Mixed Race Studies

Cup O’Doodles

The Pennsylvania Gazette
University of Pennsylvania
Volume 109, Number 6 (July/August 2011)
pages 54-57

Molly Petrilla

Artist Gwyneth Leech C’81 started drawing on  used paper cups as a distraction when she  got “antsy,” but “then it began to really take over.”  A few hundred cups later, she spent six weeks doing the same thing while sitting in a window  in New York’s Fashion District in an exhibit called Hypergraphia.

On a stormy Monday morning at the end of February, Gwyneth Leech C’81 bought a cup of Irish tea to-go (milk, no sugar) and headed to a display window in New York City’s Fashion District. She spent the next hour or two drawing swirling, plantlike patterns on that and other paper takeout cups—all of which had at one time housed her morning coffee or afternoon tea—as passersby gawked or whispered or smiled or knocked on the glass to say hello.

Then she came back the next day and did it all again, over and over until a full six weeks had passed. The doodles evolved, the drinks changed, but her canvas stayed the same: cups with a matte paper outside and waxy plastic inside. She started with about 250 pre-drawn cups strung up in the window around her and another 25 or so scattered at her feet. By the end of her window residency, she’d created another 100 cup drawings that joined the ones around her. She called the whole thing Hypergraphia, which means the overwhelming urge to write or draw.

“Partly, I wanted to see what 375 cups looks like,” she says, “but I also thought it was a nice-but-provocative way to bring people’s attention to our waste production; it made me think a lot about upcycling and recycling.”
 
An accomplished painter who has also worked with ceramics, video, and printmaking, Leech has exhibited her work around the world, including solo exhibitions in Edinburgh, Glasgow, London, Philadelphia, and New York City. In 2006, she began a series called Perfect Families, and since then has been painting portraits of alternative and mixed-race families she meets in New York City…

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Passing as White: Anita Hemmings 1897

Vassar Alumnae/i Quarterly
Volume 98, Issue 1 (Winter 2001)
Features

Olivia Mancini ‘00

When Anita Florence Hemmings applied to Vassar in 1893, there was nothing in her records to indicate that she would be any different from the 103 other girls who were entering the class of 1897. But by August 1897, the world as well as the college had discovered her secret: Anita Hemmings was Vassar’s first black graduate — more than 40 years before the college opened its doors to African Americans.

In the late 19th century, Vassar’s atmosphere might have been best described as aristocratic. Since its opening in 1861, the prestigious women’s school had catered almost exclusively to the daughters of the nation’s elite. Had Hemmings marked her race as “colored” on her application, her admittance to the college most certainly would have been denied.

“She has a clear olive complexion, heavy black hair and eyebrows and coal black eyes,” a Boston newspaper wrote of a 25-year-old Hemmings in August 1897. “The strength of her strain of white blood has so asserted itself that she could pass anywhere simply as a pronounced brunette of white race.”

And pass she did, until her white roommate voiced suspicions about Hemmings’ background to her own father only a few weeks before the class was due to graduate.

The father hired a private investigator to travel to Hemmings’ hometown of Boston. There it was discovered that homemaker Dora Logan and janitor Robert Williamson Hemmings had conspired with their daughter to keep her race a secret…

Read the entire article here.

Berlin marks Black History Month but the struggle goes on

Deutsche Welle
2012-02-16

Anne Thomas

Berlin has become more diverse and the situation for Afro-Germans has improved, but it’s still hard to get a job or an apartment. Black History Month highlights the challenges faced by over 2 percent of the population.

A black Portuguese friend of mine once dated an African-American guy she had met in her favorite bar. “We were so surprised to see another black person, we instantly gravitated towards each other,” they told me, laughing. They were able to joke, but for many Afro-Germans, it has been a lonely struggle.

Although I live in Neukölln—reportedly Berlin’s most diverse district with inhabitants from 160 countries—I am always struck by how white the city seems compared to other European capitals. I have never seen a black doctor, civil servant, yoga teacher, ticket collector, bus driver, pharmacist, plumber, policewoman, librarian… Most of the black people I know are from the US, UK, Nigeria, Senegal, Brazil or Portugal.
 
As a white foreigner in Germany, I sometimes find it difficult here and am very aware of my differences. However, I cannot really imagine what it must be like to constantly be considered exotic, just because of a different skin color.

Remembering May Ayim

So this year’s Black History Month in Berlin has been especially fascinating. The Initiative of Black People in Germany (ISD) introduced this annual event in 1990, the year of German reunification, which Afro-German poet and activist May Ayim described as a celebration “without immigrants, refugees, Jewish or black people.”

To date, many in Germany maintain the country has a very insignificant colonial history and racism is not an issue. Ayim (1960 – 1996), whose father was Ghanaian and mother German, suffered from this ignorance and co-founded the ISD to change attitudes and work towards a non-racist Germany…

…Introducing Afro-Germans

Micosse-Aikins also praised the fact that Berlin had changed for the better as a result of the work of May Ayim and her fellow panelist, the historian and activist Katharina Oguntoye, who was born in Zwickau to a white German mother and a black Nigerian father.

When Caribbean-American writer, poet and activist Audre Lorde arrived in Berlin in 1984, she looked for other black women and found mainly isolated individuals, including Ayim and Oguntuye. She encouraged them to write a book.

“She said we should introduce ourselves to each other and to the world,” recalled Oguntoye, adding that this was an extremely daunting task for two women in their early 20s, but one they felt equipped to perform.

The result was “Showing Our Colors: Afro-German Women Speak Out,” a groundbreaking combination of historical analysis, interviews, personal testimonies and poetry that explored racism in Germany and was published in German in 1986…

Read the entire article here.

Audre Lorde – The Berlin Years 1984 to 1992

Third World Newsreel
2012
84 minutes
Germany
English/German with English Subtitles

Dagmar Schultz

2012 marks the 20th anniversary of Audre Lorde’s passing, the acclaimed Black lesbian feminist poet and activist. Throughout the 70s and 80s, Lorde’s incisive writings and speeches defined and inspired the women of color, feminist and LGBT social justice movements in the United States.

Audre Lorde – The Berlin Years 1984 to 1992  explores a little-known chapter of the writer’s prolific life, a period in which she helped ignite the Afro-German Movement and made lasting contributions to the German political and cultural scene before and after the fall of the Berlin Wall and the German reunification.

Lorde mentored and encouraged Black German women to write and publish as a way of asserting their identities, rights and culture in a society that isolated and silenced them, while challenging white German women to acknowledge their white  privilege. As Lorde wrote in her book Our Dead Behind Us: Poems, “It is not our differences that divide us. It is our inability to recognize, accept, and celebrate those differences.”

Audre Lorde – The Berlin Years 1984 to 1992 contains previously unreleased audiovisual material from director Dagmar Schultz’s personal archive, showing Lorde on and off stage. With testimony from Lorde’s colleagues, students and friends, this film documents Lorde’s lasting legacy in Germany.

See the Audre Lorde – The Berlin Years 1984 to 1992 Study Guide here.

Hope in My Heart: The May Ayim Story

Third World Newsreel
1997
28 minutes
Germany
German with English Subtitles

Maria Binder

A moving documentary about the life and untimely death of Ghanaian-German poet, academic and political personality May Ayim. Ayim was one of the founders of the Black German Movement, and her research on the history of Afro-Germans, but also her political poetry, made her known in Germany and other countries.

Ayim wrote in the tradition of oral poetry and felt a strong connection to other black poets of the diaspora. Poetry gave her an opportunity to confront the white German society with its own prejudices.

Interviews and poems reveal the search for identity, how and why the term Afro-German was introduced. An insightful look at how a young black woman experiences the German reunification.

In the foreword to Ayim’s Blues in Schwarz Weiß (Blues in Black and White), Maryse Conde wrote “… With the unmistakable sound of her voice her poems spoke to me of her, told of others that are like her and yet so unlike her in Germany, in Africa, in America. These poems held passion and irony … In May’s voice I found the echo of other voices from the diaspora.”

Searching for a new soul in Harlem

Gender News
The Clayman Institute for Gender Research
Stanford University
2012-02-27

Annelise Heinz, Ph.D. candidate in the Department of History
Stanford University

Allyson Hobbs on passing and racial ambiguity during the Harlem Renaissance

Harlem in the 1920s is known for its creative outpouring of art, music, and literature. A consciously political movement, the Harlem Renaissance was a cultural response to the dehumanizing limitations of Jim Crow, blackface minstrelsy, and economic disenfranchisement.

Early-20th-century America was organized along strict racial demarcations within a white supremacist world. Black authors like Alain Locke promoted a vision of the empowered “New Negro,” imbued with race pride. Ironically, during the same era that explicitly embraced a black identity, an extensive audience grew for literature focused on racial passing – stories about individuals of mixed-race heritage who passed as white.

For historian Allyson Hobbs, passing literature “functioned as a literary vehicle to critique racism and to draw attention to the absurdity of the American racial condition.” Yet, Hobbs also asserts that passing “opened a space for a fuller consideration of complex relationships within African American group identity.”

In this moment of celebrating African American culture, Jean Toomer and Nella Larsen, literary luminaries in the Harlem Renaissance, struggled with definitions of race. As individuals with mixed European and African ancestry, race structured the ways others saw them and shaped the choices available to them. Hobbs examines their personal and professional writings to argue for the diversity of mixed-race experiences and self-identities, which have largely been obscured or forgotten in the literature on passing…

Read the entire article here.

Hybrid Identities and Adolescent Girls: Being ‘Half’ in Japan

Social Science Japan Journal
Published Online: 2012-01-19
DOI: 10.1093/ssjj/jyr053

Stephen Murphy-Shigematsu
Stanford University

Hybrid Identities and Adolescent Girls: Being ‘Half’ in Japan, by Laurel D. Kamada. Bristol, UK: Multilingual Matters, 2009, 272 pp., (hardcover ISBN 978-1-84769-233-7), (paperback ISBN 978-1-84769-232-0)

I hated it when I was little … the school trip photo … only MY face was somehow different, so I hated that, and now … it’s like it’s good, I guess.

Hybrid Identities and Adolescent Girls captures the raw voices of teenage girls, revealing their intimate feelings about being ‘half ’ in Japan. Laurel Kamada gives us a rich account of adolescent development and identity construction, based on group interviews with six girls of mixed ancestry, presenting their actual voices in conversations with her and each other. Kamada takes up three central questions: (a) tensions and dilemmas of hybridity, (b) celebration of hybridity, and (c) the intersection of hybridity and gender. Her study is informed and inspired by her insider knowledge of the data collection site of Western Japan, and her long residences living, working, and raising her own mixed-ancestry child there. She is careful to position herself as a white, Western woman and acknowledges how she influences the research through reflexive commentary.

The girls are a population rarely heard from—public school students from intact families, with one Japanese parent and one non-Japanese (white-foreign) parent. They are from families who made a conscious decision to raise them by integrating them into Japanese society through education at regular local Japanese schools, rather than sending them to private international schools. Historically, this is a major dilemma for mixed-ancestry children, going back to Miki Sawada’s famous Saunders Home, where she raised and educated children after World War II, and continuing up to the recent Amerasian School in Okinawa. The controversy of whether mixed-ancestry children should be educated in public schools or in special schools has been not only an issue of race but also of class, with those whose families could afford it opting for the friendlier, more comfortable environment of international schools,…

Read or purchase the review here.

Claudia Unterweger – Austria’s first black News presenter

Afro-Europe: International Blog
2012-02-18

^©ORF (Ali Schafler)

Claudia Unterweger (39) is the first black TV News presenter in Austria. She was born to an African-American father and an Austrian mother. Since February 2011 she is one of the News presenters of “Zib-flash”, a program of the Austrian Broadcasting Corporation ORF.

Unterweger caused a stir in 2011 because of the simple fact that she had a different skin color than the general population. “I define myself as black, or as an African-Austrian woman,” says the Vienna-born Unterweger.

She sees herself as a part of the media history. “Arabella Kiesbauer (an Afro-Austrian) was over 30 years on the screen and was already a pioneer in the entertainment field. We are now taking a step forward and I hope that many more steps will follow.”

Unterweger continues. “I personally call and see myself as an Afro-Austrian, a black Austrian, but also as part of a whole generation of black people who grew up here in Austria, but who are still perceived as an anomaly.”…

Read the entire article here.

Portrait of Crimean War Nurse Mary Seacole Acquired by National Portrait Gallery

artdaily.org
2012-02-12

Mary Seacole by Albert Charles Challen, 1869. ^©National Portrait Gallery, London.

LONDON.- The only known painting of Mary Seacole, the black Victorian nurse regarded as one of the most significant figures to emerge from the Crimean War, is to remain at the National Portrait Gallery where it has been on loan since 2004. The iconic portrait has been bought for £130, 000 through a public appeal by the Gallery and a Heritage Lottery Fund (HLF) grant of £96,200.

Painted by Albert Challen in 1869, the portrait—which was discovered in 2004 by its owner, the biographer, writer and historian, Helen Rappaport—shows Seacole wearing the three medals which she was awarded for her service.

Born in Jamaica (c.1805 – 1881), Seacole was a nurse, adventurer and writer whose bravery, compassion and determination mark her as an exceptional figure in Victorian society. She travelled independently to Balaklava where she and her business partner, Thomas Day, opened the British Hotel between the harbour and British Headquarters. It served as an officers’ club, a canteen for troops and a base for her nursing activities. She remained in the Crimea until July 1856. She was a familiar figure to British newspaper readers through reports in The Times, Punch and elsewhere. Her autobiography, Wonderful Adventures of Mrs Seacole in Many Lands, was published in 1857 and sold well.

Since the 1970s, the development of a Black and Asian historiography has given her a central place in black British history. In 2004, Seacole was voted Greatest Black Briton in an online poll (http://www.100greatblackbritons.com/). As an inspirational figure in British history and with a growing reputation she has also begun to be regarded as an exemplary figure among all audiences regardless of ethnicity. With no formal training, nor from a wealthy middle-class background, Seacole overcame both racial and gender restrictions to establish herself as a notable humanitarian whose hands-on approach to nursing has become an inspiration to nurses today…

Read the entire article here.

Obituaries: Fredi Washington, 90, Actress; Broke Ground for Black Artists

The New York Times
1994-06-30

Sheila Rule

Fredi Washington, one of the first black actresses to gain recognition for her work on stage and in film, died on Tuesday at St. Joseph Medical Center in Stamford, Conn., where she lived. She was 90.

The cause was pneumonia, which developed after a stroke, said her sister, Isabel Powell.

Miss Washington’s best-known performance was as the young mulatto who passes for white in the 1934 film “Imitation of Life.” Her performance was so convincing that she was accused of denying her heritage in her private life.

“She did pass for white when she was traveling in the South with Duke Ellington and his band,” said Jean-Claude Baker, a restaurateur and author and a friend of Ms. Washington’s. “They could not go into ice-cream parlors, so she would go in and buy the ice cream, then go outside and give it to Ellington and the band. Whites screamed at her, ‘Nigger lover!’ “…

Read the entire obituary here.