Tharps
  • Andrew K. Jolivette
  • Ulli K. Ryder
  • Marcia Alesan Dawkins
  • Stephanie Sparling
• Section 3 Mixed Race 3.0: A Megalogue
  • Rainier Spencer
  • Velina Hasu Houston
  • Lindsay A. Dawkins
  • Amanda Mardon
  • Shoshana Sarah
  • Mary Beltrán
  • Lisa Rueckert
• The Authors and Artists

Biracial males wanted to take part in research project

Centre for Ethnicity and Racism Studies
University of Leeds, Leeds, United Kingdom
2014-12-21

Remi Joseph-Salisbury, Doctoral Researcher
R.Salisbury@leeds.ac.uk

• Are you a biracial male of black and white parentage?
• Are you aged between 16 and 21 and went to school in the U.S.?
• Would you like to take part in a discussion group or one-to-one interview considering the educational experiences of black/white biracial males?

Interviews can be conducted in person (I will be situated in Pennsylvania), using Skype, E-mail or an Instant Messaging program.

Participants will be offered a $15 gift voucher as a thank you for their participation.

To take part or for an informal chat about the project, please contact me, Remi Joseph-Salisbury, by e-mail. I look forward in hearing from you.

The Lazy Storytelling of ‘Black or White’: Love and Justice Are Not Colorblind

Christ and Pop Culture (CAPC)
2015-02-11

D. L. Mayfield

I was at a writing retreat once where a bunch of us gathered together to talk about how to write well about social justice issues in our world. A young singer-songwriter with a folksy vibe came and played a set for us. He introduced a song as inspired by how sad he was at the racial divide of the city, and how it seemed that white folks and blacks folks didn’t get along. He launched into a song, the chorus going something like this: we used to sing so beautifully together/perhaps one day we’ll sing together again.

After he was done singing, one of my fellow writers—the only black man in our cohort, who also happened to live in North Carolina—asked the singer-songwriter to elaborate on the interactions that inspired the song. The singer stumbled over his words and told a few stories of interacting with African-American folks who to his perception seemed less-than-friendly to white folks. We all sat quietly as he shared his perspective, and later debriefed about that particular song. Why did it make us all feel so uncomfortable? Jonathan Wilson-Hartgrove, the leader of our group (a man who has been involved in racial reconciliation work for decades now) leaned forward and in his southern drawl poignantly identified the trouble. What I want to know is this: and just when, exactly, did we ever all sing together?…

…The recent release starring Kevin Costner, Black or White, is uncomfortable in the exact same way. Ostensibly this is a movie which dares to look at race issues: Costner is a white grandfather parenting his bi-racial granddaughter who becomes entangled in a custody battle by the black father and his extended family. By turns a tragedy, a comedy, a courtroom drama, with a dash of heart-warming family film. Costner plays Elliot Anderson, a wealthy alcoholic lawyer reeling from the sudden death of his wife. Octavia Spencer plays Rowena, the paternal grandmother of Eloise, the girl in Elliot’s sole care. Rowena (Grandma “Wee Wee”) and the extended family she takes care of live in Compton; Elliot lives somewhere else—a better part of LA, we shall say. Rowena and the family want to see more of Eloise but Elliot resists. In exasperation, they retain Rowena’s younger brother, a lawyer, to sue Elliot for full custody of the child. Reggie, the birth dad, shows up halfway through the movie, adding emotional intrigue. The audience is left wondering at the motivations of Reggie, who is introduced as a crack-addict and absentee father (“you’re a stereotype, Reggie—you ruin it for all of us”—his uncle tells him).

The themes explored are certainly worthy of a full-length movie. Eloise and her biracial identity, the way economics affects both parenting and legal procedures, the stereotypes we put onto one another, how certain addictions are more culturally acceptable—these are all fascinating and could prove to be invaluable insights into the pulse of a nation that is currently struggling with racial injustice and unrest. But Black or White addresses all of these issues in both a superficial and strangely maudlin way—so much emotion, but so little truth behind it…

Read the entire article here.

What Are Words Worth: Hapa, Hafu or Mixed-Race?

Pacific Citizen: The National Newspaper of the JACL
Los Angeles, California
2015-01-27

Gil Asakawa

I’ve just finished writing revisions for a new edition of my book, “Being Japanese American: A JA Sourcebook for Nikkei, Hapa … & Their Friends,” which will be published this July by Stone Bridge Press. I mention this not just to pimp the book to you all, but because I wrote in the new foreword how I have decided not to use the word “hapa,” at least for now.

Instead, I wrote that I’ll use “mixed race” instead.

Hapa is a word originally used in Hawaii to describe mixed-race people, like half-Asian, half-Hawaiian. The term was used as a slur, but over the years, it’s become commonly used even by mixed-race people. In fact, I’ve heard mixed-race people other than Asian combinations refer to themselves as hapa.

But in 2008, when I moderated a panel in Denver titled “The Bonds of Community: Hapa Identity in a Changing U.S.” for a conference sponsored by the Japanese American National Museum, a man stood up during the question-and-answer period and said he thought it was a racist term. At the time, I pushed back gently and noted that it’s already a pretty common term.

The interchange with this man has stayed with me ever since…

Read the entire article here.

Identity as Skin Color: Performing a “White” Identity in Caucasia

Scholars: Journal of Undergraduate Research
Issue 16 – Winter 2011
McKendree University Online Journal of Undergraduate Research
Lebanon, Illinois

Anastasia Bierman

‘My body would fill in the blanks, tell me who I should become, and I would let it speak for me,’ says Birdie Lee, the lost and searching multiracial protagonist of Danzy Senna’s novel Caucasia (Senna 1). The ‘blanks’ are her identity, agency, and individuality. Satirically, Birdie acknowledges the impossibility of a body speaking for a person, but she also points out that with race, a person’s body does speak for him/her. Danzy Senna, in writing Caucasia, exposes identity and the race one affiliates with as a facade someone can assume rather than a concrete, unchangeable sense of self. As Birdie shows throughout the novel, identity is perception as she takes on the identity of Jesse Goldman, a young Jewish girl, in a small, racist New Hampshire town while she is really a young half-black, half-white girl who grew up in Boston during the racial upheaval of the 1970s. The novel follows Birdie from ages 8 to 14, from Boston to New Hampshire back to Boston again. Birdie’s parents, Deck and Sandy Lee, strive to create a family blind to the racial stratification surrounding them. Living blind to race eventually destroys the family and forces them to play the racial game, causing the family to split up and separating the sisters, Cole, Birdie’s darker and older sister, and Birdie. In this separation, they revert to the roles they are most able to fit, not the ones in which they most identify. For Sandy and Birdie, it is White, and for Deck and Cole, it is Black. Birdie loses her true sense of identity by passing and performing as opposed to possessing it. She feels fragmented and disembodied, looks to other people for her own sense of self, developing a double consciousness.

Race is like a crayon box configuration; it attempts to assign a distinct name to a color that could have various hues. A ‘black’ person is anyone with a brown tint to their skin while a ‘white’ person is more or less a peach colored person. As it relates to a person, the colors ‘black’ and ‘white’ are not exactly what they seem to be. Anyone with lighter complexion can be categorized as white even though the person’s ethnicity can be anything from Italian to Asian-American. Critics Joan Ferrante and Prince Browne Jr. agree with this by pointing out, ‘Whether people fit into a racial category or not, the categories remain central to how people think about their own identity and the racial identity of others’ (Ferrante 113). The key is the physical appearance and the perception of that physical appearance to others. Performing identity, however, is only essential because of the many problems race creates for Birdie Lee and her family. Race, in Caucasia, permeates everything around the Lee family, even the construction of the family. The effect, psychologically and socially, is the breakdown of their family unit, loss of relationships, and obsessive focus on color…

Read the entire article here.

Part Asian-American, All Jewish?

Code Switch: Frontiers of Race, Culture and Ethnicity
National Public Radio
2015-02-10

Rachel Gross, Editor
Moment Magazine

I was five years old when my mother threatened to give me away to journalist Connie Chung.

Chung and her husband, Maury Povich, had just announced their intention to adopt a half-Chinese, half-Jewish child. At this, my mother, watching on TV in our living room, did a double take. She looked at the screen. Then she looked at me, her half-Chinese, half-Jewish, fully-misbehaving daughter. “How would you like to go live with that woman?” she said.

It was then that I had a startling realization: I was special. Not special in the way that everyone’s kids are special — I mean really special. I, with my chubby Chinese cheeks and frizzy Jewish hair, was a unique snowflake, shaped like the Star of David, dusted with matcha green tea powder.

“I’m special!” I announced. “Famous people want to adopt me!”

Mom rolled her eyes as if to say, oy vey.

Only later would I learn the truth: Not everyone was as thrilled about my heritage as I was. The problem was mainly on the Jewish side. As I grew up, announcing I was Jewish often felt “like trying to cross a border with borrowed credentials,” in Joan Didion’s words. “But you don’t look Jewish!” came the incredulous reply. Some even implied that the union that produced me was nothing less than a threat to the Jewish people — that I was what was wrong with Judaism today…

Read the entire article here.

Connecting the Dots in Suicide Prevention

Vassar Alumnae/i Quarterly
Poughkeepsie, New York
Spring/Summer 2014

Eric Marcus ’80

Rebecca Hyde ’92

According to the American Foundation for Suicide Prevention (AFSP), suicide is the 10th leading cause of death for Americans. Christine Yu Moutier ’90 wants to do something about that.

Last fall, following two decades of working as a professor of psychiatry and assistant dean for student affairs and medical education at the University of California San Diego School of Medicine, Moutier was named chief medical officer for AFSP, a national nonprofit organization dedicated to understanding and preventing suicide.

From its headquarters in New York City, she manages a wide range of the organization’s work, including research funding ($5 million for current research), grant selection, and the dissemination of findings. She also oversees programs for survivors of suicide loss and coordinates educational efforts focused primarily on suicide prevention…

…While dedicated to her work as an academic, Moutier has always carved out time for clinical work. She considers her work with San Diego’s Asian refugee population a particular privilege.

“As a mixed-race person growing up in a town that was mostly Slavic and working class, I was teased, so I have special empathy for people who look and feel different. Also, because of mental illness in my own extended family, I grew up seeing how Western medicine wasn’t always trusted,” she says…

Read the entire article here.

A History of Loss

The Chronicle Review
The Chronicle of Higher Education
2015-02-09

Allyson Hobbs, Assistant Professor of History
Stanford University

Alexander L. Manly could have been the first victim of the bloody race riot that exploded in Wilmington, N.C., in early November 1898. Manly, publisher of the Daily Record, North Carolina’s only African-American newspaper, was the target of the rioters after he wrote an inflammatory editorial about white supremacists’ charges that black men were assaulting white women. Manly fired back that the white women who claimed that black men had raped them had, in fact, engaged in consensual sex. His press was burned to the ground. He narrowly escaped to Philadelphia, but upon arrival, discovered that work was hard for a black man to find. Employers summarily rejected his applications for employment as a painter, insisting that no union would accept a black member.

“So I tried being white,” Manly later explained to the journalist Ray Stannard Baker, “that is, I did not reveal the fact that I had coloured blood, and I immediately got work in some of the best shops in Philadelphia. I joined the union and had no trouble at all.”

But Manly soon tired of the charade. Passing only during the work day—”9-to-5 passing,” it was called—meant that he had to leave his house early in the morning and could not return until after nightfall. He feared discovery. “The thing became unbearable,” he lamented. “I preferred to be a Negro and hold up my head rather than to be a sneak.” So he became a janitor and lived openly with his recognizably black wife and children.

Manly could have reaped all of the benefits that accrued to whiteness: economic opportunity and security, political agency, and countless social privileges. Indeed, by some accounts, his light skin had eased his escape from Wilmington, protected him from the racial violence that had engulfed the city, and very likely saved his life. But for Manly, those gains were far outweighed by all that there was to lose…

Read the entire article here.

Association for Critical Race Art History: Building a Multiracial American Past

CAA 103rd Annual Conference
College Art Association
New York, New York
2015-02-11 through 2015-02-14

Session Location/Time:
New York Hilton Midtown
2nd Floor, Sutton Parlor Center
1335 Avenue of the Americas
New York, New York 10019
2015-02-11, 12:30-14:00 EST (Local Time)

Charles Paxson, Learning is Wealth. Wilson, Charley, Rebecca, and Rosa. Slaves from New Orleans, 1864

Free and open to the public.

Chair:

Susanna Gold, Assistant Professor of Art History
Tyler School of Art, Temple University, Philadelphia, Pennsylvania; New York Public Library, Schomburg Center for Research in Black Culture

Panelists:

“The Drop Sinister: Harry Watrous’s Visualization of the ‘One Drop Rule’”
Mey-Yen Moriuchi, Assistant Professor of Art History
La Salle University, Philadelphia, Pennsylvania

“You Are What You Eat: Racial Transformation and Miscegenation in Nineteenth-Century Representations of Food”
Shana Klein
Department of Art History
University of New Mexico

“‘Half-Breed’: Picturing Native American Identity in the Early Nineteenth Century”
Elizabeth W. Hutchinson, Associate Professor of Art History
Barnard College, Columbia University

For more information, click here.