Mixed Race Studies

Norma Storch Is Dead at 81; Subject of TV Documentary

The New York Times
2003-09-21

Douglas Martin

Norma Storch, a white woman whose decision to have her 4-year-old mixed-race daughter raised by a black couple became the subject of an Emmy Award-winning documentary made by the daughter in adulthood, died on Aug. 28 at her home in Manhattan. She was 81.

The cause was cancer, said the daughter, June Cross, the producer of the documentary, “Secret Daughter,” which PBS broadcast in 1996.

The film was heralded as a searing look at race relations in the 1950’s and 60’s, and drew praise for its emotional rawness and the bravery of both mother and daughter. Other reviews suggested that the documentary’s power came from a mother’s willingness to reject her daughter and then rationalize it.

Ms. Cross said in an interview last week that this impression properly reflected the documentary but not their real relationship. She said that tensions were exaggerated for dramatic effect.

But for almost 35 years, Mrs. Storch and her husband—the actor and comedian Larry Storch, who starred as Cpl. Randolph Agarn in the 1960’s comedy series “F Troop,”—indisputably lived a lie. They told friends and acquaintances that the black girl who visited them at their Hollywood home was their adopted daughter, who lived with a black family for most of the year…

Read the entire obituary here.

Belle [World Premiere]

Toronto International Film Festival 2013
TIFF Bell Lightbox
Reitman Square
350 King Street West
Toronto, Ontario, Canada
2013-09-05 through 2013-09-15

Film Information:

Directed by Amma Asante
2013
105 minutes

Gugu Mbatha-Raw takes the title role alongside Tom Wilkinson, Miranda Richardson, Emily Watson and Canada’s Sarah Gadon in the true story of Dido Elizabeth Belle, the illegitimate, bi-racial daughter of a Royal Navy admiral in 18th-century Britain.

Fans of English period drama are accustomed to its gorgeous settings, social graces, and sophisticated language. But what’s often missing from those adaptations of Jane Austen or the Brontës is the institution at the foundation of that refined life: slavery. Austen wrote about how the slave trade made British gentry wealthy, but until now no film has brought both the glory and the contradictions of that life to the screen in such a powerful fashion.

In late eighteenth century England, Dido Elizabeth Belle is born to a white British admiral and a black Caribbean slave. The admiral’s well-bred family is appalled, but when he returns to sea, custom dictates that they raise his child as an aristocrat. Britain’s imposing Lord Mansfield (Tom Wilkinson) is both Dido’s uncle and the family patriarch, and instructs this biracial young woman (Gugu Mbatha Raw) to respect both the law and the social codes of her station. She is a lady, but an embarrassment. How is she ever to marry?…

For more information, click here.

Quadroons for Beginners: Discussing the Suppressed and Sexualized History of Free Women of Color with Author Emily Clark

The Huffington Post
2013-09-04

Stacy Parker Le Melle

“As a historian, I knew that mixed race women and interracial families were everywhere in America from its earliest days. And I knew that most of the free women of color in antebellum New Orleans bore no resemblance to the quadroons of myth.” —Dr. Emily Clark

As an American, I follow my roots like trails across the globe. My mother is from Kansas and is of German descent, and my deceased father was black with roots in North Carolina, and before then, Africa. Arguably you can trace all of us back to Africa. But my parents’ union created me: a black American woman, a woman of color, a mixed kid, a mulatta, maybe an Oreo, definitely a myriad of identities and categories to embrace or resist.

Living in Harlem, I see so many mixed marriages, mixed kids everyday all the time. Traveling the South, I see so many kids with the telltale curly locks. Growing up in Metro Detroit in the 80s, I knew there were other black & white mixes like me. I just didn’t know them. Only at college in Washington, DC, did I meet mixed girls and have them as friends. And not until my English, women’s studies, and African-American history courses did I learn any American history about women like me.

Before college, maybe I’d encounter a definition of “miscegenation” – that very special crime of racemixing in segregated America. And maybe an explanation of the “one drop rule” that went on to create the classifications of “mulatto” and “quadroon” and “octaroon“—your label dependent upon which fraction of African was in your genealogy. But that was it. In my high school American History texts, I don’t remember any acknowledgement of centuries of rape and consensual relationships between whites and blacks. None of my suburban history teachers lingered on the taboo. Maybe I didn’t either. When I think of the mania around racemixing, and of the cultural trope of the “tragic mulatta“—the woman doomed because she is too white for the blacks, too black for the whites—it was easy to assume that the history of mixed-race women in America was simple in its sadness and injustice.

Yet there is nothing simple about the American Quadroon. Once she was the picture of irresistible beauty, the symbol of a city thought of as irredeemably “other”, an earthbound goddess who conjured so much desire that white men made her concubines, and slavetraders scoured the states for enslaved girls that fit her description to fulfill buyer demand. That was the myth, the dominant story. But as Tulane historian Emily Clark writes in her richly-researched and compelling The Strange History of the American Quadroon: Free Women of Color in the Revolutionary Atlantic World (UNC Press), she was also a family-woman, marrying men of color, living the propriety dream in her New Orleans society. If her myth was simple in its power, her reality was rich and complicated—by no means a single story…

…How do you define an “American Quadroon”?

Dr. Clark: There are really two versions. One is the virtually unknown historical reality, the married free women of color of New Orleans who were paragons of piety and respectability. The other is the more familiar mythic figure who took shape in the antebellum American imagination. If you asked a white nineteenth-century American what a quadroon was, they would answer that she was a light-skinned free woman of color who preferred being the mistress of a white man to marriage with a man who shared her racial ancestry. In order to ensnare white lovers who would provide for them, quadroons were supposedly schooled from girlhood by their mothers to be virtuosos in the erotic arts. When they came of age, their mothers put them on display at quadroon balls and negotiated a contract with a white lover to set the young woman up in a house and provide enough money to support her and any children born of the liaison. The arrangement usually ended in heartbreak for the quadroon when the lover left her to marry a white woman. If this sounds like a white male rape fantasy, that is exactly what it was. There is one other key characteristic of the mythic American Quadroon: she was to be found only in New Orleans…

Read the entire interview here.

Pauline Johnson: Selected Poetry and Prose

Dundurn Press
June 2013
240 pages
5.5 in x 8.5 in
Paperback ISBN: 978-1-45970-426-8
eBook ISBN: 978-1-45970-428-2

Pauline Johnson (1861-1913)

Compiled and Introduced by:

Michael Gnarowski

Pauline Johnson was an unusual and unique presence on the literary scene during the late 19th and early 20th centuries. Part Mohawk and part European, she was a compelling female voice in the midst of an almost entirely male writing community. Having discovered her talent for public recitation of poetry, Johnson relied on her ancestry and gender to establish an international reputation for her stage performances, during which she appeared in European and native costume. These poems were later collected under the title of Flint and Feather (1912) and form the source of the selections appearing in this volume.

Later, suffering from ill health, Pauline Johnson retired from the stage and devoted herself to the writing of prose, collected in Legends of Vancouver, The Moccasin Maker (1913), and The Shagganappi (1913), gleanings from which form part of this collection.

Race and Justice in Transnational Perspective: “Race in Motion: Traversing the Transnational Emotionscape of White Beauty in Indonesia”

Seminar Series: Race and Justice in Transnational Perspective
University of California, Merced
California Room
5200 North Lake Rd.
Merced, California 95343
2013-10-31, 10:30 PDT (Local Time)

L. Ayu Saraswati, Assistant Professor of Women’s Studies
University of Hawai‘i, Manoa

In this talk, Saraswati explores how feelings and emotions—Western constructs as well as Indian, Javanese, and Indonesian notions such as rasa and malu—contribute to and are constitutive of transnational and gendered processes of racialization. Employing “affect” theories and feminist cultural studies as a lens through which to analyze a vast range of materials, including the Old Javanese epic poem Ramayana, archival materials, magazine advertisements, commercial products, and numerous interviews with Indonesian women, she argues that it is how emotions come to be attached to certain objects and how they circulate that shape the “emotionscape” of white beauty in Indonesia.

The seminar series “Race and Justice in Transnational Perspective” is organized by Tanya Golash-Boza, Nigel Hatton, and David Torres-Rouff. The event is co-sponsored by the UC Center for New Racial Studies, Sociology, and SSHA.

For more information, click here.

Race and Narrative in Italian Women’s Writing Since Unification

Fairleigh Dickinson University Press
July 2013
127 pages
ISBN: 9781611475999

Melissa Coburn, Assistant Professor of Italian and Italian Program Director
Virginia Polytechnic Institute and State University

Race and Narrative in Italian Women’s Writing Since Unification explores racist ideas and critiques of racism in four long narratives by female authors Grazia Deledda, Matilde Serao, Natalia Ginzburg, and Gabriella Ghermandi, who wrote in Italy after national unification. Starting from the premise that race is a political and sociohistorical construction, Melissa Coburn makes the argument that race is also a narrative construction. This is true in that many narratives have contributed to the historical construction of the idea of race; it is also true in that the concept of race metaphorically reflects certain formal qualities of narration. Coburn demonstrates that at least four sets of qualities are common among narratives and also central to the development of race discourse: intertextuality; the processes of characterization, plot, and tropes; the tension between the projections of individual, group, and universal identities; and the processes of identification and otherness. These four sets of qualities become the organizing principles of the four sequential chapters, paralleling a sequential focus on the four different narrative authors. The juxtaposition of these close, contextualized readings demonstrates salient continuities and discontinuities within race discourse over the period examined, revealing subtleties in the historical record overlooked by previous studies.

A Review of One Drop of Love: A Daughter’s Search for Her Father’s Racial Approval

Gino Michael Pellegrini: Education, Race, Multiraciality, Class & Solidarity
2013-05-08

Gino Michael Pellegrini, Adjunct Assistant Professor of English
Pierce College, Woodland Hills, California

Is Fanshen a noun, a verb, or an adjective? Is it a who or a what? What does it have to do with the history of race and racism? Or, as Grandma Cynthia puts it, “De next time you talk to your mommy an’ your daddy, ahsk dem for me – what in God’s name is a Fanshen?…Why dem give you dat name?”

These are some of the central questions that Fanshen Cox DiGiovanni addresses in her brilliant and timely one-woman show, One Drop of Love: A Daughter’s Search for Her Father’s Racial Approval.

I am present for Fanshen’s debut performance on Saturday, March 9, 2013 at the Arena Theater on the campus of California State University, Los Angeles. The Arena is small, intimate, packed, and a few people have traveled across the country to see this debut. I sit in the front row with my good friend Rocco Robinson, and we notice right away that the audience is relaxed, friendly, and excited; the set is simple, arousing, and well thought out.

Fanshen is an educator, a writer, a film maker, and an accomplished actor who recently played a part in Argo, the Academy’s Best Picture for 2012. Fanshen is also well known within the nascent multiracial community for being the co-creator and co-host (with Heidi Durrow) of the award-winning podcast series, Mixed Chicks Chat (2007-2012) and of the Mixed Roots Film and Literary Festival (2008-2012). Both projects have been instrumental in making the public more aware of the so-called mixed experience, and of the growing number of critical and creative works about multiracial lives and issues.

Both collaborative projects have also been a means for Fanshen and Heidi to come to a deeper understanding of their own mixed experiences and identities, which, in turn, has facilitated the development of their own creative works. Heidi was the first Mixed Chick to gain national recognition for her bestselling novel, The Girl Who Fell from the Sky (2010). Now it is Fanshen’s turn to deconstruct longstanding racial assumptions, traditions, and allegiances with her own hybrid, experimental work.

One Drop of Love emphasizes the history of the construct of race from the 1700s to the present. More specifically, the interrelated American history of race and the decennial Census constitutes the factual and visual backdrop against which Fanshen performs her own personal history and evolution. Fanshen plays herself at different junctures in her life and, using multiple dialects and gestures, fifteen other characters (including her family) of different ages, genders, nationalities, and ethno-racial-cultural backgrounds. Though the subject matter is difficult, her acting ability helps her engage, entertain, touch, and enthrall her audience. Considered altogether, her multiple character depictions and interactions expose into view how the history of race–in conjunction with a shared belief in static racial categories, values, identities, and traditions–impacts intimate relationships, social opportunities, self-perception, and personal growth…

Read the entire review here.

Heidi Durrow discusses her novel “The Girl Who Fell From the Sky”

The Leonard Lopate Show
WNYC Radio (93.9 FM or 820 AM)
Friday, 2010-05-14, 12:00-14:00 EDT (16:00-18:00Z)

Leonard Lopate, Host

Heidi W. Durrow, Author

Destruction, Restoration

We’ll look into how Europe’s economic problems are creating political problems—we’ll check in on the state of the euro and on Greece’s ongoing debt woes. Then, Iranian artist Shirin Neshat talks about her debut feature film “Women Without Men.” Plus Heidi Durow discusses her novel The Girl Who Fell From the Sky. And Please Explain is all about art restoration!

Listen to the interview here. The audio stream is here. Download the audio clip (00:13:26, 5.4MB) to your computer here.

00:05:36 Leonard Lopate: The Bellwether Prize is for works that issues of social justice. You’ve attended law schools as well. Did you write this novel as social commentary?

00:05:47 Heidi Durrow: I wanted to explore this story ’cause I don’t think we talk about it often enough… about multiracial families and biracial identity. We had this great moment during President Obama’s candidacy when we got to talk about ‘biracial’ and the fact that his grandmother was white and his mother was white. And then on Inauguration Day he became our first black African American president. And we lost that opportunity to talk about biracial identity I think.

00:06:13 LL: Well, often when someone is biracial, the decision of the rest of the world is that they’re ‘black’.

00:06:21 HD: Yes. That was my experience.

00:06:21 LL: So Tiger Woods, who saw himself as very much being Asian—we don’t want to talk about his other problems.  But anyway, he was automatically ‘black’ and Barack Obama… he’s automatically ‘black’.

00:06:34 HD: And I think that’s fine. I do believe in self-identification. So that when people who are mixed-race decide to be one or the other, I’m absolutely for that. I just feel like, we lose stories when we don’t tell our whole selves.

00:06:48: LL: So what happens when someone like Rachel goes to school and is in classes where pretty much all of her classmates are black?

00:06:57 HD: They don’t understand her in the book.  And it’s the same thing for me, they just didn’t understand where I fit… at all. I remember being at home speaking Danish with my mother, having Danish food and then as soon as we opened the door and went outside, I was a black girl and it erased that whole story, that whole existence that was me…

00:10:54 LL: In addition to writing, you also write a blog with Fanshen Cox called ‘Mixed Girls Chat’.

00:11:00 HD: ‘Mixed Chicks Chat’.

00:11:01 LL: ‘Mixed Chicks’… Okay.

00:11:03 HD: Yeah, and it’s weekly podcast we do every Wednesday. And we talk about being racially and culturally mixed. So we interview people who are in blended families, parents. We had a Harvard scholar on, which is exciting.

00:11:15 LL: I would assume—from what I know—that something like at least 90 percent of all African Americans—maybe 100 percent—are of mixed race.

00:11:26 HD: I think probably we’re all mixed in some way. And that’s what I’m so excited about with this book. ‘Cause I’ve been doing some readings around.  And I find that people are sharing the fact that their families are blended… suddenly.

00:11:39 LL: So this is something that would not have been discussed in the past? People would have been forced to just make a choice… say I’m ‘white’ or ‘black’?

00:11:44 HD: I think that’s right… Yeah, I mean, remember the controversy with Michelle Obama’s—I think—great-great grandfather and they discovered that he was biracial. And there was a little bit of controversy about that… I think, because people wanted to say ‘this our first African American First Lady’ and wanted to really hold on to that as opposed to actually sharing the real true story of this man in her past who was biracial as well…

Haji, an Actress Featured in Cult Films by Russ Meyer, Dies at 67

The New York Times
2013-08-17

Daniel E. Slotnik

Haji [Barbarella Catton], a voluptuous actress who played one of three homicidal go-go dancers in Russ Meyer’s 1965 cult film “Faster, Pussycat! Kill! Kill!,” died on Aug. 9 in Southern California. She was 67.

Her death was confirmed by the dancer and actress Kitten Natividad, a friend, who said she did not know the cause. She said Haji had high blood pressure and heart problems in recent years and was taken to a hospital after falling ill at a restaurant in Newport Beach.

Haji, a brunette of Filipino and British descent, met Meyer, the celebrated B-movie director, in the mid-1960s while she worked in a strip club in California. He cast her as the lead in his biker movie “Motorpsycho” (1965) even though she had no acting experience…

Read the entire obituary here.

Wilder than her pet cheetah, the sex-mad Black Venus who outwitted the Nazis: Remarkable story of Josephine Baker as Rihanna is set to play legendary seductress in biopic

The Daily Mail
2013-08-22

Annabel Venning

Under scorching stage-lights, Josephine Baker stepped out in front of the audience entirely naked, but for a few strategically-placed flamingo-feathers.

Her male dance partner carried her upside down, her long, slender legs stretched out in the splits.

He set her down, and she began to dance. As the light played on her coffee-brown skin, her body seemed to become almost molten as she wound herself around her partner.

She was, she later recalled, lost in the eroticism of the moment, ‘intoxicated . . . driven by dark forces I didn’t recognise,’ as she writhed seductively before shuddering to a climactic halt.

For a few moments the Paris audience remained silent, as if stunned. Then they rose to their feet as one and erupted in ecstatic applause.

She was hailed as the ‘Black Venus’. Picasso dubbed her the ‘Nefertiti of now’. Author Ernest Hemingway called her ‘the most sensational woman anyone ever saw’.

It was the start of an extraordinary career.  Josephine Baker, the girl from the St Louis ghetto, rose to become one of the greatest divas ever, an icon of the Jazz Age, talented and glamorous, but also decadent and amoral.

Today, all that many people remember of her is that she danced naked except for her famous tutu made of (fake) bananas…

Read the entire article here.