Mixed Race Studies

Living Color: Fathers Talk to Their Bi-Racial Sons

NBC News
2015-01-14

Photographs by André Chung

Teaching lessons they never had to learn, fathers speak to their bi-racial sons about identity, perception, and dealing with law enforcement.

Mark Johnson-Lewis, 48, and his son, Tyler Lewis, 22, of Columbia, MD (André Chung/NBC News)

…Mark: You’re black in this world, and it doesn’t matter what you think of who you are, you have to be conscious of how others are going to see you. And when you bump up against the law, it’s probably not going to be the best experience because of how others see you.

Tyler: I want to become a police officer and it’s kind of something that I struggle with being a black man. There needs to be a change in mindset of the way people view law enforcement. And there needs to be a change in the way law enforcement views the average American. You know, not as a black American, not as a white American, but as a person, as a human being…

Benjamin Jancewicz, 31, with his son, Arion, 6, of Baltimore, MD. (André Chung/NBC News)

Benjamin: Regardless of how light he is, he’s still going to be, you know, with a lot of other people doing a lot of other things. And he needs to be prepared. And that just really worries me because, you know, as much of a perspective as I do have coming from a– a [diverse] culture, I still know that my own skin tone allows me to get away with a lot of other stuff…

View the entire photo-essay here.

What If Everything You Know About Race Is Wrong?

Texas Public Radio
San Antonio, Texas
2015-01-15

Jack Morgan, Arts and Culture Reporter

Fanshen Cox DiGiovanni

A one-woman show is coming to the Tobin Center and it’s probably unlike anything you’ve ever seen. It’s called “One Drop of Love.” starring Fanshen Cox DiGiovanni, produced by Ben Affleck and Matt Damon.

“How did you get mixed up with Ben Affleck and Matt Damon?” I asked.

(Laughs) “I think I met Matt when I was about 12 and Ben when we started high school together,” DiGiovanni told me. “And we did theater—we had a very wonderful theater program at Cambridge Rindge and Latin High School. And these two guys are such wonderful human beings.”

A year ago, DiGiovanni first produced this one-woman show for a Master of Fine Arts degree thesis performance.

“Ben came and saw my thesis performance and just said afterwards ‘I think this is really great and important and I’d like to help you get it to a wider audience.’”

Matt Damon also saw it and agreed with his friend. Thus DiGiovanni’s tour was conceived. So exactly what is One Drop of Love? It’s talking about one of this country’s most difficult subjects: race.

“I never know what kinds of experiences the people in the audience have had with race and racism,” DiGiovanni explains.

The whole show revolves around this premise.

“I start off the show as the character from a 1790 census, on which there were only three racial categories.”

In her show, she goes around her audience, linking audience members to one of those racial categories.

Walking through an audience, she names them: “Okay, white…black…mulatto…Chinese? Yes, hello…quadroon…no, I see you! An Indian…”

It’s one part history, one part performance art.

“There are people who look at me and shake their head and say ‘no, that’s not what I am!’ Which is very much the point, because that’s how the census was counted until 1970. A census worker would just go around and guess the race of the person they were looking at.”

She says race, in a sense, isn’t even real…

Read the entire article here. Listen to the interview (00:03:34) here.

One Drop of Love

Tobin Center for the Performing Arts
Carlos Alvarez Studio Theater
100 Auditorium Circle
San Antonio, Texas 78205
2015-01-17, 14:00 CST and 20:00 CST (Local Time)

BMW OF SAN ANTONIO SIGNATURE SERIES
“Amazing performance, staging, autobiography and artistry, and an amazing meditation on race and examination of America.” – Ben Affleck, 2013 Academy Award for Best Picture: Argo

“One Drop of Love is beautiful and brave. Cox DiGiovanni’s honesty, insight, dedication, and love are an inspiration. She takes us into the intimate places where family, race, love, and pain intertwine. In this sometimes searing, sometimes funny, and always smart play she shows us both the terrible things we do to those we love and a way forward to a better future.” – Paul Spickard, professor of history at University of California, Santa Barbara

How does our belief in ‘race’ affect our most intimate relationships? One Drop of Love is a solo performance exploring family, race, love and pain – and a path towards reconciliation. The show is produced by Ben Affleck, Matt Damon and the show’s writer/performer Fanshen Cox DiGiovanni.

For more information, click here.

Hawaii As ‘Racial Paradise’? Bid For Obama Library Invokes A Complex Past

Code Switch: Frontiers of Race, Culture and Ethnicity
National Public Radio
2015-01-15

Ellen Wu, Associate Professor of History
Indiana University

Sometime in March, President Obama is expected to announce his choice of the institution that will hold his presidential archive. Vying for the honor (and the money that comes with it) are the University of Chicago, the University of Illinois at Chicago, Columbia University in New York, and the University of Hawai’i (the Hawaiian language spelling of the state’s name). So heated has the competition been that some have called it the “next big presidential race before the 2016 presidential race.”

The front-runner status of both Windy City schools is now in question. The University of Chicago may lack exclusive ownership rights to the proposed sites, while the University of Illinois anticipates future leadership changes.

Yet media reports still cast Hawaii as the underdog. Its fundraising capabilities are out-muscled by the others. Its location is too remote by mainland standards.

But don’t be surprised if Hawaii comes out on top, because the island has a compelling advantage: It’s the one place in the U.S. that has long been imagined as a “racial paradise.”

Liberal white missionaries and sociologists invented this fiction in the early 20th century to convince the nation that Hawaii’s significant Asian population was capable of assimilating harmoniously into American life. Asian laborers were the backbone of the islands’ industrial sugar plantation workforce. By 1945, Life pronounced Hawaii “the world’s most successful experiment in mixed breeding … unmatched … for interracial tolerance and affection.” Today, the “Aloha State” is widely celebrated as the most racially and ethnically diverse in the country, where hapas and multiracial families are the norm. The Root recently named Hawaii one of “The Five Best States for Black People.”…

Read the entire article here.

Plaçage and the Performance of Whiteness: The Trial of Eulalie Mandeville, Free Colored Woman, of Antebellum New Orleans

American Nineteenth Century History
Volume 15, Issue 2, 2014
pages 187-209
DOI: 10.1080/14664658.2014.959818

Carol Wilson, Arthur A. and Elizabeth R. Knapp Professor of American History
Washington College, Chestertown, Maryland

Depictions of plaçage, a type of concubinage found in pre-Civil War New Orleans, have tended toward the romantic. A group of scholars have shown recently that, contrary to popular perception, many plaçage unions were no different from common-law marriages. This article takes a case-study approach to examine one such relationship in detail – one that was the subject of a legal challenge involving the fortune of perhaps the wealthiest free black woman in Louisiana. I apply Ariela J. Gross’s theory of “performance of whiteness” to demonstrate why free woman of color Eulalie Mandeville won her case over her white partner’s numerous white relatives at a time when free blacks in Louisiana and the rest of the nation were losing rights.

Read or purchase the article here.

53 Historians Weigh In on Barack Obama’s Legacy

New York
2015-01-11

“It’s a fool’s errand you’re involved in,” warned Pulitzer Prize-winning historian Gordon Wood when approached recently by this magazine to predict Barack Obama’s historical legacy. “We live in a fog, and historians decades from now will tell their society what was happening in 2014. But we don’t know the future. No one in 1952, for example, could have predicted the reputation of Truman a half-century or so later.”

Wood is right, of course. Historians are experts on the past, not the future. But sometimes the wide-angle perspective they inhabit can be useful in understanding the present. And so, on the eve of Obama’s penultimate State of the Union address, we invited a broad range of historians — academic and popular — to play a game.

Over the past few weeks, New York asked more than 50 historians to respond to a broad questionnaire about how Obama and his administration will be viewed 20 years from now. After the day-to-day crises and flare-ups and legislative brinkmanship are forgotten, what will we remember? What, and who, will have mattered most? What small piece of legislation (or executive inaction) will be seen by future generations as more consequential than today’s dominant news stories? What did Obama miss about America? What did we (what will we) miss about him?

Almost every respondent wrote that the fact of his being the first black president will loom large in the historical narrative — though they disagreed in interesting ways. Many predict that what will last is the symbolism of a nonwhite First Family; others, the antagonism Obama’s blackness provoked; still others, the way his racial self-consciousness constrained him. A few suggested that we will care a great deal less about his race generations from now — just as John F. Kennedy’s Catholicism hardly matters to current students of history. Across the board, Obamacare was recognized as a historic triumph (though one historian predicted that, with its market exchanges, it may in retrospect be seen as illiberal and mark the beginning of the privatization of public health care). A surprising number of respondents argued that his rescue of the economy will be judged more significant than is presently acknowledged, however lackluster the recovery has felt. There was more attention paid to China than isis (Obama’s foreign policy received the most divergent assessments), and considerable credit was given to the absence of a major war or terrorist attack, along with a more negative assessment of its price — the expansion of the security state, drones and all. The contributors tilted liberal — that’s academia, no surprise — but we made an effort to create at least a little balance with conservative historians. Their responses often echoed those from the far left: that a president elected on a promise to unite the country instead extended the power of his office in alarming, unprecedented ways. Here, we have published a small fraction of the answers we found most thought-provoking, along with essays by Jonathan Chait, our national-affairs columnist, and Christopher Caldwell, whom we borrowed from The Weekly Standard. A full version of all the historians’ answers can be found here…

Read the entire introduction here.

The myth of race, debunked in 3 minutes

Vox
2015-01-13

Jenée Desmond Harris

You may know exactly what race you are, but how would you prove it if somebody disagreed with you? Jenée Desmond Harris explains. And for more on how race is a social construct, click here.

Love, Liberation, and Escaping Slavery: William and Ellen Craft in Cultural Memory

University of Georgia Press
2015-05-15
136 pages
8 b&w photos
Trim size: 6 x 9
Hardcover ISBN: 978-0-8203-3802-6
Paper ISBN: 978-0-8203-4724-0
Ebook ISBN: 978-0-8203-4832-2

Barbara McCaskill, Associate Professor of English and co-director of the Civil Rights Digital Library
University of Georgia

How William and Ellen Craft’s escape from slavery, their activism, and press accounts figured during the antislavery movement of the mid-1800s and Reconstruction

he spectacular 1848 escape of William and Ellen Craft (1824–1900; 1826–1891) from slavery in Macon, Georgia, is a dramatic story in the annals of American history. Ellen, who could pass for white, disguised herself as a gentleman slaveholder; William accompanied her as his “master’s” devoted slave valet; both traveled openly by train, steamship, and carriage to arrive in free Philadelphia on Christmas Day. In Love, Liberation, and Escaping Slavery, Barbara McCaskill revisits this dual escape and examines the collaborations and partnerships that characterized the Crafts’ activism for the next thirty years: in Boston, where they were on the run again after the passage of the 1850 Fugitive Slave Law; in England; and in Reconstruction-era Georgia. McCaskill also provides a close reading of the Crafts’ only book, their memoir, Running a Thousand Miles for Freedom, published in 1860.

Yet as this study of key moments in the Crafts’ public lives argues, the early print archive—newspapers, periodicals, pamphlets, legal documents—fills gaps in their story by providing insight into how they navigated the challenges of freedom as reformers and educators, and it discloses the transatlantic British and American audiences’ changing reactions to them. By discussing such events as the 1878 court case that placed William’s character and reputation on trial, this book also invites readers to reconsider the Crafts’ triumphal story as one that is messy, unresolved, and bittersweet. An important episode in African American literature, history, and culture, this will be essential reading for teachers and students of the slave narrative genre and the transatlantic antislavery movement and for researchers investigating early American print culture.

Skin, Inc.: Identity Repair Poems

Graywolf Press
2010-08-31
192 pages
Trim Size: 6 x 9
Hardcover ISBN: 978-1-55597-567-8
Paperback ISBN: 978-1-55597-650-7

Thomas Sayers Ellis, co-Founder
The Dark Room Collective, Cambridge, Massachusetts

The ambitious, combative, and spot-on new poetry book by Thomas Sayers Ellis, author of the award-winning The Maverick Room

Skin, Inc. is Thomas Sayers Ellis’s big, ambitious argument in sound and image for an America whose identity is in need of repair. In lyric sequences and with his own photographs, Ellis traverses the African American and American literary landscapes—along the way adding race fearlessness to past and present literary styles and themes, and perform-a-forming tributes for the Godfather of Soul, James Brown; the King of Pop, Michael Jackson; and the election of President Barack Obama. Part manifesto, part identity repair kit, part plea for poetic wholeness, this collection worries and self-defends, eulogizes and casts a vote, raises a fist and, often, an intimidating song. One sequence is written as a sonic/visual diagram of pronouns and vowels; another quotes from editors’ rejections of his own poetry included in the book; another poem, “Race Change Operation,” begins: “When I awake I will be white, the color of law.” Skin, Inc. is the latest work by one of the most audacious and provocative poets now writing.

Praise Song for the Day: A Poem for Barack Obama’s Presidential Inauguration

Graywolf Press
2009-02-06
28 pages
Trim Size: 4 5/8 x 6 1/2
ISBN: 978-1-55597-545-6

Elizabeth Alexander

Available in an elegant chapbook, Elizabeth Alexander’s historic poem, read at the 2009 inauguration of President Barack Obama

On January 20, 2009, Elizabeth Alexander served as the fourth-ever inaugural poet and a central participant in one of the most closely watched inaugurations in American history. Selected by Barack Obama, Alexander composed and delivered her original poem “Praise Song for the Day” to an audience of millions, and now the poem can be read and savored for posterity. Printed on heavy, uncoated stock and bound with French flaps and a silver foil stamp, this collectible chapbook is a cherished reminder of this monumental presidential event.