Mixed Race Studies

Black Mixed-Race Men: Transatlanticity, Hybridity and ‘Post-Racial’ Resilience

Emerald Publishing Limited
2018-08-06
230 pages
152 x 229mm
Hardback ISBN: 9781787565326

Remi Joseph-Salisbury, Senior Lecturer in Education Studies
Leeds Beckett University, Leeds, United Kingdom

Whilst scholarship has increasingly moved to consider mixedness and the experiences of mixed-race people, there has been a notable lack of attention to the specific experiences of mixed-race men. This is despite growing recognition of the particular ways race and gender intersect. By centring the accounts of Black mixed-race men in the United Kingdom and United States, this book offers a timely intervention that extends the theoretical terrain of race and ethnicity scholarship and of studies of gender and masculinities.

As it treads new and important ground, this book draws upon theories of performativity and hybridity in order to understand how Black mixed-race men constitute and reconstitute complex and multiplicitous identities. ‘Post-racial’ conditions mean that Black mixed-race men engage in such processes in a context where the significance of race and racism is rendered invisible and denied. By introducing the theoretical concept of ‘post-racial’ resilience, this study strives to capture and celebrate the contemporary, creative and innovative ways in which Black mixed-race men refuse the fragmentation and erasure of their identities. As it does so, the author offers a corrective to popular representations that have too readily pathologized Black mixed-race men.

Focusing on the everyday through a discussion of Black mixed-race men’s racial symbolism, experiences of racial microaggressions, and interactions with peers, Black Mixed-Race Men: Transatlanticity, Hybridity and Post-Racial Resilience offers an in-depth insight into a previously neglected area of scholarship.

Contents

• Introduction
• Chapter 1. Multiplicitous Black Mixed-Race Men and ‘Post-Racial’ Resilience: Double-Consciousness, Hybridity and the Threat of Racial Mismatch
• Chapter 2. Constituting and Performing Black Mixed-Race Masculinities: Hybridizing the Exotic, the Black Monster, and the ‘Light-Skin Softie’
• Chapter 3. Racial Symbolism and the Stylization of Identities: Dress, Speech, Hair and Music
• Chapter 4. Black Mixed-Race Men and PRR in the Face of Racial Microaggressions
• Chapter 5. Black Mixed-Race Men, Friendships, Peer Groups, and Black Regulatory Ideals
• Conclusion. A Critical (Mixed) Race Theory of ‘Post-Racial’ Resilience (PRR)

Album review: ‘Picture in Black and White’

Rochester CITY Newspaper
Rochester, New York
2018-09-24

Ron Netsky

Concept albums are common in rock, but rare in the jazz realm. Tessa Souter’s “Picture in Black and White“—set for release on October 5—breaks that mold. Souter, a Rochester favorite after multiple jazz festival appearances, has created an exquisite musical exploration of her identity. At the age 28, she discovered that her birth father was black and her roots reached from Africa to the Caribbean, from Celtic Britain to Andalusian Spain. Musical strains from all of these places permeate the album….

Read the entire review here.

The Notorious, Mixed-Race New Orleans Madam Who Turned Her Identity Into a Brand

Zócalo Public Square
2018-10-01

Emily Epstein Landau, Teacher [and author of Spectacular Wickedness: Sex, Race, and Memory in Storyville, New Orleans]
Georgetown Day School, Washington, D.C.

Lulu White, the most notorious madam in the turn-of-the-century Big Easy. Courtesy of the Collections of the Kinsey Institute at Indiana University. All rights reserved.

By Repackaging the Myths of the Tragic Octoroon and the Self-Made Woman, Lulu White Crafted a Persona That Haunts Beyoncé’s “Formation“

In 2016, music and pop-culture idol Beyoncé released the album Lemonade to rapturous reviews. As a historian of New Orleans, I was especially intrigued by the video for one of the songs on the album, “Formation.” The video includes iconic images of the city: Katrina flood waters and post-flood graffiti; “second-lines”; marching bands; crawfish eating; and even a dancing “Mardi Gras Indian.” As we move through various neighborhoods, we visit a church service, a St. Charles Avenue mansion, and, in what appears to be a move through time into the city’s past, a bordello.

The bordello scenes in the video recall famous photographs from Storyville, New Orleans’s notorious red-light district, which flourished from 1898 to 1917. And while the song is clearly about Beyoncé, the persona she embodies in it resonates with an earlier iconic black female: Lulu White, the self-styled “Diamond Queen” of New Orleans’s turn-of-the-century demimonde. Knowing Lulu White’s story helps us see Beyoncé’s artistic creation within a complex historical framework, for in it are woven together threads of American history: stories of sexual slavery and prostitution; revolution and exile; and, not least, capitalism and the American Dream.

Lulu White was the most notorious madam in Storyville. She earned fame and fortune as the “handsomest octoroon” in the South, and her bordello, Mahogany Hall, featured “octoroon” prostitutes for the pleasure of wealthy white men during one of America’s most virulently—and violently—racist periods. It was also the dawn of consumer culture and the beginning of modern advertising. Thus, Lulu White crafted a persona for herself through stories that had long circulated in New Orleans; she repackaged those stories to create what today we would recognize as her brand…

Read the entire article here.

Picture in Black and White

NOA Records
2018-10-05

Tessa Souter

1. Kothbiro
2. Contemplation (Ancestors)
3. A Taste of Honey
4. Dancing girl/Where the Streets Have No Name
5. Ana Maria’s Song (Ana Maria)
6. Child of Love
7. Picture in Black and White
8. You Don’t Have To Believe
9. Reynardine
10. Siren Song
11. Lonely Woman
12. Nothing Will Be As It Was

with Yotam Silberstein (guitar), Yasushi Nakamura (bass), Keita Ogawa (percussion), Adam Platt (piano), Dana Leong (cello), Billy Drummond (cymbals and drums)

Maija DiGiorgio’s IncogNEGRO, My-a Life The Musical

The Complex Theater
6468 Santa Monica Boulevard
Los Angeles, California 90038
Thursday, 2018-10-18, 19:00-20:30 PDT (Local Time)

by Jeffery Husbands

For some it’s a comedy,..for others it’s a horror. You never know who’s lurking among us. Wanna end racism? Come down and get some hilarious notes from the passing. This ethnically ambiguous comedian shares the faux pas and mishaps in her lifelong journey of mistaken identity. Do not miss this hilarious show with Maija DiGiorgio.

Her way. The new way.

The Washington Post
2018-10-04

Ann Hornaday, Movie Critic

Amandla Stenberg, the 19-year-old star of “The Hate U Give.” (Marvin Joseph/The Washington Post)

Amandla Stenberg is redefining fame for a time when the personal, the professional and the political have never been more fused.

On a recent visit to the National Museum of African American History and Culture, actress Amandla Stenberg made a beeline for “Watching Oprah,” an exhibit dedicated to the TV-icon-turned-all-of-it-icon.

“Oprah was very integral in my household,” she said, peering at the biographical information on the walls. “My mom used to be a journalist. . . . She worked at Elle magazine and then moved into celebrity journalism. The irony is not lost on me.”…

…Biracial in ethnic derivation, nonbinary in gender identification, gay in sexual orientation, multi-hyphenate in creative aspiration, Stenberg embodies a similar blurring of boundaries. She grew up in Los Angeles with her African American mother and Danish father, commuting from their modest Leimert Park neighborhood to the far tonier Wildwood School. Her first movie role was in “Colombiana,” as a young version of Zoe Saldana. “The Hunger Games” — just her second film — was seen by tens of millions of people around the world. But it was a video she made for history class in 2015 that became a watershed: Called “Don’t Cash Crop My Cornrows,” the 4-minute-30-second tutorial explained the most offensive dynamics of cultural appropriation. After Stenberg posted the video on Tumblr, it became a viral sensation…

Read the entire article here.

Lynnwood man tried to use a home DNA test to qualify as a minority business owner. He was denied — now he’s suing.

The Seattle Times
2018-09-13

Christine Willmsen, Seattle Times staff reporter

State and federal programs aim to ensure minority-owned businesses can compete for government contracts after generations of institutional discrimination. A Lynnwood man long identified as white is using DNA ethnicity estimates to claim minority status.

Ralph Taylor says it doesn’t matter what he looks like. Having lived most of his life as a white man, the 55-year-old now considers himself to be multiracial based on DNA test results.

The owner of Orion Insurance Group in Lynnwood also wants the U.S. Department of Transportation to recognize him as a minority so he can gain more deals providing liability insurance to contractors.

Taylor is suing Washington state and the federal government because he was denied a minority-business certification under a program created more than two decades ago to help level the playing field for minority business owners seeking contracts in the transportation industry. He provided no evidence he has suffered socially or economically because of race.

His case is pending with the 9th U.S. Circuit Court of Appeals.

In 2010 Taylor began identifying himself as multiracial after a DNA ancestry test estimated he was 90 percent Caucasian, 6 percent indigenous American and 4 percent sub-Saharan African.

He applied for state certification with the Washington Office of Minority & Women’s Business Enterprises (OMWBE) so Orion Insurance Group would be considered a minority business.

Ralph Taylor (Steve Ringman/The Seattle Times)

With no criteria defining a minority race or ethnicity, OMWBE eventually approved Taylor. But that same state agency, which also manages the U.S. Department of Transportation certification, decided he was Caucasian under that program’s procedures and denied his application…

Read the entire article here.

The Lumbee Indians: An American Struggle

University of North Carolina Press
September 2018
328 pages
5 maps, notes, index
6.125 x 9.25
Hardcover ISBN: 978-1-4696-4637-4
eBook ISBN: 978-1-4696-4638-1

Malinda Maynor Lowery, Associate Professor; Director, Center for the Study of the American South
University of North Carolina

Jamestown, the Lost Colony of Roanoke, and Plymouth Rock are central to America’s mythic origin stories. Then, we are told, the main characters–the “friendly” Native Americans who met the settlers–disappeared. But the history of the Lumbee Tribe of North Carolina demands that we tell a different story. As the largest tribe east of the Mississippi and one of the largest in the country, the Lumbees have survived in their original homelands, maintaining a distinct identity as Indians in a biracial South. In this passionately written, sweeping work of history, Malinda Maynor Lowery narrates the Lumbees’ extraordinary story as never before. The Lumbees’ journey as a people sheds new light on America’s defining moments, from the first encounters with Europeans to the present day. How and why did the Lumbees both fight to establish the United States and resist the encroachments of its government? How have they not just survived, but thrived, through Civil War, Jim Crow, the civil rights movement, and the war on drugs, to ultimately establish their own constitutional government in the twenty-first century? Their fight for full federal acknowledgment continues to this day, while the Lumbee people’s struggle for justice and self-determination continues to transform our view of the American experience. Readers of this book will never see Native American history the same way.

Hapa Tales and Other Lies: A Mixed Race Memoir About the Hawai‘i I Never Knew

Rising Song Press
2018-09-15
210 pages
Paperback ISBN: 978-1-732484702

Sharon H. Chang

In her first work of literary nonfiction, Sharon H. Chang reflects critically on her Asian American, Mixed Race, and activist identity through the prism of returning to Hawai‘i as a tourist. While visiting O‘ahu and Kaua‘i she considers childhood trips to Maua‘i and the Big Island, pop culture and Hollywood movies of her youth that perpetuated Hawaiian stereotypes, and what it means that she has been stereotyped as a “Hawai‘i Girl” her whole life though she has never lived on the islands. But what begins as a journey to unpack the ways she has been perceived and treated as a multiracial woman evolves into much more as Sharon learns the real impacts of colonization and corporate tourism on Hawai‘i and uncovers what her Asian multiracial “mainland” identity actually looks like in relationship to the land, its Indigenous peoples, and the Native Hawaiian Sovereignty Movement.

“We Were All Just the Black Kids”: Black Mixed-Race Men and the Importance of Adolescent Peer Groups for Identity Development

Social Currents
First Published online 2018-09-19
DOI: 10.1177/2329496518797840

Jennifer Patrice Sims, Assistant Professor of Sociology
University of Alabama, Huntsville

Remi Joseph-Salisbury, Senior Lecturer in Education Studies
Leeds Beckett University, Leeds, United Kingdom

While critical Mixed-Race studies (CMRS) has paid attention to the intersections of race, gender, and sexuality in sampling and analysis, most studies disproportionately focus on women. This means that generalizability of findings and theories to men should not become axiomatic. Regarding black Mixed-Race people, for example, the theory that rejection from black people is influential for many black Mixed-Race individuals’ identity development is derived from interviews with mainly women. Explicitly noting that these processes are not as applicable for men, yet offering no accompanying theorizing as to the influence of gendered interactions on men’s racial identity development, appears to have become the standard. Therefore, bringing together data from two studies that explored black mixedness in the United States and the United Kingdom, this article joins a nascent literature on the gendered experiences of Mixed-Race men. Our analysis shows that, unlike black Mixed-Race women, black Mixed-Race men’s mixedness is often constructed as compatible with the heteronormative gender identities that are constituted in racialized peer groups. As such, black Mixed-Race men are able to cultivate a sense of strategic sameness with same gender black peers. This and other findings are discussed in light of their implications for CMRS’s intersectional theories of identity development.

Read or purchase the article here.