Mixed Race Studies

Toni Morrison and the Burden of the Passing Narrative

African American Review
Volume 35, Number 2 (Summer, 2001)
pages 205-217

Juda Bennett, Associate Professor of English
The College of New Jersey

Passing for white, a phenomenon that once captivated writers as diverse as Charles Chesnutt, Sinclair Lewis, Nella Larsen, and Mark Twain, no longer seems to engage contemporary novelists. The long list of authors from the first half of the twentieth century, which includes canonical writers like William Faulkner and forgotten stars like Edna Ferber, is hardly balanced by the short list of contemporary writers who have addressed this figure of racial ambiguity. In considering the relative disappearance of the passing figure from contemporary literature, this essay begins with neither a clear and substantial presence nor a complete absence of passing in the work of one of our most important novelists, Toni Morrison.

In each of her seven novels and in her sole short story, Toni Morrison invokes the passing myth, sometimes in only one or two paragraphs and often with indirection. The Bluest Eye, for example, features a dark-skinned child who cannot possibly pass for white, yet Pecola ignores biology and becomes (if only to herself) a blue-eyed Shirley Temple. Although some might consider Pecola’s delusion a weak or perhaps specious representation of passing for white, The Bluest Eye artfully reinforces its interest in racial passing by alluding to Peola, the passing figure in Imitation of Life. This intertextual play effectively evokes the myth without actually representing the phenomenon of passing, and in this way
Morrison decenters and deforms the traditional passing figure. Why?

It is my hope that this overview, although focused on Morrison, will be suggestive of larger shifts in culture, politics, and aesthetics. Why, for example, has the passing figure, after holding a central place in the imaginations of early-twentieth-century writers, been consigned to the margins of late-twentieth-century novels concerned with race? Why did Nella Larsen and Langston Hughes address the subject directly, even entitling works Passing and “Who’s Passing for Who?” while Morrison approaches the subject indirectly and often in a subplot or through an allusion? Are there certain stories that are considered embarrassing, passe, or even dangerous? Are there stories, furthermore, that simply cannot be told or, rather, cannot be told simply?…

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‘Stretching out the categories’: Chinese/European narratives of mixedness, belonging and home in Singapore

Ethnicities
Volume 14, Number 2 (April 2014)
pages 279-302
DOI: 10.1177/1468796813505554

Zarine L. Rocha, Research Scholar
Department of Sociology
National University of Singapore

Racial categorization is important in everyday interactions and state organization in Singapore. Increasingly, the idea of ‘mixed race’ and new conceptions of mixedness are challenging such classification along racial lines. Although contemporary Singapore is extremely diverse, the underlying ideology of multiracialism remains grounded in distinctly racialized groups, leaving little space for more complex individual identities. This paper explores the identifications of individuals of mixed Chinese and European descent in the Singaporean context, looking at how complexity is lived within firmly racialized structures. Drawing on a series of 20 narrative interviews, this research examines the relationship between categorization and identity, focusing on the identities of individuals with multiple national, cultural and ethnic ties. The practical impacts of racial categorization shape many aspects of life in Singapore, and individuals of mixed descent illustrated a constant tension between official categorization and personal mixedness, seen in the frustrations experienced and strategies developed by individuals around race and belonging. Individuals negotiated their connections around race and nationality both in practical terms around language, social policies and culture, and personally in terms of symbolic feelings of connection.

Read or purchase the article here.

U.S. Census looking at big changes in how it asks about race and ethnicity

Pew Research Center
2014-03-14

Jens Manuel Krogstad, Writer/Editor at the Pew Research Center’s Hispanic Trends Project

D’Vera Cohn, Senior Writer at the Pew Research Center’s Social & Demographic Trends Project

The Census Bureau has embarked on a years-long research project intended to improve the accuracy and reliability of its race and ethnicity data. A problem is that a growing percentage of Americans don’t select a race category provided on the form: As many as 6.2% of census respondents selected only “some other race” in the 2010 census, the vast majority of whom were Hispanic.

Six percent may seem small, but for an agency trying to capture the entire U.S. population (nearly 309 million in 2010) every 10 years, that number results in millions of people unaccounted for. This pattern of response led to the bureau’s “most comprehensive effort in history to study race and ethnic categories,” according to Census officials Nicholas Jones and Roberto Ramirez. “Increasingly, Americans are saying they cannot find themselves” on census forms, Jones said.

Many communities, including Hispanics, Arabs and people of mixed race, have said they’re unsure of how to identify themselves on census forms…

Read the entire article here.

Being “Nesian”: Pacific Islander Identity in Australia

The Contemporary Pacific
Volume 26, Number 1, 2014
pages 126-154
DOI: 10.1353/cp.2014.0013

Kirsten McGavin, Postdoctoral Research Fellow in Anthropology
University of Queensland, Australia

Pacific Islanders in Australia use the terms “Islander” and “Pacific Islander” in many ways and in different circumstances to define themselves and others. Through invoking discourses including these terms, Pacific Islanders both consciously draw on “panethnicity” and subconsciously strengthen and support their localized identities. In this way, Pacific Islanders blur the ethno-cultural and sociopolitical boundaries that traditionally separate groups with connections across a diverse range of countries. Indeed, diasporic settings give rise to transnationalist sentiment and actions and serve to strengthen panethnic identity. Using insider and auto-anthropology and ethnographic research techniques, I draw on my experiences as an Australian of Pacific Islander descent and use examples drawn from my involvement in formalized community groups, cultural events, and social functions. In doing so, I argue that the expression of Islander and Pacific Islander identity is entwined with ideas about “race,” place, stereotypes, and behavior that highlight the dynamic ethnogenesis of this group.

New Contenders Emerge in Quest to Identify Yale’s First African-American Graduate

The New York Times
2014-03-16

Ariel Kaminer

For Richard Henry Green, recently declared to have been Yale College’s first known African-American graduate, fame, or at least the certainty of his claim on history, was fleeting.

Just last month, an Americana specialist at the Swann Auction Galleries made public the discovery that Mr. Green, the son of a New Haven bootmaker, had attended Yale 17 years before Edward Bouchet, an 1874 graduate previously thought to have broken its color barrier. But while Mr. Bouchet spent a century and a half on that pedestal, his accomplishments praised with every honor, from academic symposiums to undergraduate fellowships to a portrait in Yale’s main library, the scant weeks since Mr. Green unseated him have brought nothing but new challengers.

According to an article in the journal Afro-Americans in New York Life and History, a man named Moses Simons may in fact have been the first undergraduate to break Yale’s color barrier. This possibility is remarkable not just because Mr. Simons graduated long before either of the two previous contenders — all the way back in 1809, when Thomas Jefferson was president — but because Mr. Simons is already celebrated for breaking an entirely different sort of barrier…

…The record of Mr. Simons’s trial includes references to him as “coloured,” and to the discomfort that he aroused in some “Southern gentlemen.” And the author of that trial record ended his account with a rant about keeping America free of “the African tinge.”

What’s more, a number of men in the Jewish, slave-owning Simons family of Charleston, S.C., were known to have fathered children of mixed race.

But as strongly as the trial record implies African ancestry, Dale Rosengarten, founding director of the Jewish Heritage Collection at the College of Charleston, cautioned that “unless you can actually know who the parents were, you don’t actually know.” She added: “If this man did have a dark complexion, darker than the average Caucasian, it’s possible that he had other admixtures.”…

Read the entire article here.

I Just Discovered that I am “Black”

The Thom Hartmann Program: “Renaissance Thinking About the Issues of Our Day”
2014-03-04

Thom Hartmann, Host

All one has to do is to pay $99, spit something like 10 cubic centimeters of saliva into a test tube, send it to 23andme, and you too, can discover all the things you are but never thought that you were. I also discovered that I am a Neanderthal (no surprise there), a bit of an Ashkenazi Jew, a mixture of European backgrounds, and to the delight of my Hungarian friend Ria, distinctly part Hungarian although I have no idea how that happened. According to Ria, of course, that is where I got my intelligence, from a small segment of Hungarian DNA on Chromosome 1. Anyway, if I am ever feeling downtrodden and persecuted, I rest secure in the knowledge that I belong to several historically persecuted groups, including Sub-Saharan African, Jewish, and I suppose that Neanderthals were persecuted, too. Plus, I belong to the historically persecuted group known as left-handed people; in fact, I am in the mere 4% of the population who is completely left-handed. (I am also left-footed and left-eyed.) I do intend to write more about the handedness issue one of these days, most likely venturing where no blogger has ever ventured before. But for now, it’s about genetics…

Now, speaking of beginnings, let me go back to the beginning. My eldest brother, Craig, is a geneticist. Around Christmas break, he arranged for me to take the 23andme genetics test — which, being a geneticist, is of great interest to him, and being a scientific-minded psychologist, is of great interest to me as well. The testing kit was sent to me in early January and I promptly gave the saliva sample and sent it back to 23andme…

…Overall, this genetics testing was an interesting and potentially useful learning experience. All life on the planet came from the same primordial ooze, and all humans came out of Africa, earlier for the Neanderthals, and merely 60,000 years or so ago for other humans. In that sense, we are all Africans. Our genetics reflect a combination of different ancestry and mutations, and over time, as modern life brings peoples of the world closer together, the genome in the melting pot mixes even further. Probably nearly everyone has more mixed heritage than we are aware of, as it is, and that’s a good thing — much better than it is to be inbred. Furthermore, human evolution appears to be accelerating, according to people who study human evolution. We have created a world of great flux. Bringing us closer together as one humanity, and working to overcome our differences, and to defeat those forces of selfishness within us and among us — forces with such aims as world domination — should be our common goal.

Read the entire article here.

On mixedness and blackness

What Nadia Likes
2014-03-14

Nadia Riepenhausen

What are you? A question that is fairly straightforward for many, but not so much for me. Before you roll your eyes, expecting to hear another lengthy diatribe about another ‘tragic mullato’ identity crisis, hear me out.

A couple of Sundays ago, I found myself in a ‘battle of the races’ on twitter, a ‘twar’ for the lack of a better term. It started out as a pleasant debate regarding racial categories in South Africa, and the difference between a cultural and racial identity. It ended with me being called a racist who hates black people by choosing to identify as ‘mixed race’. I have been called many things, but a racist is definitely a first for me. I’m not going to justify my non-racist claim, by stating something lame like “some of my best friends are black”, because as I am mixed race, I am also black, but some people just don’t seem to get or accept that it’s possible to be both of these things at the same time

In the aforementioned twitter debate, I was explaining to my fellow tweeters that I prefer to identify as mixed race, rather than ‘coloured’. For those not in the know, ‘coloured’ is how mixed race people are referred to in South Africa, and in Zimbabwe where I grew up. For me ‘coloured’ is more of a cultural identity, rather than a race. Although both of my parents were born coloured, I have never been comfortable with the label. This is mainly due to the way that I have been socialised and the environment that I grew up in. I grew up with my German stepfather and spent parts of my childhood in Germany. I went to predominantly white schools, and was one of a handful of so-called ‘coloureds’ in my school. I found myself with either white or black friends, and when it came to debating issues of race or politics, I adopted a black identity. During the time I was in school, I didn’t have the means to question my identity too much, but always found it difficult to answer questions pertaining to what I was. I didn’t live in the areas that coloured people lived in, I didn’t speak the way they spoke, nor did I go to the same places they did. I may give the impression that I was afflicted with a superiority complex, and that I thought I was better in some way, but this was definitely not the case. I would have loved to have blended in, but I simply did not. The few times that I attempted to, I was told that I ‘didn’t belong’ and was even beaten up by a girl once for being where I don’t belong. Many years on, I have no desire to blend in with any group and have embraced my ‘otherness’…

Read the entire article here.

Christine Buckley helped shift cultural axis on child abuse

The Irish Times
2014-03-12

Patsy McGarry, Religious Affairs Correspondent

From Broadstreet.ie

Those who insist that history is about movements not individuals might reflect on the achievements of Christine Buckley.

Her story is history as driven by one person. She was an original, a pioneer in exposing how badly this State “cherished” many of its children, whatever their age, throughout most of the 20th century, up to 1996 when the last Magdalene laundry closed. If a high point of much of her work was then taoiseach Bertie Ahern’s 1999 apology on behalf of the State to all who had been in residential institutions as children, as well as his announcement then of the Commission to Inquire into Child Abuse (Ryan Commission) and the setting up of the Residential Institutions Redress Board, it was not all.

It is no exaggeration to claim that such huge shift in the cultural axis of Ireland, made possible by Christine Buckley, paved the way for the Murphy Commission which investigated the handling of clerical sexual abuse allegations in Dublin and Cloyne dioceses, as well as the McAleese committee which investigated the Magdalene laundries…

…Her own story, as we now know, was in many ways typical. Through its telling she liberated others to do likewise, and not just from an institutional context. Writing in this newspaper in 1997 she recalled: “My mother lived within 20 minutes of the orphanage where I was placed as a child. I never knew it. Nobody seemed to know it. After a two-year courtship she took the baby boat to England in 1946 to hide, to wait and to give birth to her dark secret.

“She forgot to tell my father that she was separated from her husband. She forgot to tell him she already had children, one of them in an institution. Two weeks after my birth we returned to Ireland. My father refused to support her. The following day she placed me with, an adoption agency, vehemently refusing to sign the adoption papers and nobody asked her why.

“Guilt ridden, my father tracked me down six months later in a baby home. For six years he was the pivot of my life until one Saturday he never came back.”…

…Her campaign began after she met her birth mother for the first time in 1985. Three years later she travelled to Nigeria to meet her father. She “told him about my life in Goldenbridge . . . and how I intended to go public about the horrors of that place once he returned to Ireland to meet my children.”…

Read the entire article here.

Archibald J. Motley, Jr.’s Paintings: Modern Art Shaped by Precision, Candor, and Soul

Hyperallergic: Sensitive to Art & its Discontents
2014-03-09

Edward M. Gómez

A week ago, 12 Years A Slave won the Academy Award for Best Picture, the first time in the history of the Oscars that the top prize went to a film made by a black director. Recently, too, New York voters elected a white man who is married to a black woman; now the city’s “first family” vividly resembles the richly varied complexion of its multiracial, multiethnic population.

Against the backdrop of such belated examples of race-related “progress,” it is illuminating to flip through the pages of American cultural history and discover that almost a century ago, a black, classically trained modern artist, Archibald J. Motley, Jr., was using paint on canvas to address such nuanced subjects as the dignity of mixed-race persons and the skin-tone-based sensitivities that prevailed among his own people.

In Archibald Motley: Jazz Age Modernist, an exhibition on view at Duke University’s Nasher Museum of Art in Durham, North Carolina, the life story and achievements of this modernist innovator are receiving some much-deserved attention. Organized by Duke art history professor Richard J. Powell, whose book, Black Art and Culture in the 20th Century (Thames and Hudson, 1997; reissued as Black Art: A Cultural History, 2002), has become a standard text in its field, the Nasher exhibition will remain on view through May 11 before embarking on a US tour that will end in New York at the Whitney Museum of American Art late next year.

Motley (1891–1981), who is still not widely known today, was born in New Orleans and moved with his parents to Chicago when he was an infant. His father worked as a Pullman railway-carriage porter. After declining a scholarship to study architecture at Chicago’s Armour Institute, Archibald was accepted at the School of the Art Institute of Chicago (where, it is interesting to note, the Armour Institute’s president paid his first-year tuition fees). Motley, whose teachers included the realist painter George Bellows, went on to produce a technically inventive body of work that assimilated various stylistic developments of early-20th-century modern art…

…Powell’s implication is that Motley’s ability to view the world around him from simultaneously different vantage points and to embrace contradictions was somehow postmodernist avant la lettre. Powell pointed out, “Motley came from a part of the country, New Orleans, where mixed-race people were not uncommon. Comprehending someone whose racial identity was mixed wasn’t so hard for him but he was color-struck; he was interested in this subject and gravitated toward people like ‘the octoroon girl,’ whom he found in an A&P supermarket and who became one of his sitters.”

Powell noted that Motley was not just keenly aware of how a person’s skin color could influence his or her place in society — and the privileges or prejudices that accompany it — but like other artists and intellectuals associated with the Harlem Renaissance of the 1920s-1930s (or “New Negro Movement,” as it was known at the time), he was also interested in the multidimensional nature of black racial identity and the forms of social and cultural expression that were associated with it.

Some historians have described the light-skinned Motley, whose own ancestry was African, European and Native American, as someone who throughout his life felt unsettled about his own racial identity. As Powell sees it, the artist “instinctively understood that the issue of racial identity was complex” and therefore hard to codify, “because in his own case it was, too.” In other ways, Powell added, Motley’s life was not exactly simple or conventional, and he had to emotionally and psychologically process its vicissitudes…

Read the entire article here.

Archibald Motley: Jazz Age Modernist

Nasher Museum of Art at Duke University
2001 Campus Drive
Durham, North Carolina 27705
On view 2014-01-30 through 2014-05-11

ABOUT

Archibald Motley: Jazz Age Modernist, the first retrospective of the American artist’s paintings in two decades, will originate at the Nasher Museum of Art at Duke University on January 30, 2014, starting a national tour.

SO MODERN, HE’s CONTEMPORARY

Motley is one of the most significant yet least visible 20th-century artists, despite the broad appeal of his paintings. Many of his most important portraits and cultural scenes remain in private collections; few museums have had the opportunity to acquire his work. With a survey that spans 40 years, Archibald Motley introduces the artist’s canvases of riotous color to wider audiences and reveals his continued impact on art history.

FOR THE FIRST TIME AT THE NASHER MUSEUM

Archibald Motley includes 42 works from each period of Motley’s lifelong career, from 1919 to 1960. Motley’s scenes of life in the African-American community, often in his native Chicago, depict a parallel universe of labor and leisure. His portraits are voyeuristic but also genealogical examinations of race, gender and sexuality. Motley does not shy away from folklore fantasies; he addresses slavery and racism head on. The exhibition also features his noteworthy canvases of Jazz Age Paris and 1950s Mexico. Significant works will be presented together for the first time.

“We are extremely proud to present this dazzling selection of paintings by Archibald Motley, a master colorist and radical interpreter of urban culture,” said Sarah Schroth, Mary D.B.T. and James H. Semans Director of the Nasher Museum. “His work is as vibrant today as it was 70 years ago; with this groundbreaking exhibition, we are honored to introduce this important American artist to the general public and help Motley’s name enter the annals of art history.”

THE MAN, THE ARTIST

Archibald John Motley, Jr. (1891-1981), was born in New Orleans and lived and worked in the first half of the 20th century in a predominately white neighborhood on Chicago’s Southwest side, a few miles from the city’s growing black community known as “Bronzeville.” In his work, Motley intensely examines this community, carefully constructing scenes that depict Chicago’s African American elites, but also the worlds of the recently disembarked migrants from the South and other characters commonly overlooked.

In 1929, Motley won a Guggenheim Fellowship that funded a year of study in France. His 1929 work Blues, a colorful, rhythm-inflected painting of Jazz Age Paris, has long provided a canonical picture of African American cultural expression during this period. Several other memorable canvases vividly capture the pulse and tempo of “la vie bohème.” Similar in spirit to his Chicago paintings, these Parisian canvases extended the geographical boundaries of the Harlem Renaissance, depicting an African diaspora in Montparnasse’s meandering streets and congested cabarets.

In the 1950s, Motley made several lengthy visits to Mexico, where he created vivid depictions of life and landscapes. He died in Chicago in 1981.

ON THE ROAD

Archibald Motley: Jazz Age Modernist opens at the Nasher Museum of Art at Duke University and will travel to the Amon Carter Museum of American Art in Fort Worth, Texas (June 14–September 7, 2014); the Los Angeles Museum of Contemporary Art (October 19, 2014–February 1, 2015); the Chicago Cultural Center (March 6–August 31, 2015) and the Whitney Museum of American Art, New York (Fall 2015).

For more information, click here.