Mixed Race Studies

Webinar: Mixed Identity and the Arts

Runnymede Trust
2011-07-05, 10:30-12:30Z

Runnymede Trust is hosting an online seminar (webinar) discussing mixed identity and the arts. The webinar will take the form of a live-streamed discussion between the photographer and visual artist Mark Sealy, the arts consultant and creative producer Samina Zahir and playwright Roy Williams. Their discussion will last about an hour, with the second half devoted to answering questions from participants who have pre-registered for the event.

Panellists will discuss the idea of mixed and migrant identity in art. Whether it is possible to have art that addresses a mixed race or a migrant audience as it can a Black audience? If not why not? Is it possible to have art that does not come from a mixed background? Are any minority groups well represented in the Art world? Is it important that they should be? In what sense have discussions about art and race moved forward in the past two decades? What can be done to encourage this process?

The arts and mixedness project is a collaboration between the Arts Council and the Runnymede Trust. The RunnymedeTrust is the UK’s leading race equality think tank. The project was designed to examine the extent to which mixed race people are catered for by and in the arts in the UK. It was also intended to examine the ways that arts can address the issue of mixed race identity. This next stage of the project has begun to focus more directly upon audiences for works of art. It has broadened the focus of the project to examine how migrants relate to mixed identity and how art can address issues of migration.

The webinar will start at 11:30 am [BST] and will last approximately 2 hours. If you would like to participate in this event or for further information please email Kamaljeet Gill at kam@runnymedetrust.org.

Phil Lynott: Famous For Many Reasons

Irish Migration Studies in Latin America
Volume 4, Number 3 (July 2006)
Published by The Society for Irish Latin American Studies

John Horan

Bronze statue of Phil Lynott on Harry Street, Dublin (by Paul Daly, cast by Leo Higgins, plinth hand-carved by Tom Glendon)

In view of the unique and colourful history of the ties between Ireland and Brazil that date back centuries, it is perhaps surprising that the most famous Irish-Brazilian was a mixed-race rock star from Dublin. Phil Lynott was one of Ireland’s first world-famous rock stars, and definitely the most famous black Irishman in the island’s history, long before the advent of a new era in the Republic that facilitated the immigration of people from various African nations from the 1990s. Lynott’s band, Thin Lizzy, was the first internationally successful Irish rock band, and Lynott himself was considered the biggest black rock star since Jimmy Hendrix.

Phil Lynott: THE ROCKER, a 2002 biography by Mark Putterford, begins with the sentence, “Phil Lynott was one of the most colorful and charismatic characters in the history of rock ‘n’ roll.” This sentence would be considered an understatement by those who knew him through all stages of his life. His family history was typical in some ways, but his mother’s personal history was anything but typical for Ireland in 1949, the year he was born.

Philomena Lynott was born in Dublin in 1930 to Frank and Sarah Lynott. She was the fourth of nine children, all of whom grew up in the working-class Crumlin district on the south side of Dublin. Economic hardships in the Republic prompted her to choose to move across the Irish Sea to Manchester to find work, while many of her friends went to Liverpool. Shortly after her arrival in Manchester, she was courted by a black Brazilian immigrant whose surname was Parris. To this very day, Philomena Lynott has never spoken publicly about her son’s father, so as to protect his privacy. She once said, “He was a fine, fine man, who did the decent thing and proposed marriage to me when I told him I was pregnant.” Philomena and her former boyfriend stayed in contact for five years after their son was born. However, when it became clear that marriage was no longer a possibility between the two, they drifted apart. It is said that Philip Lynott’s father returned to live in Brazil and started another family, which has always been the reason given for Philomena’s refusal to provide any information about the “tall, dark stranger” who was her son’s father, as she never wanted to disrupt his life with his new family. Several sources cite that the Brazilian made some level of financial contribution towards supporting his Irish son in the early years…

Read the entire article here.

The Hudson River School via Cincinnati

Chronogram: Arts, Culture, Spirit
Kingston, New York
2011-05-28

Sparrow

“History can be blind,” observes Joseph D. Ketner II, curator of “Robert S. Duncanson: ‘the spiritual striving of the freedmen’s sons,’” an exhibition at the Thomas Cole National Historical Site in Catskill. Duncanson (1821-1872) was an African-American landscape painter, once highly regarded, now almost entirely forgotten.
 
Born a freedman in Seneca County, New York, Robert Duncanson moved as a youth to Michigan. At the age of 16 he apprenticed to a house painter, then briefly began his own painting and glazing business. In 1840, Duncanson resolved to become an artist, relocating to Cincinnati, the largest city in “the West.” The youth taught himself to paint by copying Thomas Cole paintings and sketching from life. He became an itinerant portraitist, then moved on to nature scenes.
 
By the 1850s in Cincinnati, the two most popular art forms, landscape painting and daguerreotype photography, were dominated by African-American artists. James P. Ball was the preeminent daguerreotypist, Duncanson the top painter. Both men were light-skinned “mulattos,” of mixed race, benefiting from the racial caste system of the time. Cincinnati was a northern city, in a “free state” (one without slavery) whose economy and social outlook were Southern. “Cincinnati was one of the most vociferous abolitionist cities, behind Boston, and it was also one of the most adamant pro-slavery cities, simultaneously—a very, very complex dynamic,” explains Ketner.

In 1855, Duncanson and Ball painted a 600-yard antislavery panorama entitled “Mammoth Pictorial Tour of the United States Comprising Views of the African Slave Trade.” This work consisted of a canvas wrapped around two large dowels, which would be unspooled in an auditorium to the accompaniment of an orchestra, with lighting effects and a narrator describing the changing scenes. The “Mammoth Pictorial Tour” traveled the country, advertised as “Painted by Negroes.” Sadly, it is no longer extant…

…It is tempting to interpret Duncanson’s landscapes politically. Those dreamy temples on the shores of rivers—are they images of a utopian world without slavery and racism? Or does that oversimplify them? Duncanson himself once told his son, on the issue of race, “I have no color on the brain; all I have on the brain is paint.”…

Read the entire article here.

Panel by Hapa and Critical Mixed Race Studies Scholars and Artists

Oregon Nikkei Legacy Center
Japanese American History Museum
2011-08-04

Emily Momohara, Assistant Professor of Art
Art Academy of Cincinnati

Laura Kina, Associate Professor of Art, Media and Design
DePaul University

Dmae Roberts

Moderated by

Tim DuRoche, Director of Programs
World Affairs Council of Oregon

This talk will showcase their work as the artists talk about how they address hapa identity through art. Emily Momohara is currently an Assistant Professor of Art at the Art Academy of Cincinnati where she heads the photography major. Dmae Roberts is a two-time Peabody award-winning independent radio artist and writer who has written and produced more than 400 audio art pieces and documentaries for NPR and PRI programs. Laura Kina is Associate Professor of Art, Media, and Design; Global Asian Studies affiliated faculty member; and a distinguished Vincent de Paul Professor at DePaul University in Chicago, where she has also been involved in the emerging field of critical mixed race studies. This panel will be moderated by Tim DuRoche, Director of Programs for the World Affairs Council of Oregon.

For more information, click here.

‘Of Many Colors: Portraits of Multiracial Families’ traveling exhibit bridges diverse backgrounds

Daily Bruin
University of California, Los Angeles
2011-05-22

Lenika Cruz

Starting this evening, UCLA will act as a home for 20 families, each with a story to tell about being multiracial Americans.

While these families will not be physically present, their photographs and interviews will be, as part of “Of Many Colors: Portraits of Multiracial Families,” a traveling exhibit that began circulating the country in the early ’90s.

The exhibit came to UCLA from the organization Family Diversity Projects as part of a collaboration between Multiracial Americans of Southern California and UCLA’s Mixed Student Union. An opening reception with a speech from Cultural Affairs Commissioner Kinnery Shah will take place in the Ackerman second floor lounge, after which the exhibit will move to the Kerckhoff Art Gallery until Friday.

The project is the work of Peggy Gillespie and Gigi Kaeser, co-founders of Family Diversity Projects. They interviewed and photographed more than 40 families living in and around Amherst, Mass., who identified as multiracial. One family consisted of a Puerto Rican mother, an African American father and their children, while another family featured Caucasian parents who had adopted children from Peru and China…

Read the entire article here.

Sonic spaces: Inscribing “coloured” voices in the Karoo, South Africa

University of Pennsylvania
2006
228 pages
Publication Number: AAT 3246175

Marie R. Jorritsma

A Dissertation in Music Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy

A common stereotype of those classified as “coloured” in apartheid South Africa was that, because of their mixed racial heritage, they had no authentic racial or cultural identity and history. This dissertation counters that lingering stereotype by examining how musical performance enabled “coloured” community members around the town of Graaff-Reinet to claim a place for themselves collectively under apartheid and in post-apartheid South Africa. Nurtured and sustained by a policy of racial purity, the apartheid regime held a deeply ambivalent position towards those it categorized as “coloured,” the racial group it defined as “not a white person or a native.” Oral and written sources typically convey “coloured” people’s ethnic identity, cultural history, and musical heritage as similarly lacking. Despite this, music has been and continues to be an integral part of the religious practices of this community though its performance has survived practically unnoticed by those outside.

By placing the voices of “coloured” people at the center of this study, I move beyond the myopic apartheid view that saw “coloured” people purely in terms of their ethnic origins and capacity for labor. Instead, I approach “coloured” music and history in terms of the sounds and spaces of their religious performance culture. My research provides a narrative of “coloured” social history in the Graaff-Reinet region that is drawn from regional archives and empirical research in the form of fieldwork, specifically participant observation. I concentrate on religious musical practice, namely, hymns, koortjies (little choruses), choir performance, and the singing at women’s society meetings. Studying song performance creates a complex nexus of music, race, religion, and politics, and constitutes a vital way of retrieving history and oral repertories. This music thereby provides one vehicle for groups and individuals in this community to articulate a more “legitimate” place for themselves in the contemporary landscape of South African history and culture.

Table of Contents

• Acknowledgments
• Abstract
• List of Illustrations
• Preface
• Chapter One – Introduction: Sonic Spaces, Inscribing “Coloured” Voices
• Chapter Two – Senzeni na: Music, Religion, and Politics in Three Kroonvale Congregations
• Chapter Three – Singing the “Queen’s English”: Church Choirs in Kroonvale
• Chapter Four V – Mothers of the Church: Women’s Society Music and South African Gender Issues
• Conclusion
• Appendix 1: Glossary
• Bibliography

List of Illustrations

1. View of Umasizakhe, Graaff-Reinet, and Kroonvale
2. View of Kroonvale, Santaville, Asherville, Koebergville, and Geluksdal
3. Map of Kroonvale
4. Old DRMC Building in Graaff-Reinet
5. Last Church Service Held at the DRMC Building, c. 1964
6. URC Building in Kroonvale
7. Old PSCC Building in Graaff-Reinet
8. PSCC Building in Kroonvale
9. Old Klein Londen Building in Graaff-Reinet
10. ESCC Building in Kroonvale
11. View of URC and PSCC from ESCC Grounds
12. Parsonage Street Congregational Church, 13 February 2005
13. East Street Congregational Church, 17 July 2005
14. Uniting Reformed Church, 15 August 2004
15. Combined Congregational Church Broederband service, 17 February 2005
16. Wat bring jy myn die domme?: Cape Malay Ghomma-liedjie notated by I.D. du Plessis
17. Juig aarde juig sung by Mrs J.S. Beukes, Mr W.S. Adonis and Mr J.W. Beukes, 16 April 1980
18. Hy’s hier om ons te seen (He’s here to bless us), Uniting Reformed Church, 5 December 2004
19. Jesus is so lief virmy (Jesus loves me very much), East Street Congregational Church, 26 June 2005
20. Dit was nie om te oordeel nie (It was not to judge), Parsonage Street Congregational Church, 6 March 2005
21. Worstel mens (Wrestle sinner), Combined Congregational Church Broederband service, 17 February 2005
22. Graaff-Reinet Mayor Daantjie Jaftha
23. Zion, City of God (G. Froflich)
24. Holy Holy Holy (Franz Schubert)
25. Program of Concert Tour and Performance in Kimberley, 3 September 1972
26. Restored Slave Cottages at Stretch’s Court, Drostdy Hotel
27. Wees stil en weet, Women’s World Day of Prayer Service, East Street Congregational Church, 3 March 2005
28. Wees stil en weet, “Official” Hymnbook Version

PREFACE

As a child, the Karoo always symbolised an escape for me. It was a refuge from the routine of school attendance, extra-mural activities, and the restlessly windy, unpredictable weather of the coastal city of Port Elizabeth. The family farm lay only three and a half hours1 drive away from the city, where huge breakfasts of porridge, toast, and tea fortified me for seemingly endless sunny and windless days spent walking in the surrounding veld, participating in (and most likely, hindering) the usual farming activities, and playing in the water furrows. A typical Karoo child displays an endless fascination with the precious commodity of water, and diverting the small rivulets in the furrow to flow smoothly over the muddy gravel guaranteed countless hours of captivation.

My grandmother used to tell me, as a child, to look for San tools such as grinding stones or arrowheads when walking in the Karoo veld. To this day, this collection remains displayed in the farmhouse. It never occurred to me then that the San people, the forebears of many present-day “coloured” people, suffered merciless persecution on the part of my ancestors, the colonial settlers.

When I returned to the Karoo for fieldwork on the music of “coloured” people, this memory of looking for San ”treasure” and proof of their existence in this area contrasted very strangely with the historical accounts I read about the violent treatment of the San people by the settlers. Immersed in my research, I seldom visited the veld, and instead explored my childhood memories in new contexts of colonial history and apartheid. As much as this project was originally driven by a deep appreciation of and interest in this music and then an ongoing desire that it not be ignored, my own background as the granddaughter of a Karoo farmer had to be revisited and recontextualised as the project continued.

I remember sitting in June Bosch’s home one day when for once my childhood memories did not clash with the historical and contemporary stories of “coloured” people’s oppression and marginalization. June Bosch and her cousin, Loretta Fortune, told me a story from their childhood days in Caroline Street, Graaff-Reinet. On Tuesdays and Thursdays, water from the Van Ryneveld’s Pass Dam outside the town would be led into the cement furrows lining the streets for the townspeople to use. As the neighborhood children spotted the water, they would shout up the street to announce its presence and run for any and every available container. June was under strict instructions from her grandmother to water the garden roses first, and then to spray the unpaved street in order to settle the dust. After fulfilling these duties, the children would play in the furrows until the water flow ceased. Recognizing the similarity in our childhood games and activities with their focus on water made it poignantly apparent to me that we were all once children of the Karoo.

This research project thus stems from my own connection to Graaff-Reinet and its surrounding area. Combined with a strong scholarly fascination with this music, my reasons for undertaking the project also included the opportunity to revisit and perhaps, in some small way, to recapture the past. No longer a childhood escape, it is the spaces and sounds of this Karoo community that have offered me a new perspective on my relationship to this place and its people…

Purchase the dissertation here.

INDIGO – Laura Kina & Shelly Jyoti

Diana Lowenstein Fine Arts
2043 North Miami Avenue
Miami, Florida 33127
2011-05-14 through 2011-06-30

Opening Reception
2011-05-14, 14:00-21:00 EDT (Local Time)

Laura Kina, Associate Professor Art, Media and Design and Director Asian American Studies
DePaul University

Shelly Jyoti, Visual Artist, Fashion Designer, Poet, Researcher and Independent Curator

In the 19th century, Bengal was the world’s biggest producer of indigo but today, the deep blue color of indigo is synthetically created in a lab and is associated in the West with blue jeans more than its torrid colonial past. But indigo holds a sustained presence in the post-colonial identity of India. Employing fair trade embroidery artisans from women’s collectives in India and executing their works in indigo blue, Jyoti and Kina’s works draw upon India’s history, narratives of immigration and transnational economic interchanges. The artists decided to collaborate in 2008-2009, considering their mutual interest in textile history, pattern & decoration. They began by thinking about the intersections of their own ethnic and national positions in relation to fabrics. For this exhibition in particular, Jyoti’s Indigo Narratives utilize traditional embroidery and embellishments along with heritage symbols belonging to traveling ethnic communities who settled in coastal Gujarat while Kina’s Devon Avenue Sampler series focuses on a contemporary Desi/Jewish community in Chicago.  This exhibition includes new works in mediums such as hand-embroidery on khadi, acrylic on fabric, hand-stenciled Sanskrit calligraphy and textile embroidery on canvas.

For more information, click here.

The Octoroon: A Play, In Four Acts

First Performed at the Winter Garden Theatre
New York, New York
December, 1859

Dion Boucicault, ESQ (1820-1890)

Text from James A. Cannavino Library, Marist University, Poughkeepsie, New York

Read the entire play here.

Representation of Coloured Identity in Selected Visual Texts about Westbury, Johannesburg

University of the Witwatersrand
December 2006
132 pages

Phyllis D. Dannhauser

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, in partial fulfilment of the requirements for the degree of Master of Arts (Dramatic Art).

In post-apartheid South Africa, Coloured communities are engaged in reconstructing identities and social histories. This study examines the representation of community, identity, culture and historic memory in two films about Westbury, Johannesburg, South Africa. The films are Westbury, Plek van Hoop, a documentary, and Waiting for Valdez, a short fiction piece. The ambiguous nature of Coloured identity, coupled with the absence of recorded histories and unambiguous identification with collective cultural codes, results in the representation of identity becoming contested and marginal. Through constructing narratives of lived experience, hybrid communities can challenge dominant stereotypes and subvert discourses of otherness and difference. Analysis of the films reveals that the Coloured community have reverted to stereotypical documentary forms in representing their communal history. Although the documentary genre lays claim to the representation of reality and authentic experience, documentary is not always an effective vehicle for the representation of lived experience and remembered history. Fiction can reinterpret memory by accessing the emotional textures of past experiences in a more direct way.

Read the entire thesis here.

The Mysterious Portraitist Joshua Johnson

Archives of American Art Journal
Volume 36, Number 2 (1996)
pages 2-7

Jennifer Bryan

Robert Torchia

The Maryland Historical Society’s Department of Manuscripts recently received three volumes of Baltimore County court chattel records—registers of personal property transactions such as mortgages, deeds of gift, powers of attorney, bills of sale, and releases of slaves from bondage. The earliest of the three volumes contains the bill of sale and the manumission record of America’s first-known black artist, the mysterious portraitist Joshua Johnson, who was active from 1790 to 1825. These extremely significant documents have survived through pure chance. According to the donor, M. Peter Moser. when the Baltimore City courthouse underwent renovation in 1954, many original documents were slated for destruction. His father. Judge Herman M. Moser, saw the discarded chattel records being thrown into bins and asked if he could have a few of the books, coincidentally saving the volume containing Johnson’s sale and manumission records.

Johnson’s existence was unknown until 1939, when Baltimore genealogist and an historian J. Hall Pleasants attributed thirteen paintings to him and attempted to reconstruct his career on the basis of fragmentary and often contradictory information. Pleasants characterized Johnson as a “nebulous figure” and he has remained so over the last fifty-eight years, despite numerous exhibitions and articles devoted to him. Only one of Johnson’s paintings bears his signature, Sarah Ogden Gustin (ca.  1805, National Gallery of Art, Washington. D.C.), and only one is documented in papers left by a patron, the well-known Rebecca Myring Everett and Her Children (1818, Maryland Historical Society, Baltimore). His life dates are unknown, and historians argue over whether his name was spelled Johnson or Johnston.

Even Johnson’s race has been a subject of contention. The idea that the artist was black was challenged when prices for his paintings escalated on the an market during the early 1970s. The authors of a history of African-American artists cast stronger doubts when they noted the highly circumstantial and speculative nature of the “evidence.”* Pleasants had collected four different accounts from the descendants of old Baltimore families who owned portraits by Johnson in which the artist was variously described as a slave, a slave trained as a blacksmith, a black servant afflicted with consumption, and an immigrant from the West Indies. In the federal censuses for Baltimore of 1790 and 1800, a Joshua Johnson is listed as a free white head of household. In the most comprehensive survey of Johnson’s life to date, Carolyn J. Weekley discovered an additional family tradition that held that Johnson was black and one that identified him as a “red man.” Until now, the sole documentary evidence that Joshua Johnson was indeed black was the Baltimore City Directory of 1817-1818, in which he is listed among “Free Householders of Colour.”

The issue of Johnson’s race has sociological and political ramifications. His gradual rise from anonymity to prominence paralleled the civil rights movement and, more recently, the academic emphasis on multiculturalism. Influenced by this climate, historians have tended to romanticize the artist, often at the expense of historical accuracy. Johnson has progressed from being parenthetically mentioned in a 1954 survey of American art as “a colored artist” who “remained a true primitive” to being the African-American artist par excellence.

The chattel records conclusively prove that Johnson was a mulatto, the son of a white man and a black slave woman owned by a William Wheeler. Sr. On July 15, 1782. the clerk of the Baltimore County court enrolled two documents, the bill of sale and the release from bondage of a slave named Joshua, “now aged upwards of Nineteen Years.” The bill records that on October 6…