Mixed Race Studies

Making Sense of New Census Classifications for Race

UCLA School of Public Health Magazine
June 2007
page 31

STARTING WITH THE 2000 CENSUS, the federal government revised how it collects data on race and ethnicity—respondents were allowed to identify themselves as a member of more than one category (which 7 million opted to do), whereas in prior censuses they were forced to choose one. The revision was made in recognition of the nation’s growing number of interracial couples, who in turn are producing children whose diverse lineage defies a single classification. But the change also creates potential nightmares for researchers and policymakers who rely on the data from these and other surveys to understand racial and ethnic disparities in health: When you consider all of the possible combinations, including “other,” there are now 63 multiple-race categories along with the six single-race categories.

Tommi Gaines, a UCLA School of Public Health doctoral student in biostatistics [Currently biostatistician at the University of California, San Diego School of Medicine], is tackling the challenges arising from the new collection method. “There have been goals that have been set around understanding why differences exist between races and how we can develop policies to try to eliminate or reduce these differences,” Gaines notes. “If there are disparities found between multiracial populations and a single-race category, how do we accurately reflect what’s going on with the multiracial populations, which capture a broad range of people? It becomes harder to tease out the potential problems that are causing these health differences.”…

…“As long as there continue to be differences between races in regard to health conditions, we need to continue to collect and find ways to make sense of the data so that we better understand why these disparities exist.”

Read the entire article here.

Student director tackles ‘mixed race’ issues

Daily Titan
California State University, Fullerton
2009-05-17

Sean Belk

From hapa to mestizo to mulatto, ‘Half ‘n’ Half’ acts out stories and history of miscegenation. Bright colorful faces peered through shadows of the low-lit set.

The multi-cultural group of student actors then formed a circle, surrounding an infant, and simultaneously shouted, “What would it be like to shake someone’s hand and not know what they are?”

Then, the set went dark.

It was a small 30-minute production, but the subject matter touched on a big topic that some feel has gone under-reported – the aspect of growing up as two races and the discrimination that can go along with it.

The short sketch was part of the Cal State Fullerton Theatre and Dance Department’s Spring 2009 One Act performances, May 8 and 15 in the Arena Theatre, where advanced directing students presented short plays they had been working on throughout the semester for an audience of friends, family and faculty.

“Half ‘n’ Half,” an adaptation from a 1998 compilation of essays written by 17 writers and edited by Claudine Chiawei O’Hearn, was the only play with an original script adapted from a book. The play was partly written and directed by Lissa Supler, a 25-year-old senior theatre directing major.

Half Filipino and half caucasian, Supler wanted to both share her experience on the subject of being a “mixed race” and also educate people about the history of miscegenation, a term once used to describe interracial marriages that were illegal in the United States until a Supreme Court ruling in 1967…

Read the entire article here.

Jen Chau Reflects on Her Work as a Change-Maker for Mixed-Race Communities

JVoices.com
2008-12-03

Cole Krawitz

Jen Chau, founder and director of SWIRL, (and an eagerly anticipated contributor to JVoices) will be presenting this Sunday at Inside the Activists’ Studio (which JVoices is a co-sponsor) on how activism needs a serious make-over, and tools for building a sustainable activist life. We caught up with her before the day’s event to ask her a few questions about her work, the celebration of SWIRL’s 8th Anniversary, and how the Obama campaign raised awareness of mixed-race experiences in the United States.

CK: Today you’re celebrating the 8th Anniversary of the organization you started, SWIRL, and it’s continual growth and success as a national multi-ethnic organization that challenges society’s notions of race. Tell us how this all got started, and what it’s like to watch your organization continue to grow.

JC: My work with Swirl primarily grew out of a real need for community. Since I had grown up very much between and outside of communities, I was determined to create something for those who had also experienced having “one foot in and one foot out” – mixed race individuals. Additionally, I decided at the start that Swirl would also serve interracial couples and mixed families. We have always been inclusive of anyone who feels that their experiences challenge this country’s traditional notions of “race,” culture, and identity.

Read the entire article here.

Ellen Craft’s Radical Techniques of Subversion

e-misférica
Hemispheric Institute for Performance & Politics
Issue 5.2: Race and its Others (December 2008)
16 pages

Uri McMillan, Assistant Professor of English
University of California, Los Angeles

Image by Bruce Yonemoto

This paper considers the antebellum performance(s) of fugitive slave Ellen Craft. Craft, an African-American female slave from Georgia, impersonated a white male slaveholder, Mr. William Johnson, in order to escape from slavery with her husband William. I argue that through various techniques of performance—cross-racial impersonation, prosthetics, costume, hair, and gender performance, for example—Craft radically destabilized nineteenth-century social norms, particularly racial and gender mores. An antebellum subject who manipulated her body as an elastic object, Ellen Craft made costumes out of the rigid nineteenth-century identities of “blackness” and “whiteness,” particularly 19th century white masculinity. In this paper, specifically, I analyze the corporeal techniques Craft wielded in her original performance to escape in America before moving to her appearances later on the abolitionist lecture stage in England.

Read the entire article here.

Chapter One: Barbara Jordan: American Hero

New York Times
1998-12-13

Mary Beth Rogers

Mary Beth Rogers, Barbara Jordan: American Hero, (New York: Bantam, 1998).

BARBARA CHARLINE JORDAN was born February 21, 1936, the third daughter and last child of Benjamin Meredith and Arlyne Patten Jordan. The fortunes of Ben and Arlyne were good enough to pay Dr. Thelma Patten, a relative of Arlyne’s father, John Ed, to deliver the baby at home instead of in Houston’s charity hospital, where the first two Jordan girls had been born. Ben Jordan saw his daughter almost immediately after the delivery, and his first comment was, “Why is she so dark?”

From that moment, skin and body—color, hue, texture, size, condition—began to determine who Barbara Jordan was and how she reacted to her life. She learned quite early that the degree of blackness for a black child mattered. It mattered to her father, and it mattered in the white world, which would be beyond her imagination until she was almost an adult. It also mattered in the black world, her world, the Fifth Ward of Houston, Texas, and would hit her with full force when she was in the all-black Phillis Wheatley High School in the early 1950s. There, her color, her size, her hair texture, and her features would determine and limit her choices. “Color-struck” teachers favored light-skinned students, who were given the honors and awards, the opportunities for college and jobs. They even escaped the harshness of encounters with the white law. A common saying in the African American neighborhoods was, “The lighter the skin, the lighter the sentence.”…

The pain of being a dark-skinned female goes back to slavery and intensified with Reconstruction. The preferential treatment of lighter-skinned, mixed-race African Americans by whites had “laid the groundwork for a pattern of color classism in black America.” It was the lighter-skinned African Americans who had the first opportunities for education and the benefits of freedom in post-Reconstruction America. Certain churches, neighborhoods, colleges, sororities and fraternities, social clubs, even political clubs, harbored a light-colored elite. At one time African Americans had their own “Blue Vein Society“; admission to this Nashville group depended on skin color. An applicant had to be fair enough for the spidery network of purplish veins at the wrist to be visible to a panel of expert judges.

The separate social and educational paths taken by light-skinned and dark-skinned African Americans during Reconstruction divided their world. By the turn of the century, the light-skinned mulattos were the intellectual and political leaders. They were the doctors, lawyers, teachers, writers, and entertainers, admired and emulated by the rest.

The prevalence of skin prejudice began to weaken after the Harlem Renaissance of the 1920s, and all but disappeared in the African American community with the resurgence of black pride in the 1960s and 1970s. But even before black pride, before “Black is beautiful,” before “I am somebody,” Barbara Jordan got comfortable with herself. By the time she was in the third grade, in 1944, she knew in her guts that she was somebody special. It did not matter to her how black she was. If someone didn’t like her because of her color, she just thought, “Well, those are stupid people, and I don’t have time to deal with them.” Quite early, she had the self-confidence to transcend the limits of her body, whether imposed by color, culture, physical capability—or stupidity! It was a pattern of being and behavior that stayed with her until the day she died. To all who thought that black was not as good as white, her retort was, “That’s a colossal lie!”

Read the rest of the chapter here.

Half and Half: An (Auto)ethnography of Hybrid Identities in a Korean American Mother-Daughter Relationship

Journal of International and Intercultural Communication
Volume 2, Issue 2 (May 2009)
pages 139-167
DOI: 10.1080/17513050902759512

Stephanie L. Young, Associate Professor of Communication Studies
University of Southern Indiana

This essay focuses on how immigrant mothers and second generation interracial daughters construct, perform, and negotiate racial and ethnic hybrid identities. Placing my mother’s experiences in dialogue with my own experiences, I (auto)ethnographically examine how we navigate our mother-daughter relationship and intercultural and interracial identities in relation to discourses of Asian American-ness. I identify three sites for identity formation: location, language, and the dialectical tension of assimilation-preservation. I argue that the enactment of a racial self is not always a conscious part of one’s identity. Rather, we each enact racialized cultural identities that are contextually performed and continuously shifting.

Read or purchase the article here.

Other Tongues: Mixed-Race Women Speak Out

Inanna Publications
November 2010
250 pages
ISBN-10: 1926708148
ISBN-13: 978-1-926708-14-0

Edited by

Adebe De Rango-Adem (Adebe D. A.)

Andrea Thompson

This anthology of poetry, spoken word, fiction, creative non-fiction, spoken word texts, as well as black and white artwork and photography, explores the question of how mixed-race women in North America identify in the twenty-first century. Contributions engage, document, and/or explore the experiences of being mixed-race, by placing interraciality as the center, rather than periphery, of analysis. The anthology also serves as a place to learn about the social experiences, attitudes, and feelings of others, and what racial identity has come to mean today.

Adebe De Rango-Adem recently completed a research writing fellowship at the Applied Research Center in New York, where she wrote for ColorLines, America’s primary magazine on race politics. She has served as Assistant Editor for the literary journal Existere, and is a founding member of s.t.e.p.u.p.—a poetry collective dedicated to helping young writers develop their spoken word skills. Her poetry has been featured in journals such as Canadian Woman Studies, The Claremont Review, Canadian Literature, and cv2. She won the Toronto Poetry Competition in 2005 to become Toronto’s first Junior Poet Laureate, and is the author of a chapbook entitled Sea Change (2007). Her debut poetry collection, Ex Nihilo, will be published in early 2010.

Andrea Thompson is a performance poet who has been featured on film, radio, and television, with her work published in magazines and anthologies across Canada. Her debut collection, Eating the Seed (2000), has been featured on reading lists at the University of Toronto and the Ontario College of Art and Design, and her spoken word CD, One, was nominated for a Canadian Urban Music Award in 2005. A pioneer of slam poetry in Canada, Thompson has also hosted Heart of a Poet on Bravo tv, CiTr Radio’s spoken word show, Hearsay. In 2008, she toured her Spoken Word/Play Mating Rituals of the Urban Cougar across the country, and in 2009 was the Poet of Honour at the Canadian Festival of Spoken Word.

Table of Contents (Thanks to Nicole Asong Nfonoyim)

• Acknowledgements
• Preface – Carol Camper
• Introduction – Adebe DeRango-Adem and Andrea Thompson1
• RULES/ROLES
  • Enigma – Andrea Thompson
  • Blond- Natasha Trethewey
  • Mixed- Sandra Kasturi
  • pick one – Chistine Sy and Aja
  • My Sista, Mi Hermana – Phoenix Rising
  • little half-black-breed – Tasha Beeds
  • “White Mask” – Jordan Clarke
  • “Nothing is just black or white” – Jordan Clarke
  • Roll Call – Kirya Traber
  • What Am I? – Marijane Castillo
  • Casting Call: Looking for White Girls and Latinas – D.Cole Ossandon
  • Conversations of Confrontation – Natasha Morris
  • “why i don’t say i’m white”- Alexis Kienlen
  • “Confession #8” – Mica Lee Anders
  • “Other Female” – Mica Lee Anders
  • “MMA and MLA” – Mica Lee Anders
  • The Pieces/Peace(is) in Me – monica rosas
  • Generation Gap (Hawaiian Style) – ku’ualoha ho’omanawanui
  • The Incident that Never Happened – Ann Phillips
  • In the Dark – Anajli Enjeti-Sydow
  • ananse vs. anasi (2007) – Rea McNamara
  • Contamination-  Amber Jamilla Musser
  • A Mixed Journey From the Outside In – Liberty Hultberg
  • What Are You? – Kali Fajardo-Anstine
  • One Being Brown – Tru Leverette
  • One for Everyday of the Week – Michelle Lopez Mulllins
  • Savage Stasis – Gena Chang-Campbell
  • The Half-Breed’s Guide to Answering the Question – M. C. Shumaker
  • My Definition – Kay’la Fraser
  • Pop Quiz – Erin Kobayashi
• ROOTS/ROUTES
  • Melanomial – Sonnet L’Abbe
  • half-breed – Jonina Kirton
  • “Inca/Jew” – Margo Rivera-Weiss
  • Open Letter – Adebe DeRango Adem
  • Prism Woman – Adebe DeRango-Adem
  • Southern Gothic – Natasha Trethewey
  • The Drinking Gourd- Miranda Martini
  • Reflection – Jonina Kirton
  • “Untitled” White Sequence – Cassie Mulheron
  • “Untitled” Black Sequence – Cassie Mulheron
  • Mapping Identities – Gail Prasad
  • Whose Child Are You? – Amy Pimentel
  • From the Tree – Lisa Marie Rollins
  • My sister’s hair – ku’ualoha ho’omanawanui
  • I, too, hear the dreams – Peta Gaye-Nash
  • Learning to Love Me – Michelle Jean-Paul
  • A Conversation among Friends – Nicole Salter
  • The Combination of the Two – Rachel Afi Quinn
  • “Loving Series: Elena Rubin” – Laura Kina
  • On the Train – Naomi Angel
  • Coloured – Sheila Addiscott
  • Of Two Worlds – Christina Brobby
  • What is my Culture? – Karen Hill
  • mo’oku’auhau (Genealogy) – ku’ualoha ho’omanawanui
  • Siouxjewgermanscotblack [cultural software instructions] – Robin M. Chandler
  • “Loving Series: Shoshanna Weinberger” – Laura Kina
  • A Hairy Situation – Saedhlinn B. Stweart-Laing
  • “Pot Vida” – Margo Rivera-Weiss
  • Songs Feet Can Get – Rage Hezekiah
  • Opposite of Fence – Lisa Marie Rollins
  • Applique – Lisa Marie Rollins
  • Blanqueamiento – Adebe DeRango-Adem
  • The Land – Farideh de Bossett
  • Native Speaker: Daring to Name Ourselves – Nicole Asong Nfonoyim
• REVELATIONS
  • Colour Lesson I – Adebe DeRango-Adem
  • Concealed Things – Adebe DeRango-Adem
  • Serendipity – Priscila Uppal
  • “Ultramarine” – Margo Rivera-Weiss
  • before i was this – Katherena Vermette
  • Firebelly – Andrea Thompson
  • From Chopsticks to Meatloaf and Back Again – Jasmine Moy
  • My Power – Sonnet L’Abbe
  • Whitewashed – Kathryn McMillan
  • Actually, I’m Black – Marcelite Failla
  • “Self” – Lisa Walker
  • Grey (A Bi-racial Poem) – Sonya Littlejohn
  • Nubia’s Dream – Mica Valdez
  • both sides – Jonina Kirton
  • Mulatto Nation – Marika Schwandt
  • Colour Lesson II – Adebe DeRango-Adem
  • racially queer femme – Kimberly Dree Hudson
  • mypeople – Ruha Benjamin
  • My Life in Pieces – Jennifer Adese
  • Burden of Proof: From Colon-Eyes to Kaleidoscope – Angela Dosalmas
  • Recipe for mixing – Tomie Hahn
  • Metamorphosis – Gena Chang-Campbell
  • The Land Knows – Shandra Spears Bombay
  • Land in Place: Mapping the Grandmother – Joanne Arnott
  • “I am the leaf, you are the leaf” – Lisa Walker
  • Language and the Ethics of Mixed Race – Debra Thompson
  • Hybrid Identity and Writing of Presence – Jackie Wang
• Contributors Notes

“’Tain’t no tragedy unless you make it one”: Imitation of Life, Melodrama, and the Mulatta

Arizona Quarterly: A Journal of American Literature, Culture, and Theory
Volume 66, Number 4, Winter 2010
pages 93-113
E-ISSN: 1558-9595, Print ISSN: 0004-1610

Molly Hiro, Assistant Professor of English
University of Portland, Portland, Oregon

“I just moved here. My name is Maureen Peal. What’s yours?”

“Pecola.”

“Pecola? Wasn’t that the name of the girl in Imitation of Life?”

“I don’t know. What is that?”

“The picture show, you know. Where this mulatto girl hates her mother ’cause she is black and ugly but then cries at the funeral. It was real sad. Everybody cries in it. Claudette Colbert too.”

—Toni Morrison, The Bluest Eye, 1970

Sometimes, when I feel as though I cannot stand this agony, this torture, this scorn, I’m utterly glad that Peola did what she did. Sometimes when Fannie Hurst is engraved deeply in my mind, I say to myself while I am washing dishes or getting dinner, “I wonder how Peola and her white husband got along. I wonder if he ever found out.”

—from a fan letter to Fannie Hurst, 1934

The epigraphs with which I begin demonstrate the remarkable emotional staying power of Peola, the young mixed-race character in Fannie Hurst’s 1933 novel Imitation of Life and the two film adaptations titled the same. Yet even a cursory glance shows that Peola appeals quite differently to one of these speakers than to the other. In The Bluest Eye, Maureen Peal remembers Imitation of Life for its power to make “everybody cr[y]” along with Peola, who herself expresses regret for “hat[ing] her mother” by “cr[ying] at the funeral” (67). Here, Peola’s fate—what makes the story “real sad”—communicates a clear moral lesson through a shared emotional experience, but in the second quotation, Peola is made to seem far less accessible, her fate far more open-ended. The anonymous…

Read or purchase the article here.

Imitation of Life

Duke University Press
2004 (Originially published in 1933)
352 pages
6 b&w photos, 1 line drawing
Paperback ISBN: 978-0-8223-3324-1

Fannie Hurst (1889–1968)

Edited by:

Daniel Itzkovitz, Associate Professor of  American Literature and Culture
Stonehill College, North Easton, Massachusetts

A bestseller in 1933, and subsequently adapted into two beloved and controversial films, Imitation of Life has played a vital role in ongoing conversations about race, femininity, and the American Dream. Bea Pullman, a white single mother, and her African American maid, Delilah Johnston, also a single mother, rear their daughters together and become business partners. Combining Bea’s business savvy with Delilah’s irresistible southern recipes, they build an Aunt Jemima-like waffle business and an international restaurant empire. Yet their public success brings them little happiness. Bea is torn between her responsibilities as a businesswoman and those of a mother; Delilah is devastated when her light-skinned daughter, Peola, moves away to pass as white. Imitation of Life struck a chord in the 1930s, and it continues to resonate powerfully today.

The author of numerous bestselling novels, a masterful short story writer, and an outspoken social activist, Fannie Hurst was a major celebrity in the first half of the twentieth century. Daniel Itzkovitz’s introduction situates Imitation of Life in its literary, biographical, and cultural contexts, addressing such topics as the debates over the novel and films, the role of Hurst’s one-time secretary and great friend Zora Neale Hurston in the novel’s development, and the response to the novel by Hurst’s friend Langston Hughes, whose one-act satire, “Limitations of Life” (which reverses the races of Bea and Delilah), played to a raucous Harlem crowd in the late 1930s. This edition brings a classic of popular American literature back into print.

The genealogical imagination: the inheritance of interracial identities

The Sociological Review
Volume 53, Issue 3 (August 2005)
pages 476–494
DOI: 10.1111/j.1467-954X.2005.00562.x

Katharine Tyler, Lecturer in Race and Ethnicity
Department of Sociology
University of Surrey

The aim of this article is to examine ethnographically how ideas of descent, biology and culture mediate ideas about the inheritance of racial identities. To do this, the article draws upon interviews with the members of interracial families from Leicester, a city situated in the East Midlands region of England. The article focuses upon the genealogical narratives of the female members of interracial families who live in an ethnically diverse inner-city area of Leicester. Attention is paid to the ways in which the women mobilise and intersect ideas about kinship, ancestry, descent, belonging, place, biology and culture when they think about the inheritance of their own and/or their children’s interracial identities. The article’s emphasis upon the constitution of interracial identities contributes to the sociological study of race and genealogy by exploring the racialised fragmentation of ideas of inheritance and descent across racial categories and generations.

Read or purchase the article here.