Mixed Race Studies

“The Average Man”—Did You Ever Size Him Up?—The Human Melting Pot

The Day Book
Chicago, Illinois
1914-04-04
pages 3-4
Source: Chronicling America: Historic American Newspapers (Library of Congress)

Herbert Quick

No phrase is more abused and overworked than the expression. “the average man.”

Whenever a person uses it, he refers to a being in which he personifies all the rest of the world. Generally he looks down on, this fellow, “the average man,” as not quit so important a person as himself. Jones may be more intellectual than I, Smith may be better looking. Brown more athletic, Robinson healthier, and Vanastorfeller richer, but I have to say this for myself, I stand higher than “the average man.”

Well, let’s look into the matter. If all the people were averaged in mental, moral and physical qualities, what sort of person would “the average man” be?

The “averaged” man would be an octoroon. One-eighth of the blood in him would be negro. But he would be darker than the octoroon of the United States for he would be more than one-third of the blood of the Hindus, and Chinese, Japanese and other yellow races, and of the white blood in him there would be only a dash of the blonde races of the northern lands. The Spanish, Portuguese, Greek, and other races which, while Caucasian, are dark, would mingle with the Hindu, and other Asiatics, and the blue-eyed, blonde-haired characteristics would be stamped out.

The “averaged” man would be as dark as a Jap. He would have eyes not quite as almond-shaped as the Jap’s, but distinctly of that type, on account of the admixture of Mongolian blood. He would probably have hair inclined to curl, because in Caucasian, Semitic and negro strains this sort of hair is common.

His eyes would be black or dark brown. His lips would be thicker than those of the white man, and, in spite of the hooked beaks of the Europeans, Arabs, Hindus and Jews, his nose would be shorter and flatter than is common with us.

He would not be a Christian; for the half-pagan Christianity of our race would be submerged in the whole-hearted beliefs of the other races. He would be strongly materialistic on account of the Chinese and Japanese basis of his blood, but he would sneak aside and practice foul rites, fetishism, voodooism and witchcraft.

The big Slavs, Germans, Scandinavians, Europeans generally, Americans, negroes and Indians would give him a stature greater than that of the Japanese and Chinese.

The “averaged” man would just about be able to read in the First Reader. He would be higher in political qualities than the Mexicans, but lower than the Japanese.

This “averaged” man would have a wife as a “help meet for him,” and about five children. There wouldn’t be enough provisions in the house for three meals, and the house would not be worth a hundred dollars. But the man would be just fair as to industry, and would probably get another meal in time to prevent the family from being only just a little famished.

He would be opposed to equal suffrage.

The Mixed Marriage

The New York Times
2014-01-11

Interview by Lise Funderburg

Lise Funderburg, a journalist, interviewed Yael Ben-Zion, a photographer raised in Israel, about her new book, “Intermarried,” published by Kehrer, which features families from the Washington Heights neighborhood where she lives with her French husband and 5-year-old twins.

Q. What inspired this project?

A. I saw an Israeli television campaign that showed faces on trees and bus stops, like missing children ads. A voice-over said, “Have you seen these people? Fifty percent of young Jewish people outside of Israel marry non-Jews. We are losing them.” I happen to be married to a person who is not Jewish. And, so for me it was, “Aah, they’re losing me.” I’m not religious, but this campaign made me wonder more generally why people choose to live with someone who is not from their immediate social group, and what challenges they face.

Q. How did you establish your taxonomy for what qualified as mixed?

A. I wasn’t going to go in the street and ask couples if they were mixed. I didn’t grow up here; I didn’t even know what terminology to use. But I live in a very diverse Manhattan community that has an online parent list with more than 2,000 families on it. I put up an ad saying I was looking for couples that define themselves as mixed. I said it could be different religion, ethnicity or social background. I didn’t use the word race, because I wasn’t sure how politically correct that was. All the couples who responded are either interfaith or interracial or both, but my goal from the beginning wasn’t to create some statistical visual document. For example, I have hardly any Asian people, and I don’t think there are any Muslims, and the reason is that they didn’t approach me…

Read the entire interview and view the slide shows here.

Intermarried

Kehrer Verlag Heidelberg
2013
128 pages
57 color ills.
24 x 29.5 cm
English
Hardcover ISBN 978-3-86828-418-8

Photography by: Yael Ben-Zion

Text by: Amy Chua, Maurice Berger, Yael Ben-Zion

Yael Ben-Zion uses photography and text to reflect on intermarriage.

Following her award-winning monograph 5683 miles away (Kehrer 2010), in Intermarried Yael Ben-Zion fixes her camera on another personal but politically charged theme: intermarriage. Ben-Zion initiated the project in 2009 by contacting an online parent group in Washington Heights, her Manhattan neighborhood, inviting couples who define themselves as “mixed” to participate. Her own marriage “mixed,” she was interested in the many challenges faced by couples who choose to share their lives regardless of their different origins, ethnicities, races or religions.

Through layered images and revealing texts (including excerpts from a questionnaire she asked her subjects to fill out), Intermarried weaves together fragments of reality to compose a subtle narrative that deals with the multifaceted issues posed by intermarriage.

Afro-Vietnamese Orphans Tell Their Stories in ‘Indochina: Traces of a Mother’

Black Film Center/Archive
Indiana University, Bloomington
2012-04-25

A new(er) documentary film by Idrissou Mora-Kpai follows the stories of Afro-Vietnamese orphans born of Vietnamese mothers and West African fathers – tirailleurs sénégalais – brought by the French to fight la sale guerre, mostly in today’s Viet Nam. The synopsis:

Through the story of Christophe, a 58-year-old Afro-Vietnamese man, the film reveals the little known history of African colonial soldiers enlisted to fight for the French in Indochina. Christophe was one of seven Afro-Vietnamese orphans adopted by one of those soldiers when he returned to Benin after the war. The film explores the long lasting impact of bringing together two populations who previously had no ties and sheds light on a frequent practice within colonial history, that of using one colonized people to repress the independence claims of another colonized people.

Told in Vietnam and Benin, the film gives space for the grown Afro-Vietnamese orphans to tell their stories, but also to explore the contradictions of the colonial order…

Read the entire article here.

The Stuart Hall Project (Washington premiere)

The National Gallery of Art
East Building Auditorium
Between 3rd and 9th Streets, N.W. along Constitution Avenue N.W.
Washington, D.C.
2014-01-19, 16:30 EST (Local Time)

The celebrated Jamaican-born sociologist and theorist Stuart Hall (b. 1932) is the founding father of cultural studies — the popular interdisciplinary field that has reworked the way in which cultural patterns are studied within societies. Combining archival imagery, home movies, and found footage with new material and a uniquely crafted Miles Davis soundtrack, “John Akomfrah’s filmmaking approach matches Hall’s intellect, its intimate play with memory, identity, and scholarly impulse traversing the changing historical landscape of the second half of the twentieth century” — British Film Institute. (John Akomfrah, 2013, DCP, 95 minutes)

Overturning Anti-Miscegenation Laws: News Media Coverage of the Lovings’ Legal Case Against the State of Virginia

Journal of Black Studies
Volume 43, Number 4 (May 2012)
pages 427-443
DOI: 10.1177/0021934711428070

Jennifer Hoewe
College of Communications
Pennsylvania State University, University Park

Geri Alumit Zeldes, Associate Professor
School of Journalism
Michigan State University

This study fills a gap in scholarship by exploring historical news coverage of interracial relationships. It examines coverage by The New York Times, Washington Post and Times-Herald, and Chicago Tribune of the progression of the landmark civil rights case of Loving v. Virginia, in which the Supreme Court overturned Virginia’s anti-miscegenation law, which prohibited marriage between any White and non-White person. An analysis of the frames and sources used in these publications’ news stories about the case indicate all three publications’ coverage favored the Lovings.

Read or purchase the article here.

An unmanageable Commodity to have imported into this white Country: Growing up Mixed-Race in India and Scotland, 1780-1830

Institute of Historical Research
Senate House (Room 103)
Malet Street
London WC1E 7HU
Tuesday, 2014-01-14, 17:15-19:15Z

Ellen Filor
University College London

Seminar Series: Life-Cycles (Spring Term 2014)

This seminar series will address issues relating to the life-cycle such as age, intergenerational relationships, parenthood, ageing, childhood and youth, from long-chronological and interdisciplinary perspectives.

For more information, click here.

Q&A with Tim Okamura: A Painter with a Purpose

SCA Close Up: News and Events From the School of Visual Arts
School of Visual Arts, New York, New York
2013-08-29

An eclectic heritage, a penchant for hip-hop, and life as an artist in New York City set Tim Okamura (MFA 1993 Illustration as Visual Essay) on a path toward social consciousness. Collected by celebrity clients (including Uma Thurman, Questlove and John Mellencamp) and exhibited in the National Portrait Gallery in London, his portraits are meant to “contribute a positive voice to the conversations going on today.” Okamura’s paintings in “The Pond, the Mirror, the Kaleidoscope” depict a trio of female boxers, suggesting women’s plight for equality and justice.

SCA: You’re known for your paintings of African American women.  You’re half-Japanese, half-Caucasian and you grew up in Canada. Many of your paintings celebrate the New York street scene. How did this juxtaposition come about?

Tim Okamura: It’s a question that comes up often—and it’s really not a short answer for me—and it’s very intriguing to me that there are people who tend to find the juxtaposition of the work, and who I am, quite “conceptual.” It’s something I hadn’t fully considered when I began making the work. The idea that there would be an intertwining assessment of both model and artist when looking at the work was vaguely in the back of my mind, but it never influenced my choices. As someone who has focused primarily on portraiture up to this point in my career, I think the biggest factor in choosing my subjects has always just been a deep interest in the “stories” of the people I paint. I consider portraiture a form of story-telling as it relates to the subject, and I really wanted to discover or reveal to my audience stories that I felt were compelling, and perhaps had not been told previously…

…I think there is an additional layer of psychological interest for me in that my vision is filtered through the lens of my personal experience as someone of mixed race growing up in Canada. I was often identified as being “different” and even persecuted for this perception. As a result, I tended to form friendships with minority kids and anyone who might have felt excluded from the “mainstream.” This has had a significant impact on my view of the world, my desire for social justice and equality, and my long-standing motivations as an artist who is interested primarily in people…

Read the entire interview here.

The story behind Dido Belle – the bi-racial Londoner who helped end slavery in Britain

London Evening Standard
2014-01-08

Susannah Butter

Susannah Butter tells the tale of Dido Belle, ahead of the release of a film about her extraordinary life starring Tom Felton and Miranda Richardson.

Among the many aristocratic faces gazing out of frames in Hampstead’s newly refurbished Kenwood House, there’s one that sticks out. Standing next to Elizabeth Murray in a print of Johann Zoffany’s portrait from c.1799, there is a smiling girl wearing pearls. But although she looks equal to her playmate, she is black. This girl is Dido Belle, the daughter of an enslaved woman. Belle was brought up at Kenwood, a house partially built with “blood money” from the Triangular Trade, and she made her own contribution to the abolition of slavery. A film of her extraordinary life, Belle, is out this spring with a cast including Tom Felton and Miranda Richardson.

It comes after two films examining the black historical experience: British director Steve McQueen’s 12 Years a Slave and Lee Daniels’s The Butler, both set in the United States. But there is another story of slavery that needs telling and it’s set in London…

…Belle was born the illegitimate daughter of Admiral Sir John Lindsay of the Royal Navy and Maria Belle, a slave who he met en route from England to Jamaica around 1761. When Lindsay went back to the navy, he entrusted five-year-old Belle to his uncle, Lord Chief Justice Mansfield, who lived at Kenwood. Lord and Lady Mansfield had no children of their own but raised Belle with Lady Elizabeth Murray, the daughter of Mansfield’s other nephew, David Murray.

“The idea that there was this girl who was part of our cultural legacy in England — a mixed race woman in the 1780s — hooked me,” says Gugu Mbatha-Raw, the London actress who plays Belle. “Speaking as a mixed-race woman in 2013, there aren’t many historical stories about people like me. When people think of ‘dual heritage,’ they think it’s a modern concept but it’s not. I wanted to do justice to Dido.”…

Read the entire article here.

Home is Where the Hurt Is: Racial Socialization, Stigma, and Well-Being in Afro-Brazilian Families

Duke University
2012
228 pages

Elizabeth Hordge Freeman

Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Sociology in the Graduate School of Duke University

This dissertation examines racial socialization in Afro-Brazilian families in order to understand how phenotypically diverse families negotiate racial hierarchies and ideologies of white supremacy. As an inductive, qualitative project, this research is based on over fourteen months of ethnographic fieldwork in Salvador, Bahia, Brazil in fifteen poor and working-class Bahian families and 116 semi-structured interviews with family members and informants. Findings suggest that one of the most prominent features of racial socialization is the pervasive devaluation of black/African influences, which is conveyed through implicit and explicit messages as well as concrete practices (including rituals) that promote the stigmatization of negatively valued racialized physical features. The study reveals a pattern of unequal distribution of affection based on racial appearance (phenotype), which is evident in parent-child, sibling, extended family, and romantic relationships. Findings suggest that negative appraisals of racial phenotype may significantly compromise affective bonds in families and have social psychological consequences impacting self-esteem and sense of belonging, while also eliciting suicidal ideations and anxieties. These outcomes are most pronounced for Afro-Brazilian females. Racial socialization also conveys the “strategically ambiguous” logic of color and racial classification, uncritically exposes family members to racist messages, jokes, and stereotypical images of Afro-Brazilians, and encourages cultural participation that superficially valorizes Afro-Brazilian culture and fosters nationalism, rather than racial identity. In contrast to traditional findings of racial socialization in the U.S., messages valorizing racial heritage are rare and efforts to prepare family members for bias rely on universal terms. Families do employ counter-discourses and creative strategies of resistance; and so, racial socialization is characterized by practices that reflect both resistance and accommodation to racial hierarchies. I conclude that racial socialization in families is influenced by and sustains racialization processes that maintain the broader system of white supremacy. Contrary to how racial socialization has been framed as having a purely protective role in families, this study illustrates how it may disadvantage blacks vis-à-vis whites and uniquely stigmatizes the most “black-looking” family members vis-à-vis those who more closely approximate an idealized (whiter) somatic norm. Future studies should triangulate data on racial socialization from other regions of the Americas.

Contents

• Abstract
• Acknowledgements
• 1. Introduction
  • 1.1 “The Face of A Slave”
  • 1.2 Background
  • 1.3 Case Selection
    • 1.3.1 Community Site
  • 1.4 Data and Methods
  • 1.5 Methodology
  • 1.6 “Second Sight” or Double Vision? My Subjectivity in the Field
  • 1.7 Organization of the Dissertation
• 2. Literature Review
  • 2.1 Crafting a Social Order: Race and Racialization
    • 2.1.1 Towards a Phenotypic Continuum
  • 2.2 Blinded by the White: Whitening and Racial Socialization in Families
    • 2.2.1 Studying Families in the U.S. and Brazil
    • 2.2.2 Mothering in Families
  • 2.3 The Stigmatized Body and Well Being
  • 2.4 The Family Systems Paradigm and Emotions
  • 2.5 Conceptual Framework
  • 2.6 Theoretical Framework
  • 2.7 The Racial Rubik: Salvador, Bahia, Brazil
• 3. “All in the Family”: Implicit and Explicit Racial Socialization
  • 3.1 Chapter Preface
  • 3.2 “Strategic Ambiguity” and Color Inconsistencies
    • 3.2.1 Family Interventions in Racial Classification
    • 3.2.2 Will the real white person please stand up?
    • 3.2.3 There are no whites, We are all black!
  • 3.3 Race and Space
    • 3.3.1 Todo no seu Lugar – Everything in its Place
  • 3.4 “Explicit Socialization Messages?.
    • 3.4.1 Educação é Salvação: Education is Salvation
    • 3.4.2 Reading Bodies, Not Books
  • 3.5 Racially (Mixed Messages) and Quotas
  • 3.6 What is racism?
  • 3.7 Media and Culture
    • 3.7.1 Novelas
    • 3.7.2 Re-Telling National Tales
  • 3.8 Conclusion
• 4. What’s Love Got to Do With It? : The Stigma of Racialized Features, Affect, and Socialization in Families
  • 4.1 Context
  • 4.2 The Hand That Rocks the Cradle: Mother-Child Relationships
  • 4.2.1 Harbingers of Racial Socialization: Babies
  • 4.3 Like a Good Neighbor
  • 4.4 Mama’s Baby is Daddy’s Maybe
  • 4.5 Racial Roulette and Sibling Rivalry
  • 4.6 She’s just my (pheno)Type: Romantic Love
    • 4.6.1 Race and Romance
  • 4.7 Discussion
• 5. Black and “Blue”: Racial Stigma and Well being
  • 5.1 Incog-negro: Abandoning Blackness
  • 5.2 When Racial Roulette is Violent
  • 5.3 Depression, Trust, and Trauma
  • 5.4 Pretty Please?! Beauty and Self-Esteem
  • 5.5 We (Don’t) Belong Together
  • 5.6 Discussion
• 6. Pigments of the Imagination: Beauty, Body, and Racialization
  • 6.1 The Bodies Exhibit
  • 6.2 Hands, Feet, and Ears, Oh My!
  • 6.3 Hair-itage
    • 6.3.1 The Good, the Bad, and the Ugly
  • 6.4 The Roots of Resistance: Afro-Aesthetics
    • 6.4.1 Hide My Roots! Afro-Aesthetics and Cultural Movements at Home
  • 6.5 Discussion
• 7. “Where There is Power, There is Also Resistance
  • 7.1 Nascimento Family Values
    • 7.1.1 Racial Names.
    • 7.1.2 Race and Privilege
    • 7.1.3 Beauty
    • 7.1.4 Racial History
    • 7.1.5 Internalized Racism
  • 7.2 The Santos Family
    • 7.2.1 Racial Rituals
  • 7.3 The de Jesus Family: The Brazilian Black Panthers
    • 7.3.1 Brief Life History of Pantera Negra
    • 7.3.2 Explicit Socialization
  • 7.4 Discussion
• 8. Conclusion – The Ties That Bind
  • 8.1 Limitations and Future Directions
  • 8.2 Conclusions
• Appendix A
• Appendix B
• Appendix C
• Appendix D
• Appendix E
• References
• Bibliography

List of Tables

• Table 1: Color Categorization by Percentage
• Table 2: Summary of the color terms used in interviews and observations
• Table 3: Summary of responses to the question: What is your race?
• Table 4: List of all color or racial nicknames used by informants

Read the entire dissertation here.