Mixed Race Studies

Mix-d: uk (Photography Exhibition)

New Walk Museum & Art Gallery
2009-10-17 through 2009-12-31

Opening Times:
Monday – Friday: 10:00 – 19:00
Saturday: 10:00 – 17:00
Sunday: 11:00 – 17:00
Closed: 24th, 25th, 26th, 31st December.

Address:
53 New Walk
Leicester
LE1 7EA
 
Telephone: +44 (0)116 225 4900
Email: museums@leicester.gov.uk

Looking at mixed-race identities on its own terms. The exhibition puts people from mixed-race backgrounds at the centre of the discussion, looking at the subject through their shared, similar and sometimes completely different experiences.

The Multiple Heritage Project based in Manchester has developed this thought-provoking exhibition under the leadership of Bradley Lincoln.
 
The Multiple Heritage Project has successfully brought the thoughts and feelings of the mixed race community into the public realm.
 
Partnering a mixture of photographic images taken by Richard Milnes together with brief captions explaining how the individuals regard themselves.

A powerful view of many different faces, of different ages, describing their shared identity in very different ways.
 
Providing the viewer an understanding of how diverse mixed raced backgrounds are, and the terminology chosen by the people themselves. Prompting the viewer to question how they would like to be described.
 
Not just a collection of images, the exhibition places people of mixed race backgrounds at the centre of the discussion and looks at the subject through their shared, similar and different experiences.

Blind Boone: Missouri’s Ragtime Pioneer

University of Missouri Press
1998
136 pages
6 x 9.
Biblio. Index. 25 illus.
ISBN: 0-8262-1198-4

Jack A. Batterson

Often overlooked by ragtime historians, John William “Blind” Boone had a remarkably successful and influential music career that endured for almost fifty years. Blind Boone: Missouri’s Ragtime Pioneer provides the first full account of the Missouri-born musician’s amazing story of overcoming the odds.

Boone’s background and his approach to music contributed to his ability to bridge gaps–gaps between blacks and whites and gaps between popular and classical music. Boone’s thousands of performances from 1879 to 1927 brought blacks and whites into the same concert halls as he played a mixture of popular and classical tunes.  A pioneer of ragtime music, Boone was the first performer to give the musical style legitimacy by bringing it to the concert stage.

The mulatto child of a former slave and a Union soldier, Boone was born in Miami, Missouri, in 1864 amid the chaos of the Civil War.  At six months he was diagnosed with “brain fever.” Doctors, believing they were performing a lifesaving procedure, removed Boone’s eyes and sewed his eyelids shut.

Despite blindness and poverty, Boone was a fun-loving, cheerful child.  Growing up in Warrensburg, Missouri, he played freely with both black and white children, undaunted by racial differences or his own disabilities. He exhibited a keen ear and musical promise early in life; at only five years of age he recruited older boys and formed a band.

Recognizing Boone’s talent, the town’s prominent citizens sent him to the St. Louis School for the Blind. There he excelled at music and amazed his instructors. However, Boone became increasingly unhappy with the school’s treatment of him and he frequently ran away to the tenderloin district of the city, where he first experienced ragtime. As a result of his forays, he was expelled after only two and a half years.

After some harrowing experiences, Boone met John Lange Jr., a benevolent black contractor and philanthropist in Columbia, Missouri. Boone and Lange began a lifelong friendship, which developed from their partnership in the Blind Boone Concert Company.  Although the two experienced hardships and racism, fires and train wrecks, Lange’s guidance and Boone’s talent secured 8,650 concerts in the United States, Canada, and Mexico.

Blind Boone: Missouri’s Ragtime Pioneer offers an engaging and readable account of the personal and professional life of Blind Boone. This book will appeal to the general reader as well as anyone interested in African American studies or music history.

What Are You? The Changing Face of America with Kip Fulbeck

National Association of Independent Schools (NAIS)
2010 Annual Conference
Dates: 2010-02-24 through 2010-02-26
Moscone Convention Center West
San Francisco, California, USA
Adapt, Survive, Thrive: Unleashing the Superpowers Within

Kip Fulbeck, Professor of Performative Studies, Video
University of California, Santa Barbara

Friday, 2010-02-26
13:30 – 14:30 PDT (Local Time)

A seminal artist exploring multiracial identity, Kip Fulbeck captivates audiences with his videos, performances, and writings. His words and artwork have received a landslide of attention from media as diverse as MTV and CNN. On stage his uniquely personal monologues and multimedia shows combine stand-up comedy with a powerful and politically charged edge, leading audiences to honestly consider Who Am I? Using his own Cantonese, English, Irish, and Welsh background as a springboard, Fulbeck confronts media imagery of Asian men, interracial dating patterns, and icons of race and sex in the U.S., constantly questioning where Hapas “fit in” in a country that ignores multiracial identity. His work invites and inspires viewers to explore how ethnic stereotypes and opinions on interracial dating, gender roles, and personal identity are formed. A professor at the University of California, Santa Barbara, Fulbeck has performed and exhibited across the U.S. and in more than 20 countries. He has twice keynoted the National Conference on Race in Higher Education to standing ovations; directed 13 independent videos; and authored the critically acclaimed books Paper Bullets: A Fictional Autobiography and Part Asian, 100% Hapa, featuring portraits of multiracials of Asian/Pacific Islander descent, with an introduction by Sean Lennon.

Queer in Black and White: Interraciality, Same Sex Desire, and Contemporary African American Culture

Indiana University Press
2009-04-21
152 pages
5 b&w photos, 5.5 x 8.25
ISBN-13: 978-0-253-22109-4

Stefanie K. Dunning, Associate Professor
Miami University, Oxford, Ohio

This book analyzes representative works of African American fiction, film, and music in which interracial desire appears in the context of same sex desire. In close readings of these “texts,” Stefanie K. Dunning explores the ways in which the interracial intersects with queerness, blackness, whiteness, class, and black national identity. She shows that representations of interracial desire do not follow the logic of racial exclusion. Instead they are metaphorical and anti-biological. Rather than diluting race, interracial desire makes race visible. By invoking the interracial, black gay and lesbian artists can remake our conception of blackness.

Table of Contents

• Acknowledgments
• Introduction
• 1. “Ironic Soil”: Recuperative Rhythms and Negotiated Nationalism
• 2. “No Tender Mercy”: Same-Sex Desire, Interraciality, and the Black Nation
• 3. (Not) Loving Her: A Locus of Contradictions
• 4. “She’s a B*(u)tch”: Centering Blackness in The Watermelon Woman
• Epilogue: Reading Robert Reid-Pharr
• Notes
• Index

Thomas Satterwhite Noble’s Mulattos: From Barefoot Madonna to Maggie the Ripper

Journal of American Studies
Volume 41, Issue 1 (April 2007)
pages 83-114
DOI: 10.1017/S0021875806002763

Jo-Ann Morgan, Associate Professor of Art History and African American Studies
Western Illinois University

With emancipation a fait accompli by 1865, one might ask why Kentucky-born Thomas Satterwhite Noble (1835–1907), former Confederate soldier, son of a border state slaveholder, began painting slaves then. Noble had known the “peculiar institution” at first hand, albeit from a privileged position within the master class. As a result, his choice to embark upon a career as a painter using historical incidents from slavery makes for an interesting study. Were the paintings a way of atoning for his Confederate culpability, a rebel pounding his sword into a paintbrush to appease the conquering North? Or was he capitalizing on his unique geographic perspective as a scion of slave-trafficking Frankfort, Kentucky, soon to head a prestigious art school in Cincinnati, the city where so many runaways first tasted freedom? Between 1865 and 1869 Noble exhibited in northern cities a total of eight paintings with African American subjects. Two of these, The Last Sale of Slaves in St. Louis (1865, repainted ca. 1870) and Margaret Garner (1867), featured mixed-race women, or mulattos, as they had come to be called. From a young female up for auction, to the famous fugitive Margaret Garner, his portrayals show a transformation taking place within perceptions of biracial women in post-emancipation America. Opinions about mulattos surfaced in a range of theoretical discussions, from the scientific to the political, as strategists North and South envisioned evolving social policy.

Margaret Garner or The Modern Medea (1867)

American Mixed Race: The Culture of Microdiversity

Rowman & Littlefield Publishers, Inc.
March 1995
420 pages
6 1/4 x 9 1/4
Cloth ISBN: 0-8476-8012-6 / 978-0-8476-8012-2
Paper ISBN: 0-8476-8013-4 / 978-0-8476-8013-9

Edited by Naomi Zack, Professor of Philosophy
University of Oregon

This exciting multidisciplinary collection brings together twenty-two original essays by scholars on the cutting edge of racial theory, who address both the American concept of race and the specific problems experienced by those who do not fit neatly into the boxes society requires them to check.

List of Contributors
Linda Alcoff, Debra A. Barrath, Jennifer Clancy, Susan Clements, F. James Davis, Abby L. Ferber, Carlos A. Fernandez, Freda Scott Giles, David Theo Goldberg, Susan R. Graham, Helena Jia Hershel. M. Annette Jaimes, Cecile Ann Lawrence, Zena Moore, Maria P.P. Root, Laurie Shrage, Stephen Satris, Carol Roh Spaulding, Mariella Squire-Hakey, Teresa Kay Williams, Bruentta R. Wolfman, and Naomi Zack.

Table of Contents

• Introduction – Naomi Zack
• Autobiography
  • Five Arrows – Susan Clements
  • Color Fades Over Time – Brunetta R. Wolfman
  • Racelessness – Cecile Ann Lawrence
  • Check the Box That Best Describes You – Zena Moore
  • What Are They? – Stephen Satris
• Art
  • From Melodrama to the Movies – Freda Scott Giles
  • The Theater of Identity – Teresa Kay Williams
  • The Go-Between People – Carol Roh Spaulding
• Social Science
  • The Hawaiian Alternative to the One-Drop Rule – F. James Davis
  • Some Kind of Indian – M. Annette Jaimes
  • Exploring the Social Construction of Race – Abby L. Ferber
  • Therapeutic Perspectives on Biracial Identity Formation and Internalized Oppression – Helena Jia Hershel
• Public Policy
  • Grassroots Advocacy – Susan R. Graham
  • Testimony of the Association of Multi Ethnic Americans – Carlos A. Fernàndez
  • Multiracial Identity Assertion in the Sociopolitical Context of Primary Education – Jennifer Clancy
  • Yankee Imperialism and Imperialist Nostalgia – Mariella Squire-Hakey
• Identity Theory
  • The Multiracial Contribution to the Psychological Browning of America – Maria P. P. Root
  • Made in the USA – David Theo Goldberg
  • Mestizo Identity – Linda Alcoff
  • Race and Racism – Debra A. Barrath
  • Ethnic Transgressions: Confessions of an Assimilated Jew – Laurie Shrage
  • Life After Race – Naomi Zack

5 Shades of Pink: A Coerced Identity

In cooperation with The Graduate Association of Rhetoric and Performance Studies.
A Graduate Thesis Performance Exploring Biracial Identity in the 19th Century.

Monroe Lecture Center Theater
California Avenue, South Campus
Hofstra University
2009-03-19 19:30 (Local Time)

by Melissa J. Edwards
Hofstra University

This performance explores the influences of the 1859 play The Octoroon by Dion Boucicault, miscegenation laws, and the U.S. Census on biracial identity.  All these factors are used in the analysis of the racial identity of [“Pinky”] Sally Maria Diggs, a 9-year-old girl whose freedom was purchased by the congregation [for $900 USD on 1860-02-05] of Plymouth Church, Brooklyn, through the efforts of the Reverend Henry Ward Beecher and his associates.  The performance is intended to educate and present the theories of social impact on racial identity while providing historical fact and content.

“Freedom Ring” by Eastman Johnson, from the Brooklyn Daily Eagle, 1934-03-21, p. 1
Courtesy of the Brooklyn Public Library

Kip Fulbeck: Part Asian, 100% Hapa

University of North Carolina
FedEx Global Education Center
2009-07-01 through 2009-10-31
08:00 to 21:00 (ET Local Time)

For this exhibition of portraits, artist Kip Fulbeck traveled the country photographing Hapa of all ages and walks of life. Once a derogatory label derived from the Hawaiian word for “half,” the word Hapa has been embraced as a term of pride for many whose mixed-race heritage includes Asian or Pacific Rim ancestry. Fulbeck’s work seeks to address in words and images the one question that Hapa are frequently asked: What are you? By pairing portraits of Hapa unadorned by make-up, jewelry and clothing along with their handwritten statements on who they are, Fulbeck has produced powerful yet intimate expressions of beauty and identity. “kip fulbeck: part asian, 100% hapa” is organized by the Japanese American National Museum in Los Angeles, California. It is supported in part by the James Irvine Foundation and is part of the Global Education Distinguished Speakers Series.

For more information, click here.

Sonata Mulattica: Poems

W. W. Norton & Company, Inc.
2009
240 pages
6.3 × 9.3 in
Hardcover ISBN: 978-0-393-07008-8

Rita Dove, Commonwealth Professor of English
University of Virginia

In a book-length lyric narrative inspired by history and imagination, a much celebrated poet re-creates the life of a nineteenth-century virtuoso violinist.

The son of a white woman and an “African Prince,” George Polgreen Bridgetower (1780–1860) travels to Vienna to meet “bad-boy” genius Ludwig van Beethoven.  The great composer’s subsequent sonata is originally dedicated to the young mulatto but George, exuberant with acclaim, offends Beethoven over a woman. From this crucial encounter evolves a grandiose yet melancholy poetic tale.

Representations of the Black Body in Mexican Visual Art: Evidence of an African Historical Presence or a Cultural Myth?

Journal of Black Studies
Volume 39, Number 5 (May 2009)
pages 761-785
DOI: 10.1177/0021934707301474

Wendy E. Phillips, Photographer
Atlanta, GA

Although Africans have been present in Mexico since the time of the Afro-Atlantic slave trade, the larger Mexican culture seems to have forgotten this aspect of its history.  Although the descendents of these original Africans continue to live in the communities of coastal Oaxaca, Guerrero, and Veracruz states, many Mexicans seem to be unaware of their existence. This article reviews works of visual art made from the 1700s through the present that represent images of Mexicans of African descent and provide evidence of a historical Afromestizo presence in Mexico.  The works are also considered as possible sources of evidence about prevailing attitudes about Mexicans of African descent and anxieties about race mixing.  This article provides a brief overview of Mexico’s historical relationship with Africa as a participant in the Afro-Atlantic slave trade and considers the work of muralists, painters, and photographers who have created works of art in various regions of the country.

Read or purchase the article here.