Mixed Race Studies

HaluHalo Gives Mixed Race Identities A Fresh Narrative Online & IRL

Bustle
2018-08-01

Salma Haidrani

Source: HaluHalo

A cursory glance at pop culture today and you wouldn’t be mistaken for thinking that mixed race identities have never been more visible. Take the likes of Jorja Smith, Mabel, and Raye. And less than two months ago, Meghan Markle made history as the first mixed race royal in the British monarchy. While it’s problematic enough that representations rarely deviate from the “acceptable” face of mixed race (light-skinned and complete with Eurocentric features or at the very least, “ambiguous”), the dialogue surrounding the complexities of mixed race identities remains absent from the mainstream.

It’s this that motivated London-based photographer Susan Dale to launch HaluHalo, the first photo series of its kind to explore the lesser-known intricacies of mixed race identity. “Thanks to social media, there’s a visual representation of mixed race people compared to when I was growing up but there’s still a lack of public discourse on what it means to be mixed race,” she tells me. “I was curious to find out if anyone else felt the way I did or shared my experiences.”

Dale likens HaluHalo to Humans of New York, albeit with a multi-racial lens. While initially she didn’t encounter any issues approaching complete strangers of mixed ethnicities, ages and genders to share their experiences and how they self-identify – “I started with the most basic method by sliding into their DMs on Instagram!” – she found that they would either hesitate or completely disappear when it came to answering her interview questions…

Read the entire article here.

Albums of Inclusion: The Photographic Poetics of Caribbean Chinese Visual Kinship

Small Axe: A Caribbean Journal of Criticism
Volume 22, Number 2 (56)
2018-07-01
pages 35-56
DOI: 10.1215/07990537-6985666

Tao Leigh Goffe, Assistant Professor of Africana Studies and Feminist, Gender, & Sexuality Studies
Cornell University, Ithaca, New York

This essay focuses on artwork that centers family photographs and home movies as a point of departure to trouble the conventional family album in order to narrate a story about Caribbean Chinese kinship. In the art examined, personal visual archives are used to respond to the lacuna of Caribbean Chinese familial intimacies from the colonial archive. Engaging shared themes of migration and racialized ideas of reproduction, three contemporary diasporic visual artists—Albert Chong, Richard Fung, and Tomie Arai—mine oral histories and family archives to blend aural and visual narratives. These artists rupture the surface of family images to trouble the bourgeois, heteronormative, and colorist scripts that often police the formation of family. The family album is rearranged and marked up; thus it becomes rendered as flesh inscribed with silent narratives. Through different forms of remixing, they engage with the affect and entanglements of family photography to form a visual vocabulary of diasporic kinship. In doing so, the artwork—collages, documentaries, installations—interrogates the afterlife of the nineteenth-century European colonial experiment of Chinese indenture, designed to install a discreet “buffer race” between the white minority and the black majority in the Caribbean after abolition. The experiment, which depended on the capacity for the Chinese to develop bourgeois domesticity in the Caribbean after abolition, failed because of sexual intimacies between people of African descent and people of Asian descent, beyond the imperial order’s imagining. Another future of familial intimacies in the diaspora is present in the artists’ aesthetic of fragmentation and collage.

Read or purchase the article here.

‘There’s Enough Damsels in Distress’: Artist Genevieve Gaignard Wants to Undermine Your Assumptions About Beauty and Blackness

artnet News
2018-08-03

Sarah Cascone, Associate Editor

Genevieve Gaignard, You’ve Wronged, Now Make it Right (2018). Photo courtesy of Shulamit Nazarian, Los Angeles/the FLAG Art Foundation, New York; ©Genevieve Gaignard.

In her first New York show, the artist creates unexpected characters that defy stereotypes.

Genevieve Gaignard’s work is deceptive—and that’s no accident. Her pleasingly arranged collages, heavily knick-knacked installations of cozy-looking domestic interiors, and well-lit, cheerfully colorful portrait photography draw the viewer in, belying her willingness to confront the sensitive issues of race, stereotypes, beauty standards, consumption, and identity.

Each photograph features Gaignard herself, transformed by wigs and costumes into a variety of characters. The artist is a fair-skinned mixed-race woman of color who can take on vastly disparate identities, casting herself one moment as a prim blonde housewife and the next as a young woman with hoop earrings and a shirt that reads “Hoodrat Thangs.”

“I’m trying to show that blackness comes in many different shades,” Gaignard explained to artnet News during a tour of her current exhibition, “Genevieve Gaignard: Counterfeit Currency,” her first in New York, at the FLAG Art Foundation…

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Thinking Relationally about Race, Blackness and Indigeneity in Australia: Reflecting upon ACRAWSA’s Symposium

Australian Critical Race and Whiteness Studies Association
2018-07-18

Charlotte Sefton, Ph.D., Arab and Islamic Studies
University of Exeter

At the close of her paper, entitled ‘Navigating Power with Poetry on the Hazardous Drive toward Decolonisation’, Carolyn D’Cruz posed the vital question of whether, or not, the work of decolonisation can be pursued through engagement with nation-state level Politics. Her question recalled my recent viewing of Angela Davis and Gayatri Spivak in conversation at the Akademie der Künste on a panel entitled ‘Planetary Utopias – Hope, Desire Imaginaries in a Postcolonial World’. Aside from my general sense of wonder at seeing Davis and Spivak in conversation, one particular topic of their discussion had stuck with me; they too had disagreed on the place of the State in the futurity of justice. Whilst Davis had underscored that ‘the bourgeois nation-state, ensconced as it is in capitalism, would never be able to do the work of ensuring justice’; Spivak, in response, had questioned the real-world utility of refusing to engage it; asserting that our work is, instead, to ‘insert the subaltern into the circuit of citizenship’, that is into a structure that they could ‘work within’ as opposed to no structure at all. Whilst Davis conceded that we are tied to engaging the State for now; she maintained that a world free of violence and domination would not be able to retain ‘any aspect’ of the State as she understood it; Spivak maintained that the State must be seen through a more complexed lens, as both ‘poison and medicine’. AWCRAWSA’s latest symposium, ‘Thinking Relationally about Race, Blackness and Indigeneity in Australia’ provided important interventions to these broader debates in decolonial thought and practice…

…Opening the symposium, Irene Watson made central to her keynote ‘Thinking Relationally about Race, Blackness and Indigeneity in Australia’ this linkage between the State and survival. The survival of the Australian State requires that Indigenous people do not survive; thus it has always required genocide; it has always demanded the erasure of Aboriginal and Torres Strait Islander bodies, voices and experiences. The non-survival (the genocide) of Indigenous people is the only way the State survives. As Nikki Moodie would later assert in her paper ‘Decolonizing Race Theory: Place, Survivance & Sovereignity’, echoing Patrick Wolfe, the Settler-Colonial State as such can only function through a logic of elimination. The State’s white, colonial-modern and neoliberal logic of capital, property, individualism and ownership cannot make space for Indigenous peoples nor Indigenous ways of being; neither in the sense of relation to land nor of relation to each-other. As Irene Watson reminded us, despite the State’s professions to the contrary, there has been no decolonisation of Australia; not least because the ‘hierarchy of voice’ established by colonialism remains; thus the violent silencing and erasure of Indigenous peoples – and their calls for self-determination – also remains. Indeed, both the idea and formation of ‘the State’ is founded upon the structure of hierarchical leadership and, thus, the principle of the differentiated right to voice. For Angela Davis too (in the aforementioned panel discussion with Gayatri Spivak) the masculinist and individualist nature of leadership as epitomised in the workings of the State is a central obstacle to a politics of collectively, relationality and justice…

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Mexico’s overlooked black communities are given a voice in this social realist drama

Afropunk
2018-08-01

Eye Candy

LA NEGRADA trailer from TIRISIA CINE on Vimeo.

A project by Mexican filmmaker Jorge Pérez Solano, “La Negrada” is a social realist drama that examines an overlooked sector of Mexico’s populace, its Black people, which include descendants of enslaved people brought to Mexico, among others. According to Variety, this is the first fictional film about Afro-Mexicans.

Critical Mixed Race in Global Perspective

Journal of Intercultural Studies
Volume 38 (2018)
2018-08-01

• Introduction
  • Critical Mixed Race in Global Perspective: An Introduction / Erica Chito Childs
• Hierarchies of Mixing: Navigations and Negotiations
  • An Unwanted Weed: Children of Cross-region Unions Confront Intergenerational Stigma of Caste, Ethnicity and Religion / Reena Kukreja
  • Mixed Race Families in South Africa: Naming and Claiming a Location / Heather M. Dalmage
  • Negotiating the (Non)Negotiable: Connecting ‘Mixed-Race’ Identities to ‘Mixed-Race’ Families / Mengxi Pang
  • Linguistic Cultural Capital among Descendants of Mixed Couples in Catalonia, Spain: Realities and Inequalities / Dan Rodríguez-García, Miguel Solana-Solana, Anna Ortiz-Guitart & Joanna L. Freedman
  • ‘There is Nothing Wrong with Being a Mulatto’: Structural Discrimination and Racialised Belonging in Denmark / Mira C. Skadegård & Iben Jensen
  • Exceptionalism with Non-Validation: The Social Inconsistencies of Being Mixed Race in Australia / Stephanie B. Guy
• Mixed Matters Through a Wider Lens
  • Recognising Selves in Others: Situating Dougla Manoeuvrability as Shared Mixed-Race Ontology / Sue Ann Barratt & Aleah Ranjitsingh
  • What’s Love Got To Do With It? Emotional Authority and State Regulation of Interracial/national Couples in Ireland / Rebecca Chiyoko King-O’Riain
  • Re-viewing Race and Mixedness: Mixed Race in Asia and the Pacific / Zarine L. Rocha

Read or purchase this special issue here.

Converse, Converse

2016
video/sound installation: 2-channel color HD video projection,
4-channel audio, 2 floating screens, bench
Projected image size: 14’3”x 8’, TRT 16 minutes

Elizabeth M. Webb

Converse, Converse is a two-channel video installation that creates a virtual conversation between family members who have never met.

At age 18, I discovered a family history that had gone unspoken for a generation: my father’s father, whom I never met, was African-American—my father had been passing as white. He had also decided to raise our family as such, giving us no knowledge of our black ancestry. I have since connected with that side of my family and spoken with my father about his decision. Through a process of recording conversations with my father and separate conversations with the women I learned were my second cousins, I positioned myself as a go-between, filming each side watching the other’s interviews and finally, the reactions to their respective reactions.

Octavia Spencer, Queen Latifah To Bring Racially Charged ‘The Rhinelander Affair’ To Screen With Zero Gravity

Deadline Hollywood
2018-07-23

Anita Busch

REX/Shutterstock

EXCLUSIVE: It’s a great story that delves into the caste system, racism and sexism. The Rhinelander Affair, written by William Kinsolving, follows the controversial 1925 divorce trial in New York involving a man from an upper-class New Rochelle family who married a bi-racial, working-class woman. It is a ripped from the headlines story from the 1920s with many meaty roles in what was a roller coaster ride about money, love, racism and betrayal.

The project is now being produced for the big screen by Mark and Christine Holder (who found the story), Octavia Spencer, Queen Latifah and Shakim Compere’s Flavor Unit Entertainment and Dave Broome (The Day I Met El Chapo). The Kingsolving manuscript, repped by Trident, is going out to publishers this summer.

Alice Jones and Leonard (Kip) Rhinelander

The story revolves around Leonard Rhinelander and Alice Jones, who fell in love (she was 22 and he 18), and then were kept apart by Rhinelander’s family. However, they married in secret before it spilled into the papers and stayed that way for three years. At issue was whether Jones duped Leonard into marrying her by hiding the fact that she was bi-racial (she was the daughter of an English woman and an English-West Indian taxi driver). Leonard stood by Alice under intense media scrutiny until pressures — both internally with the family and externally — caused them to divorce…

Read the entire article here.

Overlooked by the Media, Women Like Me Took to Instagram

The New York Times
2017-07-28

Natasha S. Alford, Deputy Editor
The Grio

Monica Ramos

I rarely see Afro-Latinas on television. Online, it’s a different story.

I was about 11 years old when I started to think I wasn’t like the other Latina girls.

The summer before sixth grade, my mother put me in a beauty pageant sponsored by a Hispanic community organization in Syracuse, N.Y., where we lived. The stage wasn’t fancy — it was in a gymnasium on the West Side, one of the poorest areas of the city. But there was a lot at stake. The winner would represent the pride of the community during the Puerto Rican Day Festival parade.

I was mortified at the idea of competing. Aside from being a nerd with thick plastic glasses and a school marching band membership to match, I didn’t look Latina. At least not compared with my pageant competitors or the women and girls I saw in the media…

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Overlooked No More: Edmonia Lewis, Sculptor of Worldwide Acclaim

The New York Times
2018-07-25

Penelope Green

The 19th century sculptor Edmonia Lewis. The intense focus on her race both frustrated her and fueled her ambition. Harvard Art Museums/Fogg Museum

As an artist she transcended constraints, and as a woman of color, she confronted a society that wished to categorize her.

Since 1851, obituaries in The New York Times have been dominated by white men. With Overlooked, we’re adding the stories of remarkable people whose deaths went unreported in The Times.

It was the middle of the 19th century, and Edmonia Lewis, part West Indian, part Chippewa, had the audacity to be an artist. It was risky enough for a free woman of color to pursue such a career, but to claim marble as her medium was to tilt at the Victorian conventions of the time, which decreed gentler aesthetic forms for the second sex, like poetry or painting.

Among the first black sculptors known to achieve widespread international fame, Lewis was raised Catholic, educated at Oberlin College in Ohio and mentored by abolitionists in Boston. She lived much of her life in Rome, sailing to Europe in 1865 and joining a community of American sculptors there who included female artists derided by the author Henry James as “a white marmorean flock.”…

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