Mixed Race Studies

The New American Face

The Atlantic
2016-11-21

James Hamblin, Senior Editor

The least and most attractive male faces, based on statistical models.

Leaders are stoking human tendencies toward tribalism—but this instinct can be overcome more easily than once thought.

Since the election of Donald Trump, President Barack Obama has shifted into a prophylactic stance. He is warning that the world is complex, not a simple collection of binaries where things are either completely fantastic or the absolute worst.

Obama sees, rather, an ecosystem, a global community where borders are increasingly illusory, where prosperity for one economy means prosperity for others. Still this is a difficult concept to impart even to competitive students or coworkers, much less a population of seven billion. Recounting how he explained the election outcome to his daughters, Obama said in The New Yorker this week, “This is not mathematics; this is biology and chemistry. These are living organisms, and it’s messy.”

If biology is messy, neurobiology is a dumpster filled with smaller dumpsters, all ablaze. We are competitive by nature, as a matter of survival, and this tendency is easily goaded into hate…

Read the entire article here.

There is nothing unusual in this. There is no tension, no hypocrisy, no contradiction, between [Colin] Kaepernick being a black person of unusual status, fame, and financial success and his demand that the United States treat black people equally. African Americans are a hybrid people, he is nowhere near the first black man of mixed ancestry to protest against racism. Du Bois had white ancestors, Frederick Douglass believed that his father was the white man who owned his body, Malcolm X, with his red hair and light skin, was asked by a student why he identified as black upon his visit to Ghana. There is also the current president of the United States.

Adam Serwer, “Colin Kaepernick’s True Sin,” The Atlantic, August 30, 2016. http://www.theatlantic.com/politics/archive/2016/08/kaepernicks-true-sin/498122/.

Colin Kaepernick’s True Sin

The Atlantic
2016-08-30

Adam Serwer, Senior Editor

The San Francisco quarterback has been attacked for refusing to stand for the Star Spangled Banner—and for daring to criticize the system in which he thrived.

It was in early childhood when W.E.B. Du Bois––scholar, activist, and black radical––first noticed The Veil that separated him from his white classmates in the mostly white town of Great Barrington, Massachusetts. He and his classmates were exchanging “visiting cards,” invitations to visit one another’s homes, when a white girl refused his.

“Then it dawned upon me with a certain suddenness that I was different from the others; or like, mayhap, in heart and life and longing, but shut out from their world by a vast veil. I had thereafter no desire to tear down that veil, to creep through; I held all beyond it in common contempt, and lived above it in a region of blue sky and great wandering shadows,” Du Bois wrote in his acclaimed essay collection, The Souls of Black Folk. “That sky was bluest when I could beat my mates at examination-time, or beat them at a foot-race, or even beat their stringy heads.”

Du Bois’s upbringing as a black child was, in some ways blessed, particularly for the time. He received a good education, he had white teachers who believed in his potential. Yet despite growing up in a white town, far from the bloody, violent turmoil of the post-emancipation South, he learned from childhood that he was different, that a wall yet lay between himself and the other white children. We cannot know who Du Bois might have been had he been raised in a mostly black town or gone to a mostly black school. What we do know is that growing up around white people, with opportunities other blacks did not have, did not make white supremacy invisible to him––on the contrary,the intimacy of his early relationships with whites helped shape who he was.

Ever since 49ers quarterback Colin Kaepernick declared that he would refuse to stand for the national anthem, to refuse “to show pride in a flag for a country that oppresses black people and people of color,” particularly in the form of police brutality, he has drawn personal and bitter responses accusing him of disrespecting the country, police officers, and military service members. Donald Trump, the Republican candidate for president campaigning on a slogan implying America has ceased to be great and whose broadsides against “political correctness” delight his fans, urged Kaepernick to leave the country for expressing the incorrect political views…

Read the entire article here.

In Cuba since the 1960s, revolutionary ideology has emphasized a national unity that transcends race and discouraged racial identification. The average Afro-Cuban on the street today will often name being Cuban first, and black, mulatto, or white second. Cuba’s national racial identity is confounded by the fact that there is no accurate way to measure its demographics, especially when using the blurring mixed-race category of “mulatto,” which in Cuba is interchangeable with the term “mestizo,” a self-selected label easily applicable to more than half the island. While the National Office of Statistics stated in 2012 that Cuba is 36 percent nonwhite, Morales claims a more accurate figure is between 60 and 70 percent, largely because many Cubans suffer an internalized racism that makes them publicly deny blackness. I observed this subtle negation one night along the seaside Malecón when a roving guitarista approached the dark-skinned Afro-Cuban poet, hip-hop writer, and activist Carmen Gonzalez Chacon, and tried to flatter his way into 5 pesos by serenading the “beautiful mulatta.” She quickly corrected his misidentification.

Erik Gleibermann, “Where Hip Hop Fits in Cuba’s Anti-Racist Curriculum,” The Atlantic, August 1, 2016. http://www.theatlantic.com/education/archive/2016/08/where-hip-hop-fits-in-cubas-anti-racist-curriculum.

Where Hip Hop Fits in Cuba’s Anti-Racist Curriculum

The Atlantic
2016-08-01

Erik Gleibermann

The country’s education leaders confront deep-seated discrimination in the classroom through rap.

I was sitting with the Afrocentric rapstress Magia López Cabrera in her modest Havana walk-up in June when Cuba’s prominent black-history scholar Tomás Fernández Robaina showed up for a café con leche. Her tiny living room was filled with African folk art and images of women with 1970s-style Afros. It felt like the Cuban equivalent of Cornel West dropping in on Queen Latifah. Two nights later at an anniversary celebration for López’s rap-duo Obsesión, Fernández Robaina sat discussing racial profiling in the U.S. with Roberto Zurbano Torres, widely known in the U.S. for his writing on Cuban racial issues.

Since arriving in Havana several weeks before to investigate Cuba’s work to eliminate racism, I had discovered a collaborative, tight-knit movement that’s gone largely unpublicized in the U.S., including in its six-time-zone, decentralized academic world. In Havana, community artists like Lopez, academics like Fernández, and members of the National Ministry of Education are collectively exploring how to integrate Afro-Cuban history and related gender concerns into the primary-through-university school system. It’s hard to imagine a U.S. parallel, such as Secretary of Education John King officially asking teachers to teach students a song like “Le Llaman Puta” (They Call Her Whore)—López’s critique of how Afro-Cuban women are driven into prostitution—to fulfill the Common Core standards.

Efforts to combat racism in Cuba—which is widely believed to be majority nonwhite—through education have emerged quietly over the last several years. The National Ministry of Education officially leads the way through the Aponte Commission, where Fernández has served, exploring how to remove traces of racially denigrating language and imagery from, and include more Afro-Cuban history in, school textbooks. But the bold efforts are coming from below. A few semi-independent universities in Havana, and regional centers like Matanzas, Santiago de Cuba, and Camagüey, are taking the initiative, along with grassroots educators and activists involved in a hip-hop movement spearheaded by Obsesión…

Read the entire article here.

Obama Returns to His Biography

The Atlantic
2016-07-27

Yoni Appelbaum, Senior Editor/Washington Bureau Chief

Mark Kauzlarich / Reuters

Twelve years after introducing himself to the American public as the son of an immigrant, the president recast himself as a bearer of Scotch-Irish values.

Twelve years ago, Barack Obama introduced himself to America as just a skinny kid with a funny name. He made his story into the American story—a tale of immigrant hopes, of opportunities, of success that could only come true in the United States. That speech launched him to the presidency.

In Philadelphia on Wednesday night, as he tried to anoint his successor and secure his legacy, he returned to his biography to close his appeal. But this time, he pulled out a different strand of the story. He spoke not just of his grandparents in Kansas, whose stories he has told many times before, but of their kin and communities, of their vision and values. They were, he said:

Scotch-Irish mostly, farmers, teachers, ranch hands, pharmacists, oil-rig workers. Hardy, small-town folk. Some were Democrats, but a lot of them, maybe even most of them, were Republicans—Party of Lincoln. My grandparents explained that the folks in these parts, they didn’t like show-offs. They didn’t admire braggarts or bullies. They didn’t respect mean-spiritedness, or folks who were always looking for shortcuts in life. Instead, what they valued were traits like honesty and hard work. Kindness; courtesy; humility; responsibility; helping each other out. That’s what they believed in. True things. Things that last. The things we try to teach our kids.

It’s a different kind of American story. Not the son of a Kenyan goatherd rising directly to the highest office in the land, but working families toiling for generation after generation with quiet pride, relying on each other…

Read the entire article here.

The Faux-Enlightened Free State of Jones

The Atlantic
2016-06-28

Vann R. Newkirk II

STX Productions

Matthew McConaughey’s new movie is a predictable but instructive journey of white saviorhood.

“Somehow, some way, and some time, everybody is somebody else’s nigger,” is an actual quote that happens around midway through Free State of Jones. Uttered by Matthew McConaughey’s Newton Knight, a Confederate nurse-turned-deserter-turned-freedom-fighter in defense of one of his black comrades, it’s perhaps the most oblivious remark about race in a film that is remarkable mostly for its astounding oblivion about race. At that point, an hour and change into a narrative slog as thick as the Mississippi swamp where Knight and his diverse buddies hide, it becomes apparent that the film is going nowhere fast.

But to cast Free State of Jones aside as just another bad summer movie might be missing the point. Written and directed by Gary Ross, it’s held back by a slow, disjointed plot that doesn’t quite know what it wants to do, and it betrays no signs of having attempted to develop characters. But with its badness comes a real opportunity for instruction: The film’s ideas about race and its main character Knight are textbook examples of how not to have conversations about white privilege, “allyship,” and black struggle. As such, they invite a closer look…

Read the entire review here.

“Mulatto: It’s Not a Cool Word”

The Atlantic
2016-03-04

Nadine Ajaka, Associate Producer for Video

Evoking the Mulatto is a multimedia project examining black mixed identity in the 21st century, through the lens of the history of racial classification in the United States. It was created by the filmmaker Lindsay Catherine Harris, and features compelling interviews with young Americans as they reflect on the complex process of defining themselves. This is the first of four episodes—Harris writes on the website: “Evoking the Mulatto begins with a delicate and poignant portrait of the young biracial body in contemporary society in respect to these legacies, navigating identity within and beyond a black/white binary in the hope of blossoming into a broader discussion on our humanity, the right to our own bodies and our own identities.” To explore the entire project, visit evokingthemulatto.com.

Arcade Fire Exploited Haiti, and Almost No One Noticed

The Atlantic
2013-11-12

Hayden Higgins

Arcade Fire / JF Lalonde

The band has a deep, sincere relationship with the Caribbean nation. But even so, Reflektor’s marketing campaign has perpetuated stereotypes.

Months before Arcade Fire’s new album came out, I learned of its existence when social media pointed me to a website with some chalked, black and white patterns spelling out “Reflektor.” The designs seemed strange and foreign, and I was intrigued about what the music might sound like—not because I knew what the accompanying imagery meant, but precisely because I didn’t.

This, of course, was the intended effect. It turns out those designs were inspired by Haitian veve graffiti, used in syncretistic Vodoun practices to summon the Loa (angels or spirits, messengers to the deity). But presented out of context, to the typically unknowing fan like me, they connoted something else: mystery, exoticness, esotericism.

Reflektor itself—now released and at the top of the charts—and the rest of its marketing campaign went all-in on the Haitian tropes. During some promotional concerts the band donned Kanaval masks, coopting a symbol that holds multifaceted, complex meaning for Haitians during Carnival but that was reduced to flat shorthand for “party!” during a raucous SNL appearance. The music evokes similar stereotypes. In the song “Flashbulb Eyes,” glimmering marimbas will, for many listeners, conjure a specific idealization of the Caribbean (where Haiti is located), while singer Win Butler wails about cameras stealing souls. The band’s music used to feel interesting by virtue of its heart-on-sleeve confrontation with mortality; now, it borrows its edginess by leaning on preconceptions about a foreign region….

…This demonstrates that peoples’ stereotypes and assumptions operate independent of the appropriators’ own knowledge, however deep, of the culture they’re taking from. In this case, that knowledge is substantial. The band has a longstanding relationship with Haiti, starting with member Régine Chassagne’s ancestry (her parents fled the nation during the Duvalier horrors). They have been dedicated supporters of Partners in Health, which works to eradicate disease in Haiti. As Darville points out, though, audiences generally lack this context, and the onus is on the artist to recognize that fact…

Read the entire article here.

Between the World and Me: Empathy Is a Privilege

The Atlantic
2015-09-28

John Paul Rollert, Adjunct Assistant Professor of Behavioral Science
University of Chicago Booth School of Business

Barack Obama and Ta-Nehisi Coates have made race and empathy central to their writing, but their conclusions point in radically different directions.

Don’t despair. According to Ta-Nehisi Coates, that’s what President Obama told him at the end of a White House meeting in 2013. Coates had criticized the president on his blog for favoring the rhetoric of black self-help over an honest conversation about structural racism. Having written and reflected extensively on race, Obama made it plain to Coates that he took exception to the critique, ending what must have been a tense conversation with his brief words of encouragement. The president reportedly took along Coates’s new book on his recent trip to Martha’s Vineyard. If he found time to read it, he knows the younger man didn’t take his advice to heart.

Obama is not an acknowledged interlocutor of Between the World and Me, but the book may be read as a skeptical reply to the putative power of empathy to transcend racial divisions—a leitmotif of Obama’s two books and a guiding conceit of his presidency. In The Audacity of Hope, the book Obama wrote in 2006 to test enthusiasm for a possible White House run, he describes empathy as both the “heart of my moral code” and a “guidepost for my politics.” Defining it succinctly as a successful attempt to “stand in somebody’s else’s shoes and see through their eyes,” Obama regards empathy not as an exceptional gesture but an organizing principle for ethical behavior and even a preferred way of being. By cultivating our capacity for empathy, he says, we are forced beyond “our limited vision.” We unburden ourselves of the trivial rigidities that divide us, allowing us to “find common ground” even in the face of our sharpest disagreements…

…Trauma is an irremediable fact of Coates’s work. “I am wounded,” he tells his son. “I am marked by old codes, which shielded me in one world and then chained me in the next.” The sentiment hints at another book Coates might have written, one that sees him transcend the crises of his youth for a new understanding in adulthood. That story is more or less the one Obama tells in Dreams of My Father, his first book and, like Coates’s, a lyrical memoir that presents the author’s life as an allegory for race in America. That the two men draw such divergent conclusions—Coates detects a “specious hope” in the picture of a white cop embracing a black boy after a Ferguson protest, whereas Obama considers the interracial harmony of his own family hope at its most audacious—is not merely the consequence of two very different sets of lived experience, but the lessons drawn from them and their implications for empathic transcendence.

Especially when juxtaposed with Between the World and Me, the chapters of Dreams of My Father that profile Obama’s adolescence are striking for the studied dispassion that has marked the president’s decisions in office and seems essential to his character. When he describes the racist episodes of his youth, it is not merely that they lack the “visceral” menace of Coates’s experience—he revealingly calls them a “ledger of slights”—they seem only to scratch him, they never scar…

Read the entire article here.