Mixed Race Studies

Public Secrets: Race and Colour in Colonial and Independent Jamaica

Liverpool University Press
2019-09-10
280 pages
Hardback ISBN: 978-1-789-62000-9

Henrice Altink, Professor of Modern History; Co-Director of the Interdisciplinary Global Development Centre
University of York

Informed by critical race theory and based on a wide range of sources, including official sources, memoirs, and anthropological studies, this book examines multiple forms of racial discrimination in Jamaica and how they were talked about and experienced from the end of the First World War until the demise of democratic socialism in the 1980s. It also pays attention to practices devoid of racial content but which equally helped to sustain a society stratified by race and colour, such as voting qualifications. Case studies on the labour market, education, the family and legal system, among other areas, demonstrate the extent to which race and colour shaped social relations in the island in the decades preceding and following independence and argue that racial discrimination was a public secret – everybody knew it took place but few dared to openly discuss or criticise it. The book ends with an examination of race and colour in contemporary Jamaica to show that race and colour have lost little of their power since independence and offers some suggestions to overcome the silence on race to facilitate equality of opportunity for all.

As a White Mom to Black Children, I Question Other Parents’ Intentions 24/7

Working Mother
2020-06-12

Audrey Goodson Kingo, Deputy Editor

I must protect my 4-year-old son and 9-month-old daughter.

To be a good mom to my kids, I must be their fiercest advocate at all times, because the world won’t be.

I remember my biggest parenting mistake with perfect clarity. The shame still turns my stomach when I recall the moment I sided with white parents, who look like me, instead of my Black son…

Read the entire article here.

Comfortable in My Own Skin

Sojourners
January 2020

Maika Llaneza
New Orleans, Louisiana

My theology says brown skin is beautiful, but my Pinterest page said otherwise.

MY EXPERIENCE BEING color-shamed began when I was 5 years old and still living in the Philippines. My mom and aunts often told me that I could be mistaken for “the maid’s daughter,” due to my darker brown skin. Even at a young age, I understood it was intended as an insult.

As I grew up, billboards, films, television shows, and magazines bombarded me with images of white Americans and Filipinas with white facial features. Mestiza Filipina models and actresses—celebrities admired by young girls like me—advertised skin-whitening products.

Color-shaming by other Filipinas continued after I moved to the United States at age 7. My mom, titas (aunts or older women), and lolas (grandmothers or elderly women) told me to “stay away from the sun” and “try not to get so dark.” They told me I would look even prettier if I had lighter skin…

Read the entire article here.

Afro-Mexican Women in Saint-Domingue: Piracy, Captivity, and Community in the 1680s and 1690s

Hispanic American Historical Review
Volume 100, Issue 1 (2020-02-01)
pages 3-34
DOI: 10.1215/00182168-7993067

Pablo Miguel Sierra Silva, Assistant Professor of History
University of Rochester, Rochester, New York

This article focuses on the experiences of women of African descent who were made captives (and, in some cases, recaptives) after the 1683 buccaneer raid on Veracruz, the most important port in the Viceroyalty of New Spain (colonial Mexico). Although the raid is well known to historians of piracy, its implications for women’s history and African diaspora studies have not been properly contextualized in a period of expanding Atlantic slavery. This article proposes a close reading of contraband cases, parochial registers, slave codes, and eyewitness accounts centered on Afro-Mexican women who were kidnapped to Saint-Domingue (modern-day Haiti). A focus on displacement and resilience opens new narratives through which to understand women who transcended their captivity by becoming spouses to French colonists and free mothers to Saint-Domingue’s gens de couleur (people of mixed race).

Read or purchase the article here.

The Confederate Flag Didn’t Bother Bubba Wallace. Until It Did.

The New York Times
2020-06-19

Juliet Macur

Barry Cantrell

The only black driver in NASCAR’s top tier, he has emerged as an impassioned activist who got the flag banned at races in the largely white sport after years of putting up with it.

Darrell “Bubba” Wallace Jr., the only black driver in NASCAR’s top racing series, has drawn widespread attention and acclaim for his principled stand that got the Confederate flag banned from races in a largely white sport.

Yet, after years of often quiet acceptance of the sport’s “racist label,” as he put it, nobody was more surprised than his mother that he had become a central figure in the sports world’s upheaval regarding race.

“I was shocked,” his mother, Desiree Wallace, said in a telephone interview. “I said, ‘Wait a minute, is this my son? The one who doesn’t really care about anything but getting in the car and driving?’ I’m tripping that he’s gone from being a racecar driver to becoming a daggone activist. Who does that? Not Bubba.”

Yet a series of events, particularly the killing of a black man, Ahmaud Arbery, while he was jogging in a predominantly white neighborhood in Georgia, flipped a switch in Wallace, he and those who know him said…

Read the entire article here.

Rediscovering Frank Yerby: Critical Essays

University Press of Mississippi
2020-05-15
208 pages
Hardcover ISBN: 9781496827821
Paperback ISBN: 9781496827838

Edited by:

Matthew Teutsch, Director, Lillian E. Smith Center
Piedmont College, Demorest, Georgia

The first book-length sounding of the major contributions of the first black American novelist to sell more than a million copies

Contributions by Catherine L. Adams, Stephanie Brown, Gene Andrew Jarrett, John Wharton Lowe, Guirdex Massé, Anderson Rouse, Matthew Teutsch, Donna-lyn Washington, and Veronica T. Watson

Rediscovering Frank Yerby: Critical Essays is the first book-length study of Yerby’s life and work. The collection explores a myriad of topics, including his connections to the Harlem and Chicago Renaissances; readership and reception; representations of masculinity and patriotism; film adaptations; and engagement with race, identity, and religion. The contributors to this collection work to rectify the misunderstandings of Yerby’s work that have relegated him to the sidelines and, ultimately, begin a reexamination of the importance of “the prince of pulpsters” in American literature.

It was Robert Bone, in The Negro Novel in America, who infamously dismissed Frank Yerby (1916–1991) as “the prince of pulpsters. ” Like Bone, many literary critics at the time criticized Yerby’s lack of focus on race and the stereotypical treatment of African American characters in his books. This negative labeling continued to stick to Yerby even as he gained critical success, first with The Foxes of Harrow, the first novel by an African American to sell more than a million copies, and later as he began to publish more political works like Speak Now and The Dahomean.

However, the literary community cannot continue to ignore Frank Yerby and his impact on American literature. More than a fiction writer, Yerby should be put in conversation with such contemporaneous writers as Richard Wright, Dorothy West, James Baldwin, William Faulkner, Margaret Mitchell, and more.

Revisiting The Pioneering Composer Florence Price

All Things Considered
National Public Radio
2019-01-21

Tom Huizenga, Music Producer

Florence Price was the first African-American woman to have her music performed by a major symphony orchestra. Special Collections, University of Arkansas Libraries

In 1933, the Chicago Symphony Orchestra gave the world premiere of Symphony No. 1 by a then little-known composer named Florence Price. The performance marked the first time a major orchestra played music by an African-American woman.

Price’s First Symphony, along with her Fourth, has just been released on an album featuring the Fort Smith Symphony, conducted by John Jeter.

Fans of Price, especially in the African-American community, may argue that her music has never really been forgotten. But some of it has been lost. Not long ago, a couple bought a fixer-upper, south of Chicago, and discovered nearly 30 boxes of manuscripts and papers. Among the discoveries in what turned out to be Price’s abandoned summer home was her Fourth Symphony, composed in 1945. This world-premiere recording is another new piece of the puzzle to understanding the life and music of Price, and a particular time in America’s cultural history.

Read the story here. Listen to the story (00:04:00) here.

Are you raising a Biracial child? If so – we want to learn more about their experiences in your family!

McKenzie N. Stokes, B.S., Doctoral Candidate
Applied Social and Community Psychology
North Carolina State University

2020-06-15

We are currently conducting a research study on if and how multiracial families communicate about race and culture. We are reaching out to ask if your child could participate in our study which will include completing 2 brief surveys and partaking in a 1-hour group discussion with other Biracial youth on Zoom.

Participation is completely voluntary, and their answers will be confidential. They will receive a $10 (USD) Amazon gift card for participating. Information from this project will help researchers and family psychologists understand how to best serve Biracial youth and multiracial families like yours.

In order to participate, your child must be:

• Between the ages of 12 and 17
• Biracial Black-White (e.g. the biological child of 1 White parent and 1 Black parent)
• Live with 1 at least of their biological parents in the United States

If you are interested, please click on this link for our brief eligibility questionnaire https://tinyurl.com/ProjectBASES. Once we confirm eligibility, we will send you an email with more information about the study and the activities your child will participate in. If your child is not eligible to participate, the data will be destroyed.

If you have any questions, please do not hesitate to contact me by phone (919) 438-3176 or email: mnstokes@ncsu.edu.

Thank you!

Rebecca Hall Talks Complicated Notions Of Bi-Racial Identity In Directorial Debut ‘Passing,’ ‘Tales From The Loop’ & More [Deep Focus Podcast]

The Playlist
2020-06-10

Rodrigo Perez

Actor Rebecca Hall comes from a unique and interesting pedigree and lineage. There’s the surface element of that pedigree which could be seen as aristocratic privilege in the world of the arts. She is the daughter of the famous theatre director Sir Peter Hall (who passed away in 2017) and her mother is the legendary opera singer and stage actress Maria Ewing. Hall attended Cambridge University’s constitute school, St Catharine’s College, studied English, and eventually found her way back to acting after some time briefly spent as an actor during childhood.

Known for an eclectic career that took off after an early breakthrough performance in Christopher Nolan’s “The Prestige,” Hall’s also appeared in such movies as “Vicky Cristina Barcelona,” “Frost/Nixon,” Nicole Holofcener’s “Please Give,” Ben Affleck’s “The Town,” Joel Edgerton’s “The Gift,” and Antonio Campos’ striking indie “Christine” which brought her much extra acclaim to an already celebrated career.

But her personal identity, or at least the one of her parents, is much different. Hall’s mother is from Detroit, Michigan—perhaps an unlikely place as any to birth an opera singer—and bi-racial with African American and Dutch ancestry. Her grandfather was also bi-racial and to hear Hall tell it, both of them had a very complicated and complex struggle with their identity and how they appeared to others in the world.

This struggle, this question of identity and who you pass as in the world is something Hall tries to reckon with in “Passing,” her upcoming directorial debut which probably couldn’t be more timely. An adaption written by Hall as well, and something she’d been hoping to make for years, “Passing” is based on Nella Larsen’s 1920s Harlem Renaissance novel of the same name that explores the practice of racial passing, a term used for a person classified as a member of one racial group who seeks to be accepted by a different racial group. The film stars Tessa Thompson and Oscar nominee Ruth Negga as two reunited high school friends, whose renewed acquaintance ignites a mutual obsession that threatens both of their carefully constructed realities.

In this latest episode of our Deep Focus Podcast, Hall discussed “Passing” at length, including the ideas of permission and permits needed to try and tell these kinds of stories and the charges of cultural appropriation that can be lobbied at one when making them. But her original statement of intent is perhaps most succinct and eloquent when she said: “I came across [Passing] at a time when I was trying to reckon creatively with some of my personal family history, and the mystery surrounding my bi-racial grandfather on my American mother’s side. In part, making this film is an exploration of that history, to which I’ve never really had access.”

At the time, she described “Passing” as an astonishing book “about two women struggling not just with what it meant to be Black in America in 1929, but with gender conventions, the performance of femininity, the institution of marriage, the responsibilities of motherhood, and the ways in which all of those forces intersect.”…

Read the entire article and listen to the podcast (01:04:15) here.

Local Voices: What Does it Mean to “Pass” as White?

The Coronado Times
Coronado, California
2020-06-07

Carolyn Osorio
Barrio Logan, San Diego, California

Carolyn Osorio

The Coronado Times asked its writers to tackle the topic of race in Coronado. Given the current environment, we were asked to address the topic head-on and at first, I’ll admit, I wasn’t sure how to tackle it. I do not live in Coronado, I am not black, and I would not presume to imagine the lived experience of being black in America today. However, tensions are high everywhere and an altercation with one of my Barrio Logan neighbors about my whiteness this past week highlighted a very important topic that I do feel qualified to tackle: What does it mean to “pass” as white?

This is a question I, and other mixed-race people, ask ourselves constantly. Born from a combination of cultures, we have a foot in two (or more) worlds but, oftentimes, none of them fits quite right. For many of us, our racial makeup can be physically ambiguous and this ambiguity often allows us to “pass.” I’d like to think we are the living embodiment of America’s melting pot, a celebration of mixed cultures and languages, the product of two people choosing to love a different race than their own. Instead, we are often not quite white enough to be “white” but not quite brown or black or Asian or native enough to belong entirely to part of our cultural makeup. When we fill out the racial demographic section of forms, we are forced to select just one box that might define us. This has never felt more important than it does now in the face of protests and movements dedicated to abolishing racial prejudice…

Read the entire article here.