Hybrid Navigator

Posted in Articles, Arts, Autobiography, Identity Development/Psychology, New Media, United Kingdom on 2010-07-19 20:05Z by Steven

Hybrid Navigator

Small Axe
Number 32 (Volume 14, Number 2), June 2010
pages 150-159
E-ISSN: 1534-6714
Print ISSN: 0799-0537

Satch Hoyt, Artist/Sculptor

I was born in London to an Afro-Jamaican father and a white English mother in the late 1950s. It was, to say the least, a lonely terra nova, a traumatic neocolonial, cross-cultural terrain, that I was extremely ill equipped to traverse. My unwed mother was ostracized at my birth by her working-class parents. My sister and I never met our grandparents—at their request. So from the outset my stage was lit in a racist hue. As the other’s other, I struggled with my identity, floating in a void of black, white, Jamaican, and Inglanisms. I never felt English—and never will. No one lives a raceless reality. The body and corporeal schema are in effect from birth. Hypo descent, light skinned, half-caste, mulatto, biracial, mixed race—call us what you will. As a hybrid one learns to navigate the marginal seas of difference, to remain intact while floating between the two poles. The biracial paradigm is always looming on a cryptic horizon. Growing up in West London’s Ladbrook Grove, the Jamaican and Trinidadian communities are where I found solace, listening to the narratives and the stories about back-ah-yard

Read or purchase the article here.

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My Coloured Thoughts: Last of the Mohicans and Perceptions of Mixed Race Peoples

Posted in Literary/Artistic Criticism, Media Archive, Papers/Presentations, Social Science, United States on 2010-07-16 19:36Z by Steven

My Coloured Thoughts: Last of the Mohicans and Perceptions of Mixed Race Peoples

Originally presented at the 1999 Southwest Graduate Literature Symposium on “Expanding ‘Literature(s)’, Challenging Boundaries”
Arizona State University, Tempe, Arizona
1999-03-12 through 1999-03-14

Zoë Ludski
Ryerson Polytechnic University

But alas, to make me
A fixed figure for the time of scorn
To point his slow unmoving finger at
Othello act 4, scene. 2

Although Coopers novel, The Last of the Mohicans, is obviously outdated in its reflection of Native American people, the depiction of Cora, a women of mixed race, maintains its validity today. The text provides valuable insight into race issues surrounding multiracial people that is still pertinent and important today. Cooper is extremely perceptive in showing how Cora’s heritage affects her self perception and causes her to judge herself and others in light of visible characteristics such as skin colour.

Today’s discussions and literature on race issues present a wide range of feelings on the topic of mixed race. Currently in the United States there is a large movement supporting the creation of a multiracial category for the US census. This movement has considerable opposition, particularly from within the black American community. This situation is a reminder of the diverse opinions and contrasting views in regards to the issue of mixed race.

It is valuable to re-examine the character Cora in light of contemporary race theory in order to gain an insight into the past and present of mixed race people in America…

Read the entire paper here.

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Lost in the Middle: Growing up Across Racial & Cultural Divides

Posted in Articles, Identity Development/Psychology, Media Archive on 2010-07-16 02:42Z by Steven

Lost in the Middle: Growing up Across Racial & Cultural Divides

The Washington Post
1998-05-17

Malcolm Gladwell

His parents conqured racial difference with dignity and relative ease.  But race became a more complicated question for their son.

One summer Saturday, when I was growing up, my father piled my brothers and me into the family station wagon and took us to a barn raising. This was in rural southern Ontario, in the heart of Canada’s Old Order Mennonite country, where it was the custom when someone’s barn burned down for friends and neighbors to rebuild it. There were probably 200 people there that day. They came from the surrounding farms in black horse-drawn buggies, the women in gauzy caps and gingham dresses, the men in white shirts and black pants. The women set up long picnic tables outside, and piled them high with bread and luncheon meats and pickles, and pies for dessert. The men swarmed over the skeleton of the barn, those on the roof and on ladders against the walls hammering away in unison, everyone else forming a long human chain, passing plywood and roofing metal and nails hand to hand to hand from the bottom to the top. It was a marvel of improvisational coordination, a communitarian ballet of burly cleanshaven Mennonite farmers in straw hats and loose cotton shirts, and in the midst of it all, in happy and oblivious contrast to everything around him, was my father — slender, bearded and professorial, in the tie he rarely left the house without…

…Once my mother graduated, they began a period of frantic courtship. Two weeks later, my mother returned to Jamaica to teach again, and my father informed his parents that they intended to marry. It was a difficult moment. My paternal grandparents had grave objections to mixed marriages. They objected, citing New Testament verses to the effect that God had set boundaries for the habitation of nations. “It’s wrong for Graham to have a black child,” my grandmother told my mother. “It is wrong for you to have a white child.” It is easy, I think, with the benefit of hindsight, to conceive of my grandparents as bigoted or small-minded. But that was not it at all. They were simply expressing what my father, apparently, could not see, that his decision to marry my mother was a revolutionary act. When my father made it clear that he would not be moved, they acquiesced. His three sisters were my mother’s bridesmaids. Her wedding veil was my grandmother’s wedding veil…

…I am not like my parents. I do not have my father’s gift for overcoming social barriers, nor my mother’s gift for appreciating when differences are not relevant. I go back and forth now between my two sides. I never feel my whiteness more than when I’m around West Indians, and never feel my West Indianness more than when I’m with whites. And when I’m by myself, I can’t answer the question at all, so I just push it out of my mind. From time to time, I write about racial issues, and always stumble over personal pronouns. When do I use “we”? In a room full of people I do not know, I always search out the ones who fall into the middle, like me, out of some irrational idea that we belong together.

I worry sometimes that this is the wrong thing for the child of a mixed marriage to feel. My parents conquered difference, and we would all like to think that sort of accomplishment is something that could be passed down from generation to generation. That’s why we’re all, in theory, so excited by the idea of miscegenation — because if we mix the races, presumably, we create a new generation of people for whom existing racial categories do not exist. I don’t think it’s that easy, though. If you mix black and white, you don’t obliterate those categories; you merely create a third category, a category that demands, for its very existence, an even greater commitment to nuances of racial taxonomy. My mother never had to think about whether she was black. She was. I have to think about it, and turn the issue over in my mind, and gaze in the mirror and wonder, as I was so memorably asked, what I am…

Read the entire article here.

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Queer Punk Macha Femme: Leslie Mah’s Musical Performance in Tribe 8

Posted in Articles, Gay & Lesbian, Identity Development/Psychology, Literary/Artistic Criticism, Media Archive, United States, Women on 2010-07-14 18:28Z by Steven

Queer Punk Macha Femme: Leslie Mah’s Musical Performance in Tribe 8

Cultural Studies↔Critical Methodologies
Volume 10, Number 4 (August 2010)
pages 295-306

Deanna Shoemaker, Assistant Professor of Applied Communication (Performance Studies)
Monmouth University, West Long Branch, New Jersey

This essay analyzes the musical performances of Leslie Mah, biracial lead guitarist and backup vocalist for the legendary all-female, queercore punk band Tribe 8, whose members broke up in 2005 after fifteen years together. Inspired by the recent turn in performance studies toward studies of music as performance, this work employs multiple methods and objects to get at the complex totality of popular music’s performativity. Mah’s macha femme persona, playing style, and performance of identity as a lesbian woman of color within queercore punk music allow her to enter a carnivalesque realm of feminist menace, palpable rage, and unruly pleasure. Mah’s performance strategies and articulations of her queer and biracial identities in interviews are contextualized within feminist performance, riot grrrl, and punk music studies. Tribe 8’s lyrics, music, marketing, and band member personas provide cultural context for Mah’s distinctive performance of macha femme.

Read or purchase the article here.

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Blackberries and Redbones: Critical Articulations of Black Hair/ Body Politics in Africana Communities

Posted in Anthologies, Arts, Autobiography, Books, Gay & Lesbian, Identity Development/Psychology, Literary/Artistic Criticism, Media Archive, Native Americans/First Nation, Poetry, Religion, Social Science, United States, Women on 2010-07-13 22:41Z by Steven

Blackberries and Redbones: Critical Articulations of Black Hair/ Body Politics in Africana Communities

Hampton Press
July 2010
484 pages
Paper ISBN: 978-1-57273-881-2
Cloth ISBN: 978-1-57273-880-5

Edited by

Regina E. Spellers, President and CEO
Eagles Soar Consulting, LLC

Kimberly R. Moffitt, Assistant Professor of American Studies
University of Maryland, Baltimore County

This book features engaging scholarly essays, poems and creative writings that all examine the meanings of the Black anatomy in our changing global world. The body, including its hair, is said to be read like a text where readers draw center interpretations based on signs, symbols, and culture. Each chapter in the volume interrogates that notion by addressing the question, “As a text, how are Black bodies and Black hair read and understood in life, art, popular culture, mass media, or cross-cultural interactions?” Utilizing a critical perspective, each contributor articulates how relationships between physical appearance, genetic structure, and political ideologies impact the creativity, expression, and everyday lived experiences of Blackness. In this interdisciplinary volume, discussions are made more complex and move beyond the “straight versus kinky hair” and “light skin versus dark skin” paradigm. Instead efforts are made to emphasize the material consequences associated with the ways in which the Black body is read and (mis)understood. The aptness of this work lies in its ability to provide a meaningful and creative space to analyze body politics—highlighting the complexities surrounding these issues within, between, and outside Africana communities. The book provides a unique opportunity to both celebrate and scrutinize the presentation of Blackness in everyday life, while also encouraging readers to forge ahead with a deeper understanding of these ever-important issues.

Table of Contents

  • Foreword, Haki R. Madhubuti
  • Introduction, Regina E. Spellers and Kimberly R. Moffitt
  • SECTION ONE: Hair/Body Politics as Expression of the Life Cycle
    • The Big Girl’s Chair: A Rhetorical Analysis of How Motions for Kids Markets Relaxers to African American Girls, Shauntae Brown White
    • Pretty Color ’n Good Hair: Creole Women of New Orleans and the Politics of Identity, Yaba Amgborale Blay
    • Invisible Dread: From Twisted: The Dreadlocks Chronicles, Bert Ashe
    • Social Constructions of a Black Woman’s Hair: Critical Reflections of a Graying Sistah, Brenda J. Allen
    • What it Feels Like for a (Black Gay HIV+) Boy, Chris Bell
  • SECTION TWO: Hair/Body as Power
    • Dominican Dance Floor, Kiini Ibura Salaam
    • Covering Up Fat Upper Arms, Mary L. O’Neal
    • Cimmarronas, Ciguapas, and Senoras: Hair, Beauty, and National Identity in the Dominican Republic, Ana-Maurine Lara
    • Of Wigs and Weaves, Locks and Fades: A Personal Political Hair Story, Neal A. Lester
    • “Scatter the Pigeons”: Baldness and the Performance of Hyper-Black Masculinity, E. Patrick Johnson
  • SECTION THREE: Hair/Body in Art and Popular Culture
    • From Air Jordan to Jumpman: The Black Male Body as Commodity, Ingrid Banks
    • Cool Pose on Wheels: An Exploration of the Disabled Black Male in Film, Kimberly R. Moffitt
    • Decoding the Meaning of Tattoos: Cluster Criticism and the Case of Tupac Shakur’s Body Art, Carlos D. Morrison, Josette R. Hutton, and Ulysses Williams, Jr.
    • Blacks in White Marble: Interracial Female Subjects in Mid-Nineteenth-Century Neoclassicism, Charmaine Nelson
    • Changing Hair/Changing Race: Black Authenticity, Colorblindness, and Hairy Post-ethnic Costumes in “Mixing Nia, Ralina L. Joseph
    • “I’m Real” (Black) When I Wanna Be: Examining J. Lo’s Racial ASSets, Sika Alaine Dagbovie and Zine Magubane
  • SECTION FOUR: Celebrations, Innovations, and Applications of Hair/Body Politics
  • SECTION FIVE: Contradictions, Complications, and Complexities of Hair/Body Politics
    • Divas to the Dance Floor Please!: A Neo-Black Feminist Readin(g) of Cool Pose, D. Nebi Hilliard
    • Coming Out Natural: Dreaded Desire, Sex Roles, and Cornrows, L. H. Stallings
    • I am More than a Victim”: The Slave Woman Stereotype in Antebellum Narratives by Black Men, Ellesia A. Blaque
    • Two Warring Ideals, One Dark Body: Hegemony, Duality, and Temporality of the Black Body in African-American Religion, Stephen C. Finley
    • The Snake that Bit Medusa: One (Phenotypically) White Woman’s Dreads, Kabira Z. Cadogan
  • Author Index
  • Subject Index
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Arts and Mixedness [eConference]

Posted in Arts, Identity Development/Psychology, Live Events, New Media, Politics/Public Policy, Social Science, United Kingdom on 2010-07-13 06:22Z by Steven

Arts and Mixedness [eConference]

Runnymede Trust
2010-07-09

Runnymede is currently hosting an online debate on mixed-race identity and the arts.

There is a comment from columnist and broadcaster Yasmin Alibhai-Brown: Mixed-Race Britain: Where Next?

Playwright and poet Sabrina Mahfouz also writes about her thoughts on mixed-race identity: A Reflection on Mixedness

There are also contributions from noted arts practitioners Patricia Cumper – director of the Talawa theatre company, Jane Earl – Director of the Rich Mix Arts Centre, and Jennifer Williams – Founding Director of the British American Arts Association in our live discussion thread.

They discussed issues of cultural representation in art, the role of funding bodies and policy, the need for specific ‘mixed’ representation and the benefits / dangers of defining mixedness, race or art. Read and contribute to the discussion thread live now.

Discussion thread started by Nina Kelly on 2010-07-09 at 09:43Z.

Nina KellyModerator
Posts: 4
Jul 09 2010, 10:43

Panellists Jane Earl, Patricia Cumper and Jennifer Williams will be discussing mixed-race identity and the arts below.
For their biographies please see the ‘panellist biographies’ option on your left hand side.

Last edit: Nina Kelly Jul 09 2010, 11:10

 
PatriciaPosts: 19
Jul 09 2010, 11:01

I’m on line.  Pat

 

 
KamaljeetPosts: 22
Jul 09 2010, 11:02

Good morning everyone. Welcome to our debate this morning. I guess the first issue to address is a broader one about the term mixed itself: Does the term mixed carry any coherent meaning when discussing Race?

 

 
JenniferPosts: 7
Jul 09 2010, 11:03

I am online Jennifer (WILLIAMS)

 

 
PatriciaPosts: 19
Jul 09 2010, 11:05

Like all general terms, mixedness is in danger of conflating a number of different social phenomena.  To be mixed race Black/white has a very specific meaning in many societies. Should mixedness be discussed and explored?  Absolutely.

 

 

Read the entire thread here.

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A Reflection on Mixedness

Posted in Arts, New Media, United Kingdom, Women on 2010-07-13 06:06Z by Steven

A Reflection on Mixedness

Runnymede Trust
July 2010

Sabrina Mahfouz, Poet, Writer and Playwright

On the 27 May Runnymede and the Arts Council held a joint seminar in which they invited a group of arts practioners and policy makers to come and debate the nature of ‘Arts and Mixedness’; as well as what—if anything—the Arts Council should be doing to encourage, fund or facilitate engagement with people racialised as mixed.  Several of the participants subsequently provided reflections on the meeting and on the subject of mixedness and the arts.

The following submission was kindly provided by the writer, playwright and poet Sabrina Mahfouz.

‘Mixedness’ in it’s definition is so complex that it is often shied away from or regarded as being catered for via more specific diversity categories. I think the arts are somewhere to explore the possibility that this is not enough. In a Britain where ‘mixedness’ will one day be the majority minority (if it isn’t already) the arts should be reflecting this in its content, commissioning and – perhaps most importantly, in its casting (without it being a box-ticking exercise). Mixedness of course goes further than race – social class, religion and sexuality are some of the most obvious factors and for the moment it seems that discussion and awareness are much more important than policy and targets…

Read the entire article here.

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Lone Mothers of Mixed Racial and Ethnic Children: Then and Now

Posted in Census/Demographics, Family/Parenting, New Media, Reports, Social Science, United Kingdom on 2010-07-13 05:56Z by Steven

Lone Mothers of Mixed Racial and Ethnic Children: Then and Now

Runnymede Trust
June 2010

Chamion Caballero, Senior Research Fellow
Families & Social Capital Research Group
London South Bank University

Rosalind Edwards, Professor in Social Policy
Families & Social Capital Research Group
London South Bank University

Information from the UK Census indicates that parents of children from mixed racial or ethnic backgrounds constitute one of the highest lone parent groups in the country. Like all other groups of lone parent families, these are overwhelmingly headed by mothers.

In this research report Dr. Chamion Caballero and Prof. Rosalind Edwards, of the London South Bank University, pulls together data from interviews with mothers of mixed-race children whose fathers are absent. Some of the anecdotal evidence is from those who brought up their children decades ago, and this is compared with the experiences of women doing the same today.

The report explores the specific racisms, prejudices and stereotypes that this group of women and children have been faced with – both then and now – and where, if anywhere, they have been able to turn for support.

To read the report, login or register for free here.

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Mixed Race Britain: Where Next?

Posted in Articles, Census/Demographics, Identity Development/Psychology, New Media, Politics/Public Policy, Social Science, United Kingdom on 2010-07-13 05:49Z by Steven

Mixed Race Britain: Where Next?

Runnymede Trust
2010-07-09

Yasmin Alibhai-Brown, Independent Journalist

My two books on mixed race Britons, Colour of Love (1992) and Mixed Feelings (2001) were among the first non-academic explorations of racial mixing in Britain. In the nine years between the two publications, awareness had grown of the fast rising number of mixed heritage families in Britain (some going back three generations) but recognition of multiple identities was yet to come. Public policies, community politics and, arguably, mixed race people and couples themselves, still worked within established mono-racial categories. Black activists forcefully argued that mixed raced people could only be black because that is how society saw them. They, in fact, appropriated the old one drop rule applied during the days of slavery. It wasn’t right in the bad old days and certainly made no sense in the late 20th century. Now that mixed race Britons are set to overtake most other ‘ethnic minority’ groups, the hope must be that old classifications and disagreements will give way to the newer, more pertinent, voices of those who are themselves biracial or even tri-racial and we will find fresh language, modernised concepts and better understanding of human desire and multifarious identities. This hasn’t happened yet. We are in a lacuna at present- in the UK and the US too…

Read the entire article here.

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Race, Creole, and National Identities in Rhys’s “Wide Sargasso Sea” and Phillips’s “Cambridge”

Posted in Articles, Caribbean/Latin America, Literary/Artistic Criticism, Media Archive on 2010-07-12 22:34Z by Steven

Race, Creole, and National Identities in Rhys’s “Wide Sargasso Sea” and Phillips’s “Cambridge”

Small Axe
Number 21 (Volume 10, Number 3)
October 2006
pages 87-104
E-ISSN: 1534-6714, Print ISSN: 0799-0537
DOI: 10.1353/smx.2006.0035

Vivian Nun Halloran, Assoiate Professor of Comparative Literature
Indiana University, Bloomington

As postmodern historical novels dramatizing slavery and its legacy in the anglophone Caribbean islands, Jean Rhys’s Wide Sargasso Sea (1966) and Caryl Phillips’s Cambridge (1993) problematize Englishness as a national and cultural identity that may or may not be dependent upon race and also reject the Creole as an identity subordinate in status to that of European. By questioning the prevailing nineteenth century assumption of an inherent relationship linking the observable geographical boundaries of a state and the essential character of its national culture, Cambridge destabilizes Englishness as a homogeneous racial signifier for whiteness in its depiction of London as a bustling metropolis with a small but visible population of Black Britons, while Wide Sargasso Sea portrays Creole Jamaican society, black and white, at a moment of crisis, on the eve of the arrival of the first wave of indentured servants from India. Both novels suggest that social demarcations between English and Creole cultural identities are artificial because they ultimately depend on chance — on the geographical accident of a given person’s or character’s place of birth…

Read or purchase the article here.

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