Mixed Race Studies

Queer Punk Macha Femme: Leslie Mah’s Musical Performance in Tribe 8

Cultural Studies↔Critical Methodologies
Volume 10, Number 4 (August 2010)
pages 295-306

Deanna Shoemaker, Assistant Professor of Applied Communication (Performance Studies)
Monmouth University, West Long Branch, New Jersey

This essay analyzes the musical performances of Leslie Mah, biracial lead guitarist and backup vocalist for the legendary all-female, queercore punk band Tribe 8, whose members broke up in 2005 after fifteen years together. Inspired by the recent turn in performance studies toward studies of music as performance, this work employs multiple methods and objects to get at the complex totality of popular music’s performativity. Mah’s macha femme persona, playing style, and performance of identity as a lesbian woman of color within queercore punk music allow her to enter a carnivalesque realm of feminist menace, palpable rage, and unruly pleasure. Mah’s performance strategies and articulations of her queer and biracial identities in interviews are contextualized within feminist performance, riot grrrl, and punk music studies. Tribe 8’s lyrics, music, marketing, and band member personas provide cultural context for Mah’s distinctive performance of macha femme.

Read or purchase the article here.

Blackberries and Redbones: Critical Articulations of Black Hair/ Body Politics in Africana Communities

Hampton Press
July 2010
484 pages
Paper ISBN: 978-1-57273-881-2
Cloth ISBN: 978-1-57273-880-5

Edited by

Regina E. Spellers, President and CEO
Eagles Soar Consulting, LLC

Kimberly R. Moffitt, Assistant Professor of American Studies
University of Maryland, Baltimore County

This book features engaging scholarly essays, poems and creative writings that all examine the meanings of the Black anatomy in our changing global world. The body, including its hair, is said to be read like a text where readers draw center interpretations based on signs, symbols, and culture. Each chapter in the volume interrogates that notion by addressing the question, “As a text, how are Black bodies and Black hair read and understood in life, art, popular culture, mass media, or cross-cultural interactions?” Utilizing a critical perspective, each contributor articulates how relationships between physical appearance, genetic structure, and political ideologies impact the creativity, expression, and everyday lived experiences of Blackness. In this interdisciplinary volume, discussions are made more complex and move beyond the “straight versus kinky hair” and “light skin versus dark skin” paradigm. Instead efforts are made to emphasize the material consequences associated with the ways in which the Black body is read and (mis)understood. The aptness of this work lies in its ability to provide a meaningful and creative space to analyze body politics—highlighting the complexities surrounding these issues within, between, and outside Africana communities. The book provides a unique opportunity to both celebrate and scrutinize the presentation of Blackness in everyday life, while also encouraging readers to forge ahead with a deeper understanding of these ever-important issues.

Table of Contents

• Foreword, Haki R. Madhubuti
• Introduction, Regina E. Spellers and Kimberly R. Moffitt
• SECTION ONE: Hair/Body Politics as Expression of the Life Cycle
  • The Big Girl’s Chair: A Rhetorical Analysis of How Motions for Kids Markets Relaxers to African American Girls, Shauntae Brown White
  • Pretty Color ’n Good Hair: Creole Women of New Orleans and the Politics of Identity, Yaba Amgborale Blay
  • Invisible Dread: From Twisted: The Dreadlocks Chronicles, Bert Ashe
  • Social Constructions of a Black Woman’s Hair: Critical Reflections of a Graying Sistah, Brenda J. Allen
  • What it Feels Like for a (Black Gay HIV+) Boy, Chris Bell
• SECTION TWO: Hair/Body as Power
  • Dominican Dance Floor, Kiini Ibura Salaam
  • Covering Up Fat Upper Arms, Mary L. O’Neal
  • Cimmarronas, Ciguapas, and Senoras: Hair, Beauty, and National Identity in the Dominican Republic, Ana-Maurine Lara
  • Of Wigs and Weaves, Locks and Fades: A Personal Political Hair Story, Neal A. Lester
  • “Scatter the Pigeons”: Baldness and the Performance of Hyper-Black Masculinity, E. Patrick Johnson
• SECTION THREE: Hair/Body in Art and Popular Culture
  • From Air Jordan to Jumpman: The Black Male Body as Commodity, Ingrid Banks
  • Cool Pose on Wheels: An Exploration of the Disabled Black Male in Film, Kimberly R. Moffitt
  • Decoding the Meaning of Tattoos: Cluster Criticism and the Case of Tupac Shakur’s Body Art, Carlos D. Morrison, Josette R. Hutton, and Ulysses Williams, Jr.
  • Blacks in White Marble: Interracial Female Subjects in Mid-Nineteenth-Century Neoclassicism, Charmaine Nelson
  • Changing Hair/Changing Race: Black Authenticity, Colorblindness, and Hairy Post-ethnic Costumes in “Mixing Nia”, Ralina L. Joseph
  • “I’m Real” (Black) When I Wanna Be: Examining J. Lo’s Racial ASSets, Sika Alaine Dagbovie and Zine Magubane
• SECTION FOUR: Celebrations, Innovations, and Applications of Hair/Body Politics
  • Diaspora in My Hair: A Poetic Narrative of My Experience in Europe, Nadège Tanite Clitandre
  • Broken Mirrors and Reflections of One’s Self: Blackness, Indianness, and Hybridity, Hershini Bhana Young
  • Sun Kissed or Sun Cursed?: Exploring Color Consciousness and Black Women’s Tanning Experiences, Regina E. Spellers
  • African Men in the United States: Stories of Race, Gender, Sexuality, and Power, Hameed S. (Herukhuti) Williams
  • Weaving Messages of Self-Esteem: Empowering Mothers and Daughters through Hair Braiding, Tracey Y. Lewis-Elligan
• SECTION FIVE: Contradictions, Complications, and Complexities of Hair/Body Politics
  • Divas to the Dance Floor Please!: A Neo-Black Feminist Readin(g) of Cool Pose, D. Nebi Hilliard
  • Coming Out Natural: Dreaded Desire, Sex Roles, and Cornrows, L. H. Stallings
  • “I am More than a Victim”: The Slave Woman Stereotype in Antebellum Narratives by Black Men, Ellesia A. Blaque
  • Two Warring Ideals, One Dark Body: Hegemony, Duality, and Temporality of the Black Body in African-American Religion, Stephen C. Finley
  • The Snake that Bit Medusa: One (Phenotypically) White Woman’s Dreads, Kabira Z. Cadogan
• Author Index
• Subject Index

A Reflection on Mixedness

Runnymede Trust
July 2010

Sabrina Mahfouz, Poet, Writer and Playwright

On the 27 May Runnymede and the Arts Council held a joint seminar in which they invited a group of arts practioners and policy makers to come and debate the nature of ‘Arts and Mixedness’; as well as what—if anything—the Arts Council should be doing to encourage, fund or facilitate engagement with people racialised as mixed.  Several of the participants subsequently provided reflections on the meeting and on the subject of mixedness and the arts.

The following submission was kindly provided by the writer, playwright and poet Sabrina Mahfouz.

‘Mixedness’ in it’s definition is so complex that it is often shied away from or regarded as being catered for via more specific diversity categories. I think the arts are somewhere to explore the possibility that this is not enough. In a Britain where ‘mixedness’ will one day be the majority minority (if it isn’t already) the arts should be reflecting this in its content, commissioning and – perhaps most importantly, in its casting (without it being a box-ticking exercise). Mixedness of course goes further than race – social class, religion and sexuality are some of the most obvious factors and for the moment it seems that discussion and awareness are much more important than policy and targets…

Read the entire article here.

Claiming the (n)either/(n)or of ‘third space’: (re)presenting hybrid identity and the embodiment of mixed race

Journal of Intercultural Studies
Volume 25, Issue 1 (April 2004)
pages 75 – 85
DOI: 10.1080/07256860410001687036

Torika Bolatagici, Associate Lecturer
School of Communication & Creative Arts
Deakin University, Melbourne, Austrailia

As a multiracial artist, I am interested in how people of mixed race have been represented in popular culture and how mixed race image-makers can redress popular representation and facilitate a movement beyond the dichotomy, which seeks to reduce us to the sum of our parts. In the footsteps of Evelyn Alsultany I advocate the creation of a new cartography—a space that is inclusive and beyond existing notions of race. To this end I embarked on a project of exploration of the representation of multiracial identity, drawing from Homi K. Bhabha’s notion of Third Space.

Read or purchase the article here.

Questions for Maya Soetoro-Ng: All in the Family

The New York Times
2008-01-20

Deborah Solomon

Q: Let’s talk about the Democratic presidential caucuses taking place on Feb. 19, in Hawaii, where Barack Obama was born. Will you be campaigning for your brother?
Yes, of course. I have taken time off from my various teaching jobs in Honolulu and just got back from two months of campaigning. I have a bumper sticker on my car that says: “1-20-09. End of an Error.”…

Do you think of your brother as black?
Yes, because that is how he has named himself. Each of us has a right to name ourselves as we will.

Do you think of yourself as white?
No. I’m half white, half Asian. I think of myself as hybrid. People usually think I’m Latina when they meet me. That’s what made me learn Spanish.

That sort of culturally mixed identity was seen as an anomaly when you were growing up.
Of course, there was a time when that felt like unsteady terrain, and it made me feel vulnerable…

Read the entire interview here.

Professor Marsha Daria to be Featured Guest on Mixed Chicks Chat

Mixed Chicks Chat (The only live weekly show about being racially and culturally mixed. Also, founders of the Mixed Roots Film & Literary Festival) Hosted by Fanshen Cox and Heidi W. Durrow
Website: TalkShoe™ (Keywords: Mixed Chicks)
Episode: #160 – Professor Marsha D. Daria
When: Wednesday, 2010-06-30, 21:00Z (17:00 EDT, 14:00 PDT)

Marsha D. Daria, Associate Professor of Education (dariam@wcsu.edu)
Western Connecticut State University

Marsha D. Daria, Ph. D., Associate Professor of Education at Western Connecticut State University, is a former principal and classroom teacher. Her research interests are in multicultural education and health issues. She is currently working on a documentary about multiracial children.

Danbury’s multiracial students to star in film

The Connecticut Post
2010-04-02

Eileen FitzGerald, Staff Writer

Danbury, Connecticut—The three boys wore jeans and long-sleeve T-shirts. The two girls each wore a dozen bracelets and necklaces. They looked like typical students in the library media center at Broadview Middle School.

It was their differences, however, that brought them together Monday. They’re subjects in a documentary in which Western Connecticut State University professor Marsha Daria is examining the identity and social relationships of multiracial children.

Daria is interviewing elementary, middle and high school students to help educators and teacher training programs consider multiracial students in the curriculum and school issues…

Read the entire article here.

Woman of Color, Daughter of Privilege: Amanda America Dickson, 1849–1893

University of Georgia Press
1996
248 pages
Illustrated
Trim size: 6 x 9
Paperback ISBN: 978-0-8203-1871-4

Kent Anderson Leslie

The true story of a slave who became the wealthiest black woman in the South

This fascinating story of Amanda America Dickson, born the privileged daughter of a white planter and an unconsenting slave in antebellum Georgia, shows how strong-willed individuals defied racial strictures for the sake of family. Kent Anderson Leslie uses the events of Dickson’s life to explore the forces driving southern race and gender relations from the days of King Cotton through the Civil War, Reconstruction, and New South eras.

Although legally a slave herself well into her adolescence, Dickson was much favored by her father and lived comfortably in his house, receiving a genteel upbringing and education. After her father died in 1885 Dickson inherited most of his half-million dollar estate, sparking off two years of legal battles with white relatives. When the Georgia Supreme Court upheld the will, Dickson became the largest landowner in Hancock County, Georgia, and the wealthiest black woman in the post-Civil War South.

Kent Anderson Leslie’s portrayal of Dickson is enhanced by a wealth of details about plantation life; the elaborate codes of behavior for men and women, blacks and whites in the South; and the equally complicated circumstances under which racial transgressions were sometimes ignored, tolerated, or even accepted.

Table of Contents

• Acknowledgments
• Introduction
• CHAPTER 1. Exceptions to the Rules
• CHAPTER 2. A Story
• CHAPTER 3. The Dickson Will
• CHAPTER 4. The Death of a Lady
• Appendixes
• Notes
• Bibliography
• Index

2007 URO Spotlight: Noel Voltz – History and African American Studies

Undergraduate Research Office
The Ohio State University

Noel Voltz is finishing her degree in African American and African Studies. She is currently writing her Honors Thesis and plans on continuing her research and pursuing a PhD in History.

…What specifically have you researched, and what projects are you currently working on?

My research project/honors thesis is entitled “Black Female Agency and Sexual Exploitation: Quadroon Balls and Plaçage Relationships” and I have been working on it for the past two years.  I am conducting historical research that focuses on New Orleans from 1805 to 1860.  More specifically, I am studying the relationship choices made by some of these free women of color.  It appears that some of these women chose to enter into sexual relationships with white men as a mean of gaining social standing, protection, and money.  Until recently, historians have overlooked the lives of Louisiana’s free women of color during the colonial and antebellum eras.  This research, therefore, expands historical knowledge about the unique social institution of Quadroon Balls and plaçage relationships in order to give greater breadth to our understanding of free women of color’s sexual and economic choices. Ultimately, I plan to continue this project as my graduate dissertation…

Read the entire article here.

Black Female Agency and Sexual Exploitation: Quadroon Balls and Plaçage Relationships

Ohio State University
May 2008
81 Pages

Noël Voltz
The Ohio State University

A Senior Honors Thesis Presented in Partial Fulfillment of the Requirements for graduation with research distinction in the undergraduate colleges of The Ohio State University

In 1805, a New Orleans newspaper advertisement formally defined a new social institution, the infamous Quadroon Ball, in which prostitution and plaçage–a system of concubinage–converged. These elegant balls, limited to upper-class white men and free “quadroon” women, became interracial rendezvous that provided evening entertainment and the possibility of forming sexual liaisons in exchange for financial “sponsorship.” It is the contention of this thesis such “sponsored” relationships between white men and free women of color in New Orleans enabled these women to use sex as a means of gaining social standing, protection, and money. In addition, although these arrangements reflected a form of sexual exploitation, quadroon women were able to become active agents in their quest for upward social mobility.

Until recently, historians have overlooked the lives of Louisiana’s free women of color during the colonial and antebellum eras. My research, therefore, expands historical knowledge about the unique social institution of Quadroon Balls and plaçage relationships in order to give greater breadth to scholarly understandings of quadroon women’s sexual and economic choices. This research formally began in summer 2006, during my participation in the Summer Research Opportunities Program (SROP) at the Ohio State University. Through this experience, I was able to begin analyzing the institution of Quadroon Balls and I have discovered the immense possibilities of this topic. While there are many directions that this research can take, I have decided to focus my undergraduate research and honors thesis on the history of the balls and quadroon women’s agency in antebellum New Orleans. In order to research these concepts, I have utilized a combination of primary sources and secondary sources written about women of color. In winter 2006, I was awarded an Undergraduate Research Scholarship and, with this money, I visited New Orleans and Baton Rouge to conduct archival research. My most recent trip to New Orleans and Baton Rouge has augmented my understanding of the topic by providing a large quantity of primary source materials, including court cases and other legal documents, as well as affording me an opportunity to experience archival research first hand in the actual historical environment in which the balls took place. Ultimately, I plan to continue my current research as my dissertation topic.

Table of Contents

Acknowledgments
Abstract
“The Quadroon Ballroom” Poem by Rixford J. Lincoln
Introduction and Historiographic Review
Chapter 1. A Historical Background of New Orleans’ Free Women of Color
Chapter 2. Plaçage Relationships
Chapter 3. Quadroon Balls
Chapter 4. Case Study: Five Generations of Women
Conclusion
Appendix
Bibliography

Read the entire paper here.