Mixed Race Studies

60 Ways of Looking at a Black Woman

The New York Times
2005-01-23

Edward Lewine

Ellen Gallagher dabbed a swirl of gray watercolor onto the delicate pencil drawing she had just sketched of a furry hamster. Late December sunlight radiated through the windows at Two Palms Press, the SoHo printmaking studio where she has spent the last 18 months preparing a work comprising 60 collage prints. Titled “DeLuxe,” it is the subject of its own show at the Whitney Museum, opening this week.

Weeks remained until “DeLuxe” had to be delivered, and the mood in the lower Broadway loft was intense. One artist glued toy eyeballs onto a collage; another placed wig shapes made of plasticine clay onto a different collage; while a master printer was in a darkroom reproducing pages from black magazines like Ebony, Sepia and Our World that dated from the 1930’s through the 1970’s.

Reserved in manner, with a sonorous voice and a girlish laugh, Ms. Gallagher seemed relaxed despite her looming deadline and pleased to see the first copy of “DeLuxe” nearing completion. (The set of 60 collages will be printed 20 times in a numbered edition.)

“I love this moment,” she said. “It is sort of delicious. You have come through the agonizing part, when you are trying to articulate what you want to say but can’t. You have made your ideas visible.”

Until recently, Ms. Gallagher, 39, had charted a quiet if successful course as an artist, mostly as a painter whose work plays with ideas about race. In the past year, however, her career has gained momentum. Major institutions including the Museum of Modern Art have bought paintings; and the technical virtuosity of “DeLuxe,” the subject of her first solo show in a New York museum, is generating buzz…

…Many curators praise Ms. Gallagher for her ability to discuss race without being pompous and for the way she balances ideas with technique. “She’s masterful at creating tension between form and content,” said Elizabeth Smith, the chief curator of the Museum of Contemporary Art Chicago, which bought a Gallagher painting last year.

Not all agree. Ms. Gallagher has been faulted for what some critics see as a certain facile quality. Writing in The New York Times about Ms. Gallagher’s winter 2004 show at the Gagosian Gallery, Ken Johnson called her paintings and collages “visually catchy” but “too obvious.”

Ms. Gallagher said she draws such criticism because her material makes people uncomfortable. “Somehow in America black artists aren’t allowed to use banal images of blackness,” she said. “On the other hand, the idea of something black and inscrutable is also very disturbing.”…

…Ms. Gallagher was raised in Providence, R.I. Her mother was white, her father black. Her father, a professional boxer, was rarely around, she said, and died in 1998.

Growing up, Ms. Gallagher said, she learned to navigate the worlds of her mother’s blue-collar, Irish family, her father’s family of recent immigrants from the Cape Verde Islands and the homes of her friends, many of them African Americans…

Read the entire article here.

“Double Natural”

Yale University
Department of African American Studies
81 Wall St., Gordon Parks Room 201
2013-01-24, 11:45-13:15 EST (Local Time)

Ellen Gallagher, Hayden Visiting Artist
Yale University Art Gallery

Ellen Gallagher breaks the boundaries of traditional art by using materials and found images in unexpected ways. Her work often looks at how African Americans have been represented and stereotyped. She also explores her own identity and experience as an American woman of African and Irish descent. In DeLuxe (2004-2005), Gallagher experimented with printmaking by using materials including Plasticine and glitter to transform old advertisements for beauty products targeted at African Americans into a work of art.

Co-sponsored by the Yale University Art Gallery and the Dept. of African American Studies.

MFA Thesis Choreographies

Davis Life Magazine
Davis, California
2013-02-28

UC Davis Department of Theatre and Dance is proud to present MFA Thesis Choreographies: “Ligilo” by Jarrell Iu-Hui Chua, in collaboration with Bobby August Jr., travels through the worlds of memories, dreams and present realities to investigate touch and its effects on relationships; “Transmutation” by Christine Germain, in collaboration with Andrea del Moral and Deirdre Morris, examines questions of personal identity and shifts in identity. MFA Thesis Choreographies opens at Mondavi Center’s Vanderhoef Studio Theatre on Thursday, Feb. 21 and runs through Sunday, March 3.

The title of Jarrell Iu-Hui Chua’s work “Ligilo” means “link” in Esperanto, a language that represents the choreographer’s ethnic sensitivities. She and collaborator Bobby August Jr. are both “hapa,” a term that Chua lovingly uses to describe their half-Asian heritage. Their hapa experiences of prejudice growing up in America are a core element in the choreography as is personal trauma from which Chua is recovering.

Emanating from these painful themes, “Ligilo” portrays anger and violence as two performers, Chua and August Jr., physically connect and disconnect. Most emphatically, the piece explores the positive dimensions of human touch in erotic love, humor, tenderness and other aspects of humanity and healing. The spiritual touch of bathing a loved one conveys hope and tranquility. This is both the heart of “Ligilo” and the basis of its foreign title as Esperanto (literally meaning “one who hopes”) was intended to foster peace among peoples of differing cultures…

Read the entire article here.

MMXLII Viewpoint: What Are You?

MMXLII: the power of diversity
2013-03-01

Joel Wacks

Our guest correspondent Joel Wacks is back with another intriguing article as he takes time to reflect on his personal life. As a person of mixed race there is a common question he seems to always be asked, and for one reason or another…it doesn’t sit too well. Hit the jump and take a look at his opinion and see what many other people of mixed race have to deal with constantly. Take a walk in their shoes so you can think about how that question may come across for some people. And if you are of mixed race, this is probably a story you can relate to.

A week or two ago I spent a weekend in New York, where I happened to chat, briefly, with a girl from Maryland. Or at least a girl who went to school in Maryland- it might be that she was from somewhere else originally. There were several minutes of generic pleasantries, and then she asked me, just as pleasantly as she’d asked my name and about my flight, what I was. Those were her exact words. “What are you?”

It was a question I found jarring and unpleasant. Which is unfair- it wasn’t unpleasantly, I’m sure, and I certainly had no excuse for being jarred. It’s a question I’ve been asked many times, by many people, for as long as I can remember. The truth is, though, that the more times I’m asked what I am, the more bothersome I find it. On the flight back to California, I had some time to think about why.

As an English major, I’ll start the discussion with a close reading, an analysis of the diction used in this three-word query. I’ll go ahead and say right now that it could usually be phrased more sensitively. I’ve heard stabs at this, actually- “What ethnicity are you?” “What nationality are you?” “Where are you from?” invariably followed by the clarifying but not necessarily enlightening “No, I mean originally?” For whatever reason though the most common formulation remains the simplest- “What are you?” (Of course the evidence for this is purely anecdotal, as much as I wish I had I haven’t actually kept track.)

It’s the “what” I think, that’s the sticking point. There’s some ugly implication, not entirely accidental I suspect, that you don’t fit into acceptable categories or genres, that you’re something completely different, unrecognizable, freakish. It’s telling that the snarky response most often suggested by my friends and family is “Human.” After all, who else is asked what they are besides the racially ambiguous? It’s what you ask the Terminator when his flesh scrapes away to reveal the robot beneath. It’s what you ask the newest Batman villain, right before he does you in. It’s what you ask Frankenstein’s monster, when you notice all those stitches. “What” is for monsters. When you’re talking to people, you usually say “who.” But of course, if you ask someone “Who are you?” they’d just tell you about themselves, and might forget to mention race at all.

Which brings me to the second issue I have with “What are you?” I never know how to answer. When I was younger, I would tell people that I was half Chinese and a quarter Jewish, falling prey to the racism of marked terms and assuming that the final fraction of unadulterated WASP DNA needed no explaination. At some point I figured out that the fractions didn’t add up, and switched to “Half Chinese and half white.” That formula lasted for years, before I began to worry that it sounded too much like a formula. “Half and half.” It made me feel like a cocktail, or a dairy product…

Read the entire article here

One Drop of Love: Debut Performance

Arena Theater
California State University, Los Angeles
5151 State University Drive [Directions] [Map]
Los Angeles, California 90032
Saturday, 2013-03-09, 20:00 PST (Local Time)

Fanshen Cox DiGiovanni, Playwright, Producer, Actress, Educator
Jillian Pagan, Director

One Drop of Love is a solo show by Fanshen Cox DiGiovanni that journeys from Jamaica to Washington, D.C., Cambridge, Michigan, and East and West Africa from 1790 to the present to explore how ‘race’ affects our most intimate relationships.

For more information, click here.

The claim that “there has been vastly less race mixture in the northern hemisphere” than is sometimes alleged, may be questioned in the light of some data which have been submitted to us for publication by Mr. J. C. Trevor, formerly one of the Eugenics Society’s Darwin Research Fellows and now University Lecturer in Anthropology at Cambridge. In Mr. Trevor’s paper, for which we hope to find room in our next issue, the ratio of mixed bloods (i.e. persons of partly European and partly non-European stock) to the total population of the United States is given as slightly over 7 per cent, Admittedly this figure can at best be only an approximation, but including as it does in its basis Kuczynski’s statement that to count 6o per cent of the negro inhabitants of that country as mulatto would be “a most conservative estimate,” it is more likely to understate the facts than overstate them. It is noteworthy that according to an eminent American scholar, the number of negroes of full blood was unduly exaggerated in the 1920 U.S. census, the last in which an attempt was made to assess the mulatto element by itself. And it need hardly be added that the familiar phenomenon of “passing for white,” with its inevitable consequences, must not be overlooked in examining the contention that “there is practically no negro blood in the one hundred and ten million whites.”…

Editor, “Eugenics and Mongrelization [Letter and Response],” Eugenics Review, Volume 32, Number 1 (April 1940): 29.

Bengali Harlem: Author documents a lost history of immigration in America

In America: You define America. What defines you?
Cable News Network (CNN)
2013-02-15

Editor’s note: CNN’s Moni Basu, a Bengali immigrant, was born in Kolkata, India.

Moni Basu

(CNN) – In the next few weeks, Fatima Shaik, an African-American, Christian woman, will travel “home” from New York to Kolkata, India.

It will be a journey steeped in a history that has remained unknown until the publication last month of a revelatory book by Vivek Bald. And it will be a journey of contemplation as Shaik, 60, meets for the first time ancestors with whom she has little in common.

“I want to go back because I want to find some sort of closure for my family, said Shaik, an author and scholar of the Afro-Creole experience.

That Americans like Shaik, who identify as black, are linked by blood to a people on the Indian subcontinent seems, at first, improbable.

South Asian immigration boomed in this country after the passage of landmark immigration legislation in 1965. But long before that, there were smaller waves of new Americans who hailed from India under the British Empire.

The first group, to which Shaik’s grandfather, Shaik Mohamed Musa, belonged, consisted of peddlers who came to these shores in the 1890s, according to Bald. They sold embroidered silks and cottons and other “exotic” wares from the East on the boardwalks of Asbury Park and Atlantic City, New Jersey. They eventually made their way south to cities like New Orleans and Atlanta and even farther to Central America.

The second wave came in the 1920s and ‘30s. They were seamen, some merchant marines.

Most were Muslim men from what was then the Indian province of Bengal and in many ways, they were the opposite of the stereotype of today’s well-heeled, highly educated South Asians.

South Asian immigration was illegal then – the 1917 Immigration Act barred all idiots, imbeciles, criminals and people from the “Asiatic Barred Zone.”

The Bengalis got off ships with little to their name.

They were mostly illiterate and worked as cooks, dishwashers, merchants, subway laborers. In New York, they gradually formed a small community of sorts in Spanish Harlem. They occupied apartments and tenement housing on streets in the 100s. They worked hard.

And they did all they could do to become American in a nation of segregation and prejudice.

A huge part of that meant marrying Latino and African-American women—there were no Bengali women around—and letting go of the world they left behind.

Unlike other immigrants of the time, they didn’t settle in their own enclaves. Rather, they began life anew in established neighborhoods of color: Harlem, West Baltimore and in New Orleans, Tremé.

By doing so, they also became a part of black and Latino heritage in America…

Read the entire article and view the photograph of “Bengalis and their Puerto Rican and African-American wives at a 1952 banquet at New York’s Pakistan League of America” here.

It Takes a Village: Building Support Structures for Mixed Race Students in Higher Education

National Conference on Race and Ethnicity (NCORE) 26th Annual National Conference
New Orleans, Louisiana
2013-05-28 through 2013-06-01

2013-05-31, 15:15-17:15 CST (Local Time)

Lawrence-Minh Davis, Founding Co-Director
The Asian American Literary Review, Inc.

Jennifer Hayashida, Professor and Director of Asian American Studies
Hunter College, City University of New York

Marc Johnston, Candidate, Higher Education & Organizational Change
University of California, Los Angeles

Mary Danico, Professor of Sociology
California State Polytechnic University, Pomona

From Hunter College, CUNY, which has no mixed race student organization, to University of San Diego, which has no services or resources for mixed race students whatsoever, many of our institutions of higher learning are unequipped to support our multiracial student populations, set to increase exponentially in the coming years. How to help these young people, grappling with racial and cultural self-identity, community belonging, isolation, confusion, and discrimination? How to help our institutions develop proper services—and academic coursework? The Mixed Race Initiative (MRI) is a national project designed to provide precisely that help: in Fall 2013 MRI will connect over 40 college and university classrooms, host a virtual conversation about race and mixed race, and build support structures for mixed race students across the country. This proposed workshop would bring together key participants in MRI to discuss the project and work with attendees on the following: identifying key challenges for students, faculty, and student services; identifying key resources; building networks—opening channels of exchange across institutional spaces; employing multimedia and social media to best effect; developing and establishing mixed race courses; and tailoring resources and best practices for specific environments.

For more information, click here.

Multiracial Identity and Intersectionality: New Ways of Understanding Racial Identity in Ourselves and Our Students

National Conference on Race and Ethnicity (NCORE) 26th Annual National Conference
New Orleans, Louisiana
2013-05-28 through 2013-06-01

2013-05-30, 13:30-15:30 CST (Local Time)

Meg Chang, Faculty
California Institute of Integral Studies, San Francisco, California

Charmaine L. Wijeyesinghe, Consultant, Organizational Development and Social Justice Education
Delmar, New York

This highly interactive session uses new models of Multiracial Identity and the framework of Intersectionality to enhance our understanding of how race and identity are experienced by individuals. It presents an overview of shared, core characteristics found in the literature on Multiracial identity and Intersectionality. In addition, we examine models that represent identity as fluid, influenced by multiple factors, and a process in which race, gender, sexual orientation, class, generation, and other social identities interact and influence each other. Using a range of approaches, we apply the material to our own experience and examine the impact of other social identities (such as gender, age, and sexual orientation) and our campus roles (faculty, counselor, student affairs staff, or student) on how we experience and enact our racial identity on campus. While highlighting the connection between self authorship and racial identity, this session positions racial identity development within larger social and institutional systems, and dynamics of social power and privilege Through discussion, dialogue, and creative arts activities, presenters and participants explore ways of honoring our multiple racial heritages and our range of racial identities. In addition, we examine how racial identity is framed in our research, teaching, and work with Multiracial and other students. While discussion is directed by the topics raised by participants, questions we explore may include: How do we address situations where an individual’s chosen racial identity is inconsistent with the race ascribed to him or her by other people (often based on appearance)? Is it necessary to include attention to multiple social identities when we teach or conduct research on Multiracial issues? Do we need to recreate models of racial identity based on a more holistic and intersectional approach, and if so, what do we do with the old models? How do campuses acknowledge and provide for Multiracial students, and how may these programs be improved by incorporating the themes of self authorship and intersectionality?

For more information, click here.

Spaniards, ‘pardos’, and the missing mestizos: identities and racial categories in the early Hispanic Caribbean

New West Indian Guide / Nieuwe West-Indische Gids
Volume 71, Numbers 1&2 (1997)
pages 5-19

Stuart B. Schwartz, George Burton Adams Professor of History
Yale University

Traces the history of the mestizos, the descendants of Spanish-Indian contacts during the early stages of Caribbean settlement. Author asks whether they constituted a separate ethnicity. He also looks at the question why the position of the mestizos in the Spanish Caribbean seems different from that in other areas in Spanish America.

On arrival in Puerto Rico today, one can not but help noticing the way in which the term criollo has become a descriptive adjective denoting things local or indigenous to the island: café criollo, comida criolla, müsica criolla, pan criollo, etc. The word criollo has become a way of claiming authenticity and a distinctive island identity. In the Americas, the term “criollo” had a complex history, many uses, and considerable regional variation. Used in Brazil (crioulo) and in early Spanish America as a designation for American-born black slaves, the term was often employed generically for anything locally-born. Hence usages such as ganado criollo (native cattle) or even, as in the case of Guatemala, of references to mestizos criollos (Megged 1992:422-24; Garcia Arévalo 1992a). The traditional usage of the term in colonial mainland Spanish America—as a designation a white person of European heritage born in the colony—had begun to take hold in the 1560s (Lavallé 1986, 1993; Lockhart 1994) but it had never fully taken hold in the islands. Father Agustfn Inigo Abbad y Lasierra (1971: 181-84) reported in the 1780s: “They give the name criollo without distinction to all those born on the island regardless of the caste or mixture from which they derive.” Clearly a fusion of categories of social and racial differences was summarized in this term. In it, an identity and a history are claimed (Sider 1994).

In the Hispanic Caribbean with its peculiar early demographic history of elimination of the indigenous population, low levels of European immigration, and the large-scale importation of Africans, the process of classification had a distinctive character and form in which whites, blacks, Indians, and people of mixed origins were grouped and categorized in different ways at different times. This study seeks to explore a small part of this process by examining the mestizos, the descendants of Spanish-Indian contacts during the early stages of Caribbean settlement. Mestizos, there from the outset, seem to fade from sight. What happened to them? Did they constitute a separate ethnicity, and why does their position in the Hispanic Caribbean seem different from that in other areas of Spanish America?…

…The word “mestizo” itself appeared in the Caribbean as early as the 1520s but it was rarely used, a fact surprisingly paralleled in early Peru and Paraguay where less pejorative terms like genizaro or montanés were preferred at first. In a place like Puerto Rico, for example, it is difficult to find any references to mestizos despite the fact that many already existed by the 1530s. The Lando census of 1530 enumerated Spaniards, Indians, and blacks but made no mention of persons of mixed origin. Over a century later, in the 1645 synod of San Juan there was no reference to mestizos, and the presiding Bishop, Damian López de Haro, in describing the island’s population made no mention of them. Still, modern historian Francisco Scarano (1993:199) has argued that by the seventeenth century mestizos “were probably more numerous than the Spaniards themselves.” What may be at stake here is not the definition of “mestizo,” but rather the definition of “Spaniard.” Mestizos, especially those born legitimately and who lived according to accepted colonial norms were being accepted as “Spaniards,” a term that now no longer indicated place of origin alone, but was being expanded to indicate status and a level of acceptance based on cultural attributes and probably to some extent on appearance (Schwartz 1995)…

Read the entire article here.