Mixed Race Studies

Brown Eyes: A Selection of Creative Expressions by Black and Mixed Race Women

Troubador Publishing
2006
292 pages
5 x 0.6 x 8 inches
ISBN 10: 1905237146; ISBN-13: 978-1905237142

Edited by:

Nicole Moore

Brown Eyes is a rare collection of poetry and autobiographical writing from a diverse group of black and mixed-race women—everyday women expressing themselves in their own unique and readable style. One of the first anthologies of its kind, Brown Eyes offers a fresh and challenging insight into the lives of black and mixed-race women in 21st century Britain.

As well as being an important contribution towards Black British literature, the book celebrates, reflects upon and embraces our diverse female identities and the common-thread that unites all of us living the UK experience.

Some of the contributions explode with energy, others speak with softness, many discuss childhood, motherhood, love, while others deal with loss and historical betrayal. The voices collected in Brown Eyes range from teenage to mature, rural and urban, from mothers and daughters, and countless others, all contributing to this anthology’s diverse creativity.

Halle Berry and the Resurgence of the Tragic Mulatto

The Root
2011-02-22

Clay Cane

The furor caused by Berry’s assertion that her daughter is black reminds us how confused Americans remain about race.

Halle Berry’s recent comments in Ebony magazine have brought up the complex subject of racial identity, which still seems to confuse many Americans. Asked if her daughter, Nahla, is African American, the Oscar-winning actress answered, “I feel like she’s black. I’m black and I’m her mother, and I believe in the one-drop theory.”
 
Blogs raged, and suddenly everyone was an expert on dissecting the social construction of race. Even many black websites roared that Nahla wasn’t black. It was as if a chapter from an Alex Haley book had come to life on the Web.
 
Berry has never used the words “mixed” or “biracial” to describe her racial identity. She identifies as a black woman. Similarly, President Barack Obama, Faith Evans, Jasmine Guy and even the late, great Bob Marley all embraced having a white parent—but didn’t identify by degree of blackness. Apparently, they subscribe to the belief that either you are black—or you are not.
 
In 2011, black is no longer praised as beautiful; everyone wants to be “multi.” People proudly run through their race, ethnicity and nationality as if it’s a résumé. “Mixed,” “multiethnic,” even the deeply offensive word “mulatto,” are resurging as the hottest labels around. Here’s another new term I recently heard: “double-raced.”…

…Today everyone wants to be a tragic mulatto, not knowing the history. The mulatto is a classic stereotype that first made an appearance in 19th-century American literature. Eventually this archetype became box office gold for films like 1934’s Imitation of Life and 1949’s Pinky…

…Race is not an individual choice; it’s a social choice. The key question is, “Do you or do you not have white privilege?” If you don’t, then you are a black person in America. If Nahla Ariela Aubry were white or could truly exist in this country under the imaginary label of “biracial,” then this volatile discussion about her color wouldn’t have started. As Halle told Ebony, “I had to decide for myself, and that’s what she’s going to have to decide — how she identifies herself in the world. And I think, largely, that will be based on how the world identifies her. That’s how I identified myself.”…

Read the entire article here.

Lives: A Final Message From My Mother

The New York Times
2012-07-20

Josiah Howard

The first note I ever wrote for my mother wasn’t very special, but she seemed to think it was. It said: “Hi Mom! Have a nice day! Love Skip!” (her nickname for me). My message was scribbled on a scrap of paper and tucked discreetly into her change purse. At the time I wrote it, I was 12. My mother worked as a key-punch operator — a profession now obsolete — at the Piscataway, N.J., offices of Phillips Van Heusen, the clothing company.

When my mom was working, she ate her lunch while smoking her unfiltered Pall Malls in the Van Heusen cafeteria. I knew that when she purchased her meal, she would have to rifle through her purse for change, so that’s where I placed my note. I didn’t know that she would keep that note, laminate it and always carry it with her…

…My mom’s name was Gail Ann Blackmer. She was an unwed mother. I am her only child. The challenges we faced together, first in New York City and then in New Jersey, were, as it turned out, largely a result of the difference in our skin colors, a fact that meant little to me. My mother told me that once when I was very young, she asked if I noticed that she and I were different colors. My response was delivered with flat, round-eyed authority: “Mothers don’t come in colors.”

But they do. And my mother’s being white and my being black presented many challenges. She didn’t often speak about our early years together (or her experience of them), but whatever she revealed was indelibly stamped in my mind. The indignities stand out: once while entering a bus, a white man spied us and snarled, “What’s the matter, couldn’t you get a white one?” On another occasion she rented an apartment and then, when she showed up with a black child, was turned away. I often wonder about my mom’s unconventional (pre-Civil Rights) life choices, and I wonder how she came to make them. It was a topic that she never discussed…

Read the entire article here.

Irrevocable Ties and Forgotten Ancestry: The Legacy of Colonial Intermarriage for Descendents of Mixed Ancestry

University of British Columbia, Vancouver
April 2008
56 pages

Kim S. Dertien

A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Anthropology)

The identities of mixed Aboriginal and non-Aboriginal descendents in British Columbia is as varied as it is complex. In this paper I examine what caused some people of mixed Native and non-Native ancestry not to identify as Aboriginal while others did. The point of fracture for those who identify with their Aboriginal origins and those who do not can be traced to a specific time in our history. More importantly, specific variables were instrumental in causing that divergence of identity, spurred by a pervasive social stigma in colonial society. For many of mixed ancestry, the disassociation from their Aboriginal identity led to generations of silence and denial and eventually to a ‘complete disappearance of race’. It was a deliberate breeding out of cultural identity through assimilative ideology and actions in order to conform to European norms.

Determining what factors caused this divergence of identity for mixed-descendents entails considering why many Aboriginal women married non-Native partners in B.C. during the mid-19th century, how intermarriage affected identity formation for offspring, and what the multi-generational effects have been on the identities of mixed descendents. Today, this leaves a dilemma for those in-between who are eligible for status, and for those who are not but who choose to reconnect with, acknowledge and learn more of their ancestry. Both assertions of First Nations identity and choices to reconnect with a First Nations heritage while maintaining a non-Native identity, challenge the assumed inevitability of assimilation, and the federal government’s continuing reluctance to understand the cultural significance of identification as ‘Indian’.

Read the entire thesis here.

Rock, Ghost, Willow, Deer: A Story of Survival

University of Nebraska Press
2004
206 pages
Hardcover ISBN: 978-0-8032-1527-6

Allison Adelle Hedge Coke

“A name creates life patterns,” Allison Adelle Hedge Coke writes, “which form and shape a life; my life, like my name, must have been formed many times over then handed to me to realize.” Rock, Ghost, Willow, Deer is Hedge Coke’s narrative of that realization, the award-winning poet and writer’s searching account of her life as a mixed-blood woman coming of age off-reservation, yet deeply immersed in her Cherokee and Huron heritage. In a style at once elliptical and achingly clear, Hedge Coke describes her schizophrenic mother and the abuse that often overshadowed her childhood; the torments visited upon her, the rape and physical violence; and those she inflicted on herself, the alcohol and drug abuse. Yet she managed to survive with her dreams and her will, her sense of wonder and promise undiminished.

The title Rock, Ghost, Willow, Deer refers to the life-revelations that brought Hedge Coke through her trials, the melding of language and experience that has brought order to her life. In this book, Hedge Coke shares the insights she has gathered along the way, insights that touch on broader Native issues such as modern life in the diaspora; the threat of alcohol, drug abuse, and violence; and the ongoing onslaught on self amid a complex, mixed heritage.

Contents

• List of Illustrations
• Acknowledgments
• 1. Of Seeds
• 2. From Winds
• 3. When Fire and Water Meet
• 4. Ashes
• 5. Back to the Lands
• 6. Oceans, Rivers
• 7. Crossings

U.S. Poet Laureate Natasha Trethewey coming to campus

East Carolina University
Greenville, North Carolina
2012-10-24 through 2012-10-25

United States Poet Laureate Natasha Trethewey will be on campus Oct. 24-25 as part of the Contemporary Writers Series. A native of Gulfport, Miss., Trethewey was awarded the Pulitzer Prize for poetry in 2006. She is professor of English at Emory University; she was named the 19th U.S. Poet Laureate in June.
 
Trethewey is the first Southerner to hold the post since Robert Penn Warren, the first poet laureate, and the first African-American since Rita Dove in 1993.
 
The Contemporary Writers Series aims to expose students and other readers to award-winning fiction and nonfiction writers, translators and poets…

For more information, click here.

“May she read liberty in your eyes?” Beecher, Boucicault and the Representation and Display of Antebellum Women’s Racially Indeterminate Bodies

Journal of Dramatic Theory and Criticism
Volume 26, Number 2, Spring 2012
pages. 127-144
DOI: 10.1353/dtc.2012.0007

Lisa Merrill, Professor of Speech Communication, Rhetoric, Performance Studies
Hofstra University, Hempstead, New York

Prelude

In 1856 Reverend Henry Ward Beecher, an avid abolitionist, first used the pulpit of his Brooklyn church as the site from which he staged mock slave auctions of young biracial enslaved girls. Beecher enacted several such performances in the lead-up to the Civil War. Appealing to his congregation at Plymouth Church (the basement of which functioned as the “Grand Central Depot” of the Underground Railroad), Beecher banked on his congregation’s empathy, and enacted what his wife later described as “an object lesson in Southern slavery . . . so that everybody could see what slave-dealing really meant, and might be stirred to help pay for the liberation of the victims of a system that was sanctioned by American law, but condemned by the law of God.”

At the same time that Beecher staged his “mock slave auctions” of actual enslaved girls, however, images of enslaved and fugitive African Americans occupied different places in the social imaginary of mid-nineteenth-century Americans and Britons. Audiences encountered representations of the plight of enslaved Black Americans in the contexts of the popular theatre (where they were portrayed by white actors), or the abolition platform where fugitive and free African Americans shared narratives of their escape. While crafting their appeals explicitly to provoke the emotional response of their audiences, abolitionists like Beecher often expressed ambivalent relationships to theatricality and those tools of performance deemed appropriate to the stage venues, rather than speakers’ platforms.

In the first section of this essay I examine Beecher’s staging of “mock auctions,” his use of his church for their setting, his embodiment of the role of the minister as both liberator and “salesman” (of faith, of redemption, of human beings), and the problematics of framing appeals to audience empathy through the performative display of enslaved young women, despite Beecher’s avowed abolitionist intentions. In the second section I explore a conflict that I have discovered was played out in the New York press between the fervidly antitheatre Beecher and playwright Dion Boucicault—a conflict in which sympathy for actors and slaves vied for advocacy and in which the feelings aroused in the actual and conceptual spaces of the pulpit and the stage were laid bare for scrutiny. In the third section I examine Boucicault’s play The Octoroon and disparate responses to this play and to its racially-indeterminate enslaved heroine by theatre audiences.

Henry Ward Beecher: Staging and Seeing Mock Slave Auctions

In an article published in 1896, nine years after Beecher’s death, Beecher’s widow Eunice recounted the first mock slave auction her husband staged in Plymouth Church. As Eunice Beecher recalled, “on Sunday morning of June 1, 1856 . . . at eight o’clock people began gathering by the hundreds in front of the church . . . every available foot of space was occupied, and thousands were outside, unable to gain admission.” At the conclusion of the sermon, Beecher announced to his congregation that two weeks earlier he learned “that a young woman had been sold by her father to be sent South—for what purpose you can imagine when you see her.” As Beecher enjoined his audience to contemplate the horrors to which “Sarah” would be subject, he informed them that the slave trader who bought Sarah for twelve hundred dollars “has offered you the opportunity of purchasing her freedom.”

At this point, Beecher invited Sarah up to the pulpit, “so that all may see you.” Thus, the largely white, pro-abolitionist congregation was presented with the opportunity to observe for themselves the actual body and plight of a young enslaved girl whose fate they might have a personal hand in alleviating. Yet, as I will explore further, Beecher’s invitation to his congregation that they “see” Sarah for themselves, as well as “bid” on her, illustrated what Saidiya Hartman has described as “the precariousness of empathy and the uncertain line between the…

Read or purchase the article here.

Olympic Swimmer Neal Built Her Dream in Brooklyn

The New York Times
2012-07-15

William C. Rhoden, Sports Columnist

Lia Neal (Al Bello/Getty Images)	Rome and Siu Neal with their grandson Rome Jin, their son Rome Kyn and his wife Ziggy (Victor J. Blue for The New York Times)

Rome Neal walked up to the microphone last week at the Paris Blues in Harlem and was just about to sing “I Worry About You” when he decided to share some great news with his audience. In his 12 years of performing a one-man show about Thelonious Monk, Neal had come to appreciate the importance of exquisite timing.

“My daughter’s name is Lia Neal and she just made it to become an Olympic swimmer, and she’ll be swimming in the Olympics in 2012 in London, England, the 4×100 relay,” Neal said.

The audience applauded and cheered enthusiastically. “Lia is 17 years old,” he said, “the second African-American female swimmer to make it to the Olympics.”

More applause, and for a story Rome Neal could finally tell.

Lia Neal qualified for the Olympics earlier this month by finishing fourth in the 100-meter freestyle, putting her on the relay team. In the weeks and months leading to the Olympic swimming trials, her mother, Siu Neal, had admonished her husband of 38 years not to put the cart before the horse, to rein in his flair for the dramatic and generally be cool.

Now Rome was free to spread the word and the joy: his baby girl was an Olympian…

…But the commitment is not just by the athlete.

“Any parent would do what I do,” Siu Neal said. “They all spend lots of time with their kids, take them to swimming practice, bringing them to competitions and meets. I don’t consider it giving up anything. I enjoy watching her swim; I even loved to watch her practice.”

Siu and Rome Neal are each 59, and their relationship reflects a deep-seated belief in possibility. They were brought together by poignant variations of the American dream. Their journeys to New York — and each other — underline the complexities and contradictions of a nation conceived in liberty. Their daughter symbolizes the powerful, positive force of that union.

When he was a year old, in 1953, Rome (his given name, Jerome, was shortened by his mother) moved to New York City from Sumter, S.C., as his family sought relief from the suffocating racial oppression in the South.

Siu and her family immigrated to the United States from Hong Kong when she was 18 to join her grandfather. “We were looking for a better life,” she said.

Rome’s family settled in Harlem before moving to Brooklyn. Siu’s family initially moved to the Bronx before also heading to Brooklyn. They met at New York City Community College, married and had three sons: Rome Kyn, Smile and Treasure.

On Feb. 13, 1995, the Neals had the daughter they had long hoped for. Rome wanted to name her Kujichagulia in honor of the second principle of Kwanzaa, self-determination. He was voted down. They settled on Lia. She speaks fluent Cantonese and Mandarin…

Read the entire article here.

Double Native: A moving memoir about living across two cultures

University of Queensland Press
2012-01-03
304 pages
ISBN: 978 0 7022 3917 5

Fiona Wirrer-George Oochunyung

Growing up ‘on country’ on the west coast of Queensland’s Cape York Peninsula in the 1970s and ’80s, Fiona Wirrer-George Oochunyung had an idyllic traditional life. At the age of 16, she decided to pursue her dream of performing and moved to Sydney to attend the NAISDA Dance College. There she studied with the legendary Page brothers before they founded Bangarra Dance Theatre and met her future husband and father of her three daughters.

But the missing piece of her life was her father. As a young woman, she finds her father and carves out a fragile relationship with him. This inspires her to better understand her Austrian ancestry and how it meshes with her Indigenous identity.

Fiona Wirrer-George Oochunyung is the model of a modern woman: mother and professional; performer and creator; teacher and student, urban dweller and remote community inhabitant. As such she shares the joys and challenges that come with growing up in a divided community and carving out a career as a solo parent.

Double Native is a powerful and candid memoir that offers a rare insight into the burgeoning years of the contemporary Indigenous dance movement and what it means to straddle two cultures.

Ecco To Publish Pulitzer Prize Winning U.S. Poet Laureate Natasha Trethewey’s Memoir

HarperCollins Publishers
2012-06-28

Michael McKenzie

New York, NY (June 28, 2012) – Ecco, an imprint of HarperCollins Publishers, is thrilled to announce that it has won the rights to publish Pulitzer Prize winning United States Poet Laureate Natasha Trethewey’s untitled memoir in a very heated auction. Her book will map the intersections of personal and cultural history, as it navigates the channels and byways of memory and the legacy of race in America. Chronicling her life from early childhood – the daughter of a black mother and a white father, she was born in Gulfport, Mississippi a year before the U.S. Supreme Court struck down the anti-miscegenation laws with Loving v. Virginia – this deeply felt memoir explores Trethewey’s experience growing up mixed race in the South of the ‘70s and ‘80s, her close relationship with her mother, who was later murdered by her stepfather, a Vietnam veteran, and the repercussions and resonances of these seminal events in her life and work.

The deal was negotiated between Daniel Halpern, President and Publisher of Ecco, and Rob McQuilkin of Lippincott Massie McQuilkin. Halpern says, “I can’t remember a more emotionally intense auction for a book, ever. I truly admire Natasha’s spirit, her graceful presence on these pages, which tell a story that no one is likely to forget.”

Trethewey adds, “I am honored to work with this venerable press, and with Daniel Halpern in particular, on a book I know will be difficult to write even as it seems that the past—and geography—have rendered me destined to do so.”

The book, which Ecco acquired the North American rights to, is tentatively scheduled for 2014…

Read the entire press release here.