Mixed Race Studies

Ethnicity does not define one’s character

The Royal Gazette
Hamilton, Bermuda
2016-04-15

Christopher Famous

There has been debate on social media recently about good hair vs bad hair, persons of mixed ethnicities, light skin vs dark skin.

After a conversation with someone deeply concerned with these issues, I decided to dig up a column I wrote in June last year:

We see a large proportion of Bermudians who are fair or light-skinned, with straight or semi-straight hair. Why is that, you ask? Let’s look at history to understand…

Read the entire article here.

Spotlight: Beneath Japan’s polite veneer lies secret codes of racial hatred aimed at minorities, foreigners

China.org.cn (China Internet Information Center)
State Council Information Office and the China International Publishing Group (CIPG), Beijing, China
2016-05-21

Xinhua News Agency

Is Japan a gentle nation? For many people who have little knowledge about the island country or just take a week-long vocation here, the answer would be a resounding “yes.”

But for the ethnic minorities and some foreigners who live here for a long time, their bitter tales would tell a totally different story behind the iconic Japanese smile — a real Japan with an underground social code of inherent racial discrimination.

Japan has a long history of discriminating “burakumin,”or hamlet people as they’re known here in English. This group, brandished an”underclass”of people comprise those perceived as having impure or tainted professions such as workers in abattoirs or those in the leather industry. They were seen as “untouchable” and also known as “eta,” an ancient name for burakumin, and were “worth” one seventh the regard of an ordinary person in the Feudal era, and in some cases regarded just slightly higher than animals.

However, such discrimination was not eliminated with the Meiji Restoration, the Japanese Enlightenment in the 19th century, and still impacts people with burakumin ancestry…

…”There was a lot of bullying when I was at school, particularly when I was an elementary school student. They used to throw garbage in my face but I had no idea why,” Ariana Miyamoto, the first Afro-Asian to be crowned Miss Universe Japan, told Xinhua.

“There was this one time when a whole class of kids refused to get in the swimming pool with me, because my skin was a different color,” remembered Miyamoto, who was born in Nagasaki Prefecture but was accused of not being Japanese.

A spiteful remark on one social media after Miyamoto’s won the hard-fought competition read that “they should do blood tests before such events and if a contestants’ DNA is less than 100 percent ‘Japanese’ they should not be allowed to participate.” Another claimed that being “hafu,” which represents “half” in English used by Japanese people referring to people of mixed-race, meant that the “other” half was “less than human.”…

Read the entire article here.

Obama signs measure striking ‘oriental’ and ‘negro’ from federal law

The Hill
2016-05-20

Jordan Fabian, White House Correspondent

President Obama has signed legislation striking outdated racial terms such as “Oriental” and “Negro” from federal laws.

Obama signed the bill without fanfare on Friday along with six other pieces of legislation, the White House said…

Read the entire article here.

Mixed-Race Mixtape Explores Identity Through Hip-Hop Theater at UCI

OC Weekly
Fountain Valley, California
2016-05-17

Gabriel San Roman

If Republican presidential candidate Donald Trump can tweet a picture of himself eating a taco bowl while declaring “I love Hispanics,” the national discussion around race has gotten soggier than the bottom of his bowl. Thankfully, Andrew “Fig” Figueroa is coming to UC Irvine this week to elevate the debate with Mixed-Race Mixtape, a much needed dose of hip-hop theater. Born to a Mexican dad and a white mom, Fig explores the intricacies of his own identity through song and stage.

“It’s funny because I was always aware that I had one parents who was Mexican and one that was white European, but I never dealt with the stress and confusion that I do now as an adult,” says Fig, who grew up in Irvine. “My white mother not only spoke perfect Spanish, but also had lived in Mexico for 15 years. So, we took pride in being a Mexican household.” It wasn’t until he moved out of Irvine that he realized all the issues he had that would later inform Mix-Raced Mixtape.

The one-night only production is a blend itself, incorporating hip-hop music, theater and spoken word elements together. The end result takes the audience through his experience of growing up as “ambiguously brown” as, say, Saved By the Bell’s A.C. Slater. Whether talking about encounters with police, family or school teachers, Fig’s bridging of both worlds becomes a balancing act. The feat is often wrought with subtle and not-so-subtle jabs along the fault lines of race and class…

Read the entire article here.

Cinematic Identity: Anatomy of a Problem Film

University of Minnesota Press
2007
200 pages
24 b&w photos, 5 1/2 x 8 1/2
Paper ISBN 978-0-8166-3412-5
Cloth ISBN 978-0-8166-3411-8

Cindy Patton, Canada Research Chair in Community Culture and Health
Simon Fraser University, British Columbia, Canada

Though largely forgotten today, the 1949 film Pinky had a significant impact on the world of cinema. Directed by Elia Kazan, the film was a box office success despite dealing with the era’s most taboo subjects—miscegenation and racial passing—and garnered an Academy Award nomination for its African American star, Ethel Waters. It was also historically important: when a Texas movie theater owner showing the film was arrested for violating local censorship laws, his case went to the U.S. Supreme Court, which ruled the censorship ordinance unconstitutional.

In Cinematic Identity, Cindy Patton takes Pinky as a starting point to meditate on the critical reception of this and other “problem films” of the period and to explore the larger issues they raise about race, gender, and sexuality. Films like Pinky, Patton contends, helped lay the groundwork for a shift in popular understanding of social identity that was essential to white America’s ability to accept the legitimacy of the civil rights movement.

The production of these films, beginning with Gentleman’s Agreement in 1947, coincided with the arrival of the Method school of acting in Hollywood, which demanded that performers inhabit their characters’ lives. Patton historicizes these twin developments, demonstrating how they paralleled, reflected, and helped popularize the emerging concept of the liberal citizen in postwar America, and in doing so illustrates how the reception of projected identities offers new perspectives on contemporary identity politics, from feminism to the gay rights movement.

Woman Crush(ing the Patriarchy) Wednesday: Omaris Zunilda Zamora

Latina
2016-05-18

Raquel Reichard, Politics & Culture Editor

Black and Latina/Chicana feminisms are life-affirming for countless women of color, but in both movements, AfroLatinas are left at the periphery, if acknowledged at all. This week’s #WCW Omaris Zunilda Zamora wants to change that.

The Chicago-born, New York-livin’ dominicana is a literary scholar who looks to AfroLatina knowledge producers to help bridge the gap between theory and practice. When she’s not teaching at Brooklyn College or completing her Ph.D. in Afro-Latino Cultural & Literary Studies at the University of Texas at Austin, Zamora is bringing her AfroLatina feminism to the interwebs.

Ahead, learn how this mujer arrived at her AfroLatina feminist thought and how she uses it to crush the anti-Black, xenophobic, classist patriarchy.

Can you tell our readers a little more about your work as a scholar?

As an AfroLatina and Dominican literary scholar, my work looks to bridge the gap between theory and practice by first acknowledging AfroLatina women as knowledge producers. Our knowledge is informed through our bodies and the relationships that we have with ourselves and other women in our communities. The idea is that our bodies as Black women take up space in a very particular way. Furthermore, I look at the narratives and stories by transnational Dominican women to further understand how the African diaspora can expand how we think about blackness, gender and sexuality…

Read the entire article here.

Mestizaje in the Age of Fascism: German and Q’eqchi’ Maya Interracial Unions in Alta Verapaz, Guatemala

German History
Volume 34, Issue 2 (June 2016)
pages 214-236
DOI: 10.1093/gerhis/ghw017

Julie Gibbings, Assistant Professor of History
University of Manitoba, Winnipeg, Manitoba, Canada

In contemporary Guatemala, Q’eqchi’ Mayas of German descent are reclaiming identities as ‘the improved race’ (la raza mejorada), which allows them claim both tradition and authenticity as well as racial whiteness and modernity. While surprising to contemporary observers, these identities have longer histories, rooted in the interwar period, when Guatemalan urban intellectuals and statesmen looked to German-Maya sexual unions as the racial solution to Guatemala’s failure to forge a modern and homogenous nation. Like national racial mixing (mestizaje) projects found in Mexico and elsewhere in Latin America, Guatemalan intellectuals in the 1920s and 1930s argued that racial mixing with Anglo-Saxons led not to racial degeneration, but—potentially—to new and more vital races. While long ignored by historical scholarship, hybrid Q’eqchi’-Germans, however, unravel a priori assumptions of German diasporic political and social insularity. By examining the potent symbolic and cultural dimensions Guatemala’s unique mestizaje project had for the formation of both German and Guatemalan nationalist projects during the rise of German National Socialism and Guatemala’s own populist dictatorship under President Jorge Ubico (1931–1944), this article argues for an understanding of German diasporas in Latin America that places them squarely in the transnational space between competing nationalisms and political agendas. By further examining the important material and social dimensions of mixed-race families, this article reveals the crucial ties Germans forged in Latin America and how who counted as German and by what measure was a subject of considerable debate with important political consequences.

Read or purchase the article here.

poem: Casey Rocheteau

Union Station
January 2014

Casey Rocheteau

The first time I was black

I was staring out the sliding glass door
at the mourning doves in the back yard.
My white mother came up
behind me and said that if anyone
didn’t want to be my friend at school
it was their loss. I asked,
Why would anyone not want to be my friend?
well, because you’re black.
I looked at my hands
uncomprehending…

Read the entire poem here.

Black Velvet: redefining and celebrating Indigenous Australian women in art

The Conversation (US Pilot)
2016-05-08

Sandra Phillips, Lecturer
Creative Writing and Literary Studies, School of Media, Entertainment and Creative Arts, Creative Industries Faculty
Queensland University of Technology, Brisbane, Queensland, Australia

^*Warning: This article contains graphic language that may upset some readers, while Aboriginal and Torres Strait Islander readers should be aware that it may contain images, voices or names of deceased people.

With her first solo exhibition, artist Boneta-Marie Mabo has been inspired by the State Library of Queensland’s collections to create new works that speak back to colonial representations of Indigenous womanhood.

She found portraits of Indigenous women without any name, or with labels such as “black velvet” or “gin”; objects, rather than women. Men on the frontier sought to control Aboriginal lands as well as women’s bodies – with or without consent.

The 2005 documentary Pioneers of Love discusses the colonial fetish for Indigenous women.

Revered author Henry Lawson was one of the first to popularise the phrase ‘black velvet’. It described the soft, smooth skin of Aboriginal women – or ‘gins’, as they were referred to then. The men who associated with Aboriginal women were known as ‘gin jockeys’. And their children were often referred to as ‘burnt corks’. – Watch from 1:52 of this clip of the documentary.

But Boneta-Marie’s exhibition, Black Velvet: your label, is more than a response to the past. It’s also about the struggle not to let others define our identity. And it’s a celebration of Indigenous women today, including Boneta-Marie’s grandmother, activist and Order of Australia winner Bonita Mabo…

Read the entire article here.

The Construction of Whiteness: An Interdisciplinary Analysis of Race Formation and the Meaning of a White Identity

University Press of Mississippi
April 2016
256 pages (approx.)
6 x 9 inches
introduction, 8 b&w illustrations, bibliography, index
Hardcover ISBN: 9781496805553

Edited By:

Stephen Middleton, Professor of History and Director of African American
Mississippi State University

David R. Roediger, Foundation Professor of American Studies and History
University of Kansas

Donald M. Shaffer, Associate Professor of African American Studies and English
Mississippi State University

A critical engagement with the origins, power, and elusiveness of white privilege

Contributions by Sadhana Bery, Erica Cooper, Tim Engles, Matthew W. Hughey, Becky Thompson, Veronica T. Watson, and Robert St. Martin Westley

This volume collects interdisciplinary essays that examine the crucial intersection between whiteness as a privileged racial category and the various material practices (social, cultural, political, and economic) that undergird white ideological influence in America. In truth, the need to examine whiteness as a problem has rarely been grasped outside academic circles. The ubiquity of whiteness–its pervasive quality as an ideal that is at once omnipresent and invisible–makes it the very epitome of the mainstream in America. And yet the undeniable relationship between whiteness and inequality in this country necessitates a thorough interrogation of its formation, its representation, and its reproduction. Essays here seek to do just that work. Editors and contributors interrogate whiteness as a social construct, revealing the underpinnings of narratives that foster white skin as an ideal of beauty, intelligence, and power.

Contributors examine whiteness from several disciplinary perspectives, including history, communication, law, sociology, and literature. Its breadth and depth makes The Construction of Whiteness a refined introduction to the critical study of race for a new generation of scholars, undergraduates, and graduate students. Moreover, the interdisciplinary approach of the collection will appeal to scholars in African and African American studies, ethnic studies, cultural studies, legal studies, and more. This collection delivers an important contribution to the field of whiteness studies in its multifaceted impact on American history and culture.