Mixed Race Studies

Halle Berry and the Myth of the Black Man-Eating Bitch

For Harriet
2015-11-06

Kelly Davis
Brookyln, New York

I have a complicated relationship with Halle Berry. I have admired her work, mainly Losing Isaiah and Introducing Dorothy Dandridge. She inspired my haircut senior year of college, not long after she won her history-making Academy Award. She is beautiful—unbelievably beautiful, virtually keeping the same physique for over 20 years. She has stood for me, and women like me, in places we were previously forbidden—on the covers of high-fashion magazines, and the podiums of the world’s most exclusive awards. And yet, when I think of her and her body of work, I am mostly nonplussed.

I recognize that every barrier she has broken and every challenge she has surmounted as a Black woman has been facilitated by her proximity to whiteness. Her bone structure, frame, and facial features make her “good enough” to occupy spaces where other Black actresses have been historically disallowed. She is classically beautiful. She has worked hard to be where she is, but, as with all actresses, appealing to white male gaze gives to a leg up over the competition. Her inclusion has often meant the exclusion of other phenotypically Black girls who have more melanin and more talent…

…The myth of the Man-eating Bitch has a long and storied history, especially for Black and mixed-raced women. Since the days of Thomas Jefferson, brown girls like Sally Hemings have been repeatedly cast as irresistible harlots whose sexual wiles render men incapable of making sound decisions. White women can get away with this. We all found it entertaining and encouraging on Sex and the City’s Samantha Jones, but on Black women it’s filthy, tragic, pitiful, and reviled. Imagine the conversations that would commence if Being Mary Jane was on NBC instead of BET. Let’s think about the disgust that filled the blogosphere over Annalise Keating’s undesirability on How to Get Away with Murder. We all know the deal…

Read the entire artcle here.

Crossing B(l)ack: Mixed-Race Identity in Modern American Fiction and Culture

University of Tennessee Press
2013-01-11
150 pages
Cloth ISBN-10: 1572339322; ISBN-13: 978-1572339323

Sika A. Dagbovie-Mullins, Associate Professor of English
Florida Atlantic University

The past two decades have seen a growing influx of biracial discourse in fiction, memoir, and theory, and since the 2008 election of Barack Obama to the presidency, debates over whether America has entered a “post-racial” phase have set the media abuzz. In this penetrating and provocative study, Sika A. Dagbovie-Mullins adds a new dimension to this dialogue as she investigates the ways in which various mixed-race writers and public figures have redefined both “blackness” and “whiteness” by invoking multiple racial identities.

Focusing on several key novels—Nella Larsen’s Quicksand (1928), Lucinda Roy’s Lady Moses (1998), and Danzy Senna’s Caucasia (1998)—as well as memoirs by Obama, James McBride, and Rebecca Walker and the personae of singer Mariah Carey and actress Halle Berry, Dagbovie-Mullins challenges conventional claims about biracial identification with a concept she calls “black-sentient mixed-race identity.” Whereas some multiracial organizations can diminish blackness by, for example, championing the inclusion of multiple-race options on census forms and similar documents, a black-sentient consciousness stresses a perception rooted in blackness—“a connection to a black consciousness,” writes the author, “that does not overdetermine but still plays a large role in one’s racial identification.” By examining the nuances of this concept through close readings of fiction, memoir, and the public images of mixed-race celebrities, Dagbovie-Mullins demonstrates how a “black-sentient mixed-race identity reconciles the widening separation between black/white mixed race and blackness that has been encouraged by contemporary mixed-race politics and popular culture.”

A book that promises to spark new debate and thoughtful reconsiderations of an especially timely topic, Crossing B(l)ack recognizes and investigates assertions of a black-centered mixed-race identity that does not divorce a premodern racial identity from a postmodern racial fluidity.

Tragic No More: Mixed Race Women and the Nexus of Sex and Celebrity

University of Massachusetts Press
December 2012
176 pages
6 x9; 6 illustrations
ISBN (paper): 978-1-55849-985-0
ISBN (cloth): 978-1-55849-984-3

Caroline A. Streeter, Associate Professor of English
University of California, Los Angeles

A timely exploration of gender and mixed race in American culture

This book examines popular representations of biracial women of black and white descent in the United States, focusing on novels, television, music, and film. Although the emphasis is on the 1990s, the historical arc of the study begins in the 1930s. Caroline A. Streeter explores the encounter between what she sees as two dominant narratives that frame the perception of mixed race in America. The first is based on the long-standing historical experience of white supremacy and black subjugation. The second is more recent and involves the post–Civil Rights expansion of interracial marriage and mixed race identities. Streeter analyzes the collision of these two narratives, the cultural anxieties they have triggered, and the role of black/white women in the simultaneous creation and undoing of racial categories—a charged, ambiguous cycle in American culture.

Streeter’s subjects include concert pianist Philippa Schuyler, Dorothy West’s novel The Wedding (in print and on screen), Danzy Senna’s novels Caucasia and Symptomatic, and celebrity performing artists Mariah Carey, Alicia Keys, and Halle Berry. She opens with a chapter that examines the layered media response to Essie Mae Washington-Williams, Senator Strom Thurmond’s biracial daughter. Throughout the book, Streeter engages the work of feminist critics and others who have written on interracial sexuality and marriage, biracial identity, the multiracial movement, and mixed race in cultural studies.

Table of Contents

• Acknowledgments
• Introduction
• 1. Essie Mae Washington-Williams’s Secrets and Strom Thurmond’s Lies
• 2. The Wedding’s Black/White Women in Prime Time
• 3. Sex and Femininity in Danzy Senna’s Novels
• 4. Faking the Funk? Mariah Carey, Alicia Keys, and the Politics of Passing
• 5. From Tragedy to Triumph: Dorothy Dandridge, Halle Berry, and the Search for a Black Screen Goddess
• 6. High (Mulatto) Hopes: The Rise and Fall of Philippa Schuyler
• Afterword
• Notes
• Index

Roles of a Lifetime | Halle Berry

The New York Times Magazine
2012-10-20

Joyce Maynard

It’s 10 in the morning, and already Halle Berry is being chased, though a better word for what’s going on might be “hunted.” Considering this, the Oscar-winning actress — one of the stars of the film “Cloud Atlas” — makes her way into the lounge of the Four Seasons Hotel as if emerging from savasana at the end of a two-hour yoga class. Her smile appears warm, her outfit (perfectly ripped jeans and a T-shirt) unremarkable. Her hair — back to the short cut she has favored over the years, that only a woman this beautiful could pull off with such success — looks great though un-fussed-over, as does the rest of her, never mind that she just celebrated her 46th birthday. She doesn’t carry herself like a woman under siege.

“They’re outside my house every morning,” she says. We’re speaking of the paparazzi, of course. Even here in L.A. — a town not short on movie stars — Halle Berry gets special attention from the press. Not the good kind.

“I get it about the celebrity stuff,” she tells me softly, sliding into her seat. “It’s part of my job to recognize that there’s a certain part of my life the public wants to hear about. But it’s not O.K. that they’re doing terrible things to my daughter. One night, after they chased us, it took me two hours just to get her calmed down enough to get to sleep.”…

…Berry grew up in Cleveland as the child of a white mother (a psychiatric nurse) and a black, alcoholic father — a hospital orderly — who abused her mother and older sister (not Berry herself, she says), and who left when she was 4. He returned six years later for what she describes as “the worst year of my life.” But it was her mother, Judith, who raised her.

After her mother showed up for the first time at her all-black elementary school, Berry was shunned. “Kids said I was adopted,” she says. “Overnight, I didn’t fit in anymore.” When the family moved to the suburbs in search of a better education for Berry and her sister, she was suddenly the lone black child in a nearly all-white school. People left Oreo cookies in her locker. When she was elected prom queen, the school principal accused her of stuffing the ballot box and suggested she and the white runner-up flip a coin to see who got to be queen. Berry won the toss.

“I always had to prove myself through my actions,” she says. “Be a cheerleader. Be class president. Be the editor of the newspaper. It gave me a way to show who I was without being angry or violent. By the time I left school, I had a lot of tenacity. I’d turned things around.”

When she was 16, her mother stood with her in front of a mirror and asked what she saw. “My mother helped me identify myself the way the world would identify me,” Berry says. “Bloodlines didn’t matter as much as how I would be perceived” — as beautiful but also as a black woman in a world in which the images of beautiful, successful black women were notably absent.

In the late 1960s, when Berry was a toddler, it wasn’t hard to find a black maid on the screen, large or small. But except for Diahann Carroll, and Nichelle Nichols on “Star Trek,” there were virtually no glamorous black leading ladies on television. Before that, on the large screen there had been Dorothy Dandridge, a serious actress and singer, but one who never came close to achieving the fame or success of her white contemporaries Grace Kelly and Marilyn Monroe. Among Oscar winners, the only name on the list: Hattie McDaniel, for her role as the maid in “Gone With the Wind.” (And in 1990, Whoopi Goldberg, as Best Supporting Actress in “Ghost.”)

A similar problem faced her at home. “My mother tried hard,” Berry says. “But there was no substitute for having a black woman I could identify with, who could teach me about being black.”

A black school counselor named Yvonne Sims entered her life in fifth grade. She remains one of Berry’s closest friends. “Yvonne taught me not to let the criticism affect me. She inspired me to be the best and gave me a model of a great black woman.”…

…Berry identifies herself as African-American, and in her acceptance speech for the Oscar, she chose to honor Dorothy Dandridge, Lena Horne and Diahann Carroll. Yet spending time with Berry, I have the feeling that more than belonging to one race or another, what she feels like most is an outsider.

We speak of her own experience, but also that of President Obama. She hasn’t met him, but she attended the inauguration and feels a connection to another dark-skinned child of an absent black father, raised by a white mother. “Being biracial is sort of like being in a secret society,” she says. “Most people I know of that mix have a real ability to be in a room with anyone, black or white.”…

Read the entire article here.

Halle Berry and the Resurgence of the Tragic Mulatto

The Root
2011-02-22

Clay Cane

The furor caused by Berry’s assertion that her daughter is black reminds us how confused Americans remain about race.

Halle Berry’s recent comments in Ebony magazine have brought up the complex subject of racial identity, which still seems to confuse many Americans. Asked if her daughter, Nahla, is African American, the Oscar-winning actress answered, “I feel like she’s black. I’m black and I’m her mother, and I believe in the one-drop theory.”
 
Blogs raged, and suddenly everyone was an expert on dissecting the social construction of race. Even many black websites roared that Nahla wasn’t black. It was as if a chapter from an Alex Haley book had come to life on the Web.
 
Berry has never used the words “mixed” or “biracial” to describe her racial identity. She identifies as a black woman. Similarly, President Barack Obama, Faith Evans, Jasmine Guy and even the late, great Bob Marley all embraced having a white parent—but didn’t identify by degree of blackness. Apparently, they subscribe to the belief that either you are black—or you are not.
 
In 2011, black is no longer praised as beautiful; everyone wants to be “multi.” People proudly run through their race, ethnicity and nationality as if it’s a résumé. “Mixed,” “multiethnic,” even the deeply offensive word “mulatto,” are resurging as the hottest labels around. Here’s another new term I recently heard: “double-raced.”…

…Today everyone wants to be a tragic mulatto, not knowing the history. The mulatto is a classic stereotype that first made an appearance in 19th-century American literature. Eventually this archetype became box office gold for films like 1934’s Imitation of Life and 1949’s Pinky…

…Race is not an individual choice; it’s a social choice. The key question is, “Do you or do you not have white privilege?” If you don’t, then you are a black person in America. If Nahla Ariela Aubry were white or could truly exist in this country under the imaginary label of “biracial,” then this volatile discussion about her color wouldn’t have started. As Halle told Ebony, “I had to decide for myself, and that’s what she’s going to have to decide — how she identifies herself in the world. And I think, largely, that will be based on how the world identifies her. That’s how I identified myself.”…

Read the entire article here.

Mixed-Race Celebrities on Race, in their Own Words

Time Magazine: Healthland
2011-02-15

Meredith Melnick, Reporter and Producer

Who Are You?

If biracial and multiracial celebrities have anything in common, it is that they are often asked to explain themselves. That may sound familiar to any person of mixed ancestry for whom questions like “What are you?” and the slightly more delicate “Where are your parents from?” are the norm.

“Historically, racism is equated with segregation, separating people,” says Marcia Alesan Dawkins, a visiting scholar at the Center for the Study of Race and Ethnicity in America at Brown University. “In turn, we think racial progress is racial mixing. But the problem is, [that progress is] still based on appearance.”

People who embody racial diversity can’t be expected to explain the concept to everybody else, but their thoughts on the matter are often illuminating. As Dawkins said, “It’s still important to bring issues of multiracial identity to the public’s attention.”…

Read the entire article here.

Halle Berry and Nahla: Not So Mixed, Not So Happy

The Huffington Post
2011-02-09

Marcia Dawkins, Visiting Scholar
Brown University

As we await the results of the 2010 Census it’s tempting to think that our growing comfort with categorizing people as multiracial has erased racism and the fear of interracial relations. But in a recent interview with Ebony Magazine, Halle Berry says that we’re neither as mixed nor as happy as we’d like to think.

In the interview Berry addressed her ugly custody battle with Gabriel Aubry over their 2-year-old daughter, Nahla. Allegations are circulating about the couple’s different racial philosophies, including the use of racial slurs, and their anxiety over Nahla’s racial categorization in the press. Berry told Ebony that “I feel like [Nahla is] black” because of the one drop rule. In other words, Berry sees herself and her daughter as black because they are of partial African American ancestry. Other sources say that Aubry sees Nahla as white and that he thinks Berry should demand a retraction whenever Nahla is identified otherwise…

…Note the word “naturally.” If we take a step back in time we will find that many, including the U.S. Supreme Court in Plessy v. Ferguson, used the word “naturally” to justify and promote racial segregation and inequality. Now, many are using this same terminology to suggest that mixed race people are, by nature, non-racist and capable of promoting large-scaled racial healing. Some even suggest that multiracial families can promote the end of race and racism because of their biological backgrounds. The beauty of thinking this way is that it allows culture to masquerade as human nature without any justification.

This popular-but-flawed way of thinking equates racial progress with racial mixing and ignores the fact that interracial romantic relationships still experience higher rates of failure and different kinds of challenges than same-race relationships. That’s why we can have multiracial families selling car insurance, pasta, and video games on one hand and, on the other, have Halle Berry and Gabriel Aubry’s rancorous custody battle…

Read the entire article here.

Star-Light, Star-Bright, Star Damn Near White: Mixed-Race Superstars

The Journal of Popular Culture
Volume 40, Issue 2 (April 2007)
pages 217–237
DOI: 10.1111/j.1540-5931.2007.00376.x

Sika Alaine Dagbovie, Professor of English
Florida Atlantic University

In an episode of the “Chris Rock Show,” comedian Chris Rock searches the streets of Harlem to find out what people think of Tiger Woods. When he asks three Asian storekeepers if they consider Woods Asian, one replies, “‘Not even this much,” pressing two of his fingers together to show no space. This comic scene and the jokes chat surround Wood’s self-proclaimed identity reveal a cultural contradiction that I explore in this essay, namely the simultaneous acceptance and rejection of blackness within a biracial discourse in American popular culture. Though Wood’s self-identification may not fit neatly into the black/white mixed-race identity explored in this project, he still falls into a black/white dichotomy prevalent in the United States. The Asian storekeepers agree with Rock’s tongue-in-cheek suggestion that Tiger Woods is as black as James Brown, opposing sentiments like “The dude’s more Asian than he is anything else” on an Asian-American college Internet magazine (“Wang and Woods”). Woods cannot escape blackness (a stereotypical fried-chicken-and-collard-green-eating blackness according to Fuzzy Zoeller), and yet he also represents a multicultural posterboy, one whose blackness pales next to his much-celebrated multi-otherness.

Through advertising, interviews, and publicity, biracial celebrities encode a distinct connection to blackness despite their projected (and sometimes preferred) self-identification. Drawing from Richard Dyer’s Stars I read biracial celebrities Halle Berry, Vin Diesel, and Mariah Carey by analyzing autobiographical representations, celebrity statuses, public reception, and the publicity surrounding each of the…

Read or purchase the article here.

Being Multiracial in a Country that Sees Black and White

Interpolations: A Journal of First Year Writing
Deparment of English, University of Maryland
Fall 2009

Lavisha McClarin
University of Maryland

In America mixed race individuals are becoming more prominent in the media, politics and sports throughout the country. Some of the most popular mixed race individuals that we see everyday include Tiger Woods, Vin Diesel, Mariah Carey, Dwayne “the Rock” Johnson, Derek Jeter, Halle Berry, Alicia Keys and of course President [Barack] Obama. The fact that this population of mixed race individuals is growing at an astounding rate is the reason behind the current discussion on the racial classification of such individuals. Before the 1960s many researchers considered “biracial identity [to be] equivalent to black identity…or a subset of blacks” (Rockquemore 21). This thought continued to exist in the United States by researchers until the 1990s [sic] when “biracial people were [considered] a separate [racial] group” (21). The multiracial movement that has arisen during the 1990s believes that “every person, especially every child, who is multi-ethnic/interracial has the same right as any other person to assert an identity that embraces the fullness and integrity of their actual ancestry” (Tessman 1). Although there are overall positive effects for these individuals from the movement, there are also negative affects that could potentially cause more problems for America’s current racial system. However, despite the negative effects of the movement, there is evidence that shows that this potential transition to a multiracial system in the US has beneficial aspects to it…

Read the entire article here.