The tired tropes of mixed race women’s sexuality are not harmless entertainment, but have devastating consequences off-screen because they are translated to interpersonal relationships.

Posted in Excerpts/Quotes on 2016-03-02 23:35Z by Steven

As Dear White People receives much deserved praise for its “diverse” representations of Black characters, the conversation on mixed race identity fails to be fully engaged with and must continue. The hypervisibility of mixed race women as video vixens, eroticized Others, or Tragic Mulattas flattens the complexities of negotiating a mixed-race identity within a Black-White binary. Rather than reinforcing this problematic binary with movies and TV shows in which characters have to “pick a side” or are placed within “colorblind” settings, we must demand that characters choose not to remain fixed within a singular identity performance. The tired tropes of mixed race women’s sexuality are not harmless entertainment, but have devastating consequences off-screen because they are translated to interpersonal relationships.

Jazlyn Andrews, “EMERGING FEMINISMS, (F)Act of Blackness: The Politics of Mixed Race Identity,” The Feminist Wire, February 25, 2016. http://www.thefeministwire.com/2016/02/30379/.

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EMERGING FEMINISMS, (F)Act of Blackness: The Politics of Mixed Race Identity

Posted in Articles, Communications/Media Studies, Literary/Artistic Criticism, Media Archive, United States, Women on 2016-03-01 16:12Z by Steven

EMERGING FEMINISMS, (F)Act of Blackness: The Politics of Mixed Race Identity

The Feminist Wire
2016-02-25

Jazlyn Andrews, Guest Contributor
Colorado College, Colorado Springs, Colorado


Jazlyn Andrews

That girl doesn’t have an ass.” The words hurled through the thick, humid air as if lobbed by a knife-thrower and struck me for reasons I couldn’t quite place at the time, reasons deeply rooted in my struggle to navigate my identity and subjectivity. My journey of self-definition has been a long and painful one that is nowhere near finished, fraught with fear of not belonging and comments made by peers negating my existence, dissecting me by claiming that I “don’t count,” their focus on my parts rather than my whole.

I was never “Black enough” to sing, “Asian enough” to get As in math classes, or “White enough” to be shielded from accusations of acceptance based on affirmative action. Hence, I find myself challenging controlling images but relying on them to validate my identity. My story is not unique considering the many mixed race women who have asked themselves time and time again: “Am I __________ enough?” or who have been on the receiving end of “What are you?” too many times to count. In fact, these experiences are so common—yet so under-analyzed—that Justin Simien created the Twitter hashtag #DearWhitePeople in order to examine the intricacies of being Black in predominantly White spaces.

Through an examination of the 2014 film Dear White People based loosely on Simien’s experiences at Chapman University, I examine how the Tragic Mulatta construction makes it acceptable for mixed race women to become sites for White men to explore their fears of, and fascinations with, an eroticized Other. Such a practice perpetuates an investment in a black-white binary that essentializes mixed race people to “either/or” rather than “both/and,” which maintains the property value of, and investment in, Whiteness. Importantly, the construction of, and reliance upon, a black-white binary erases mixed-race identities and functions to mitigate the threat we pose to blending the color line…

Read the entire article here.

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Poetic Justice: Drake and East African Girls

Posted in Articles, Identity Development/Psychology, Literary/Artistic Criticism, Media Archive, United States on 2013-04-03 17:19Z by Steven

Poetic Justice: Drake and East African Girls

The Feminist Wire
2013-04-03

Safy-Hallan Farah, Guest Contributor

I am an East African Girl. A couple years ago, one of my friends told me that being an East African meant I’m not really black. A visibly mixed-race girl with a “high yellow” complexion and sandy brown hair telling me I’m not black didn’t sit well with me. I wanted to tell the girl, in the words of CB4, I’m black y’all. I’m black like the back of Forrest Whitaker’s neck. I’m black like Snoop Dogg’s lungs. I’m black like some Helvetica font against a white backdrop trying to sell you stuff.

I’m a black woman. But my nose, my loosely coiled curls and my fivehead make me black in a way that extends the colorism debate, creating this hierarchy of aesthetic value where I’m not just black, I’m also acceptably black.

Back in the day, white people went to East Africa to find Iman, their acceptable black girl. When white people did this, former Essence Editor-in-Chief Marcia Gillespie called East African model Iman Abdulmajid “a white woman dipped in chocolate,”  highlighting Iman’s acceptable blackness while also lamenting the fact that black women’s beauty is often measured in their proximity to whiteness…

…In “Poetic Justice” by Kendrick Lamar ft. Drake, Drake does it again: “I was trying to put you on game, put you on a plane/Take you and your mama to the motherland/I could do it, maybe one day/When you figure out you’re gonna need someone/When you figure out it’s all right here in the city/And you don’t run from where we come from.” But couched between another lazy description of a faceless, nameless East African Girl, and Drake’s assertion that that East African Girl is busy ignoring him for another man, is a story of afrodiasporic identity, which is what sets Drake apart, narratively, from other rappers.

While Drake’s definition of black beauty may seem limited, his definition of black identity is what Touré would call “post-black,” and Michelle Wright would call “postwar diasporic black.” Drake’s flow in “Poetic Justice” facilitates a broader discussion of black identity and black authenticity, a discussion that implicitly critiques Marcia Gillespie’s “white woman dipped in chocolate” statement, positing that East African Girls “come from” the same city Drake does, Toronto. The underlying message is that Drake considers us black like him. Drake, as a black Jewish man whose Degrassi character Jimmy Brooks dated a fake East African Girl, occupies a similarly hybrid space like East African Girls. For many East African Girls, that feels like poetic justice because the definition of ‘authentically black’— descendants of Africans brought here as slaves— is a limited definition that doesn’t even include Barack Obama, much less East African Girls…

…East African girls are generally not mixed race, yet this idea that we are is deeply embedded in the minds of white racialists, leading some to believe we’re an entirely different, special, exotic breed of people. This goes back to the pseudoscience of Carleton S. Coon’s “The Races of Europe.” Anthropologists and white racialists, which are often one in the same, have been claiming we are of majority Arab or white or “Afro-Asiatic” descent for years. And while that isn’t the sentiment of Drake or Nas’s lyrics, our alleged mixedness underpins their lyrics by virtue of the sheer selectiveness of the East African Girls shouted out in hip-hop lyrics. When Drake or Nas reference East African Girls, it can be easily inferred that they mean Cushites representing the Horn of Africa (Ethiopia, Eritrea and Somalia). “Cushite,” a term derived from “Cush” of the Hebrew Bible and Quran, is in reference to our shared “Afro-Asiatic” language classification, which is often mistakenly typified as a shared racial identity. This little mistake triggers a big mistake: the conflation of biology and genetics with race and ethnicity as a social fact, which reifies the racial categories…

Read the entire article here.

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Playing Games with Race

Posted in Articles, Census/Demographics, Identity Development/Psychology, Media Archive, Politics/Public Policy, Social Science, United States on 2013-04-02 03:54Z by Steven

Playing Games with Race

The Feminist Wire
2011-06-03

Omar Ricks
University of California, Berkeley


“Mulatto” by Jenia Lisunov

NOTE: This article expands on a comment on Prof. Hortense Spillers’ article “Mama’s Baby, Papa’s, Too” published on The Feminist Wire on February 25, 2011. Omar Ricks would like to thank Prof. Spillers for inviting his contribution to The Feminist Wire.

At several places in the first article of her New York Times series, Race Remixed, concerning mostly young adult multiracial individuals, Susan Saulny has one woman, Laura Wood, vice president of the University of Maryland Multiracial Biracial Student Association (MBSA), embody much of the human-interest side of what might otherwise be an article about U.S. Census data. In a game at the beginning of the article, an MBSA friend correctly guesses Wood’s genotype: “Are you mulatto?” We learn of Wood’s painful personal journey. Initially given up for adoption by her white mother, later taken back and raised as white until the age of 8, she is rejected by the black family of her father, who she says “can’t see past the color of my skin and accept me even though I share DNA with them.” As Saulny conveys Wood’s story, we do not get a sense of any other problematics of this woman’s multiracial identity besides this one. We are left wondering at the shape that black people and blackness take in the rhetoric of Saulny’s article, if not of the interviewees, like Wood, with whom she speaks.

“If someone tries to call me black I say, ‘yes — and white.’ People have the right not to acknowledge everything, but don’t do it because society tells you that you can’t.” (Saulny, 2011, January 29)

“All society is trying to tear you apart and make you pick a side,” Ms. Wood says. “I want us to have a say.” (Saulny, 2011, January 29)

Few actual opponents of multiracialism are quoted in the article, but, oddly enough, when opposition to multiracialism is given a face, it is generally not the face of “all society” but a black one. Through such moments as these, this article is not merely reporting on but also typical of multiracial discourse, a diverse and sometimes mutually contentious collection of speeches, writings, and collective actions that broadly assert: (a) the presence of multiracial people as such; (b) the freedom of people to define themselves as their genetic diversity allows; and often (c) the implicit imperative that people (especially, for some reason, President Barack Obama) should choose to identify as multiracial. Time and again in this article, as in much of multiracial discourse, several questions arise when it comes to the ways black people are figuratively deployed. Is the problem really that blacks, more than others, are truly preventing multiracial people from identifying as such? If so, how so? Were one to ask against which real or anticipated threat to this freedom to “have a say” the MBSA students are asserting it, and attend closely to the rhetorical structure of the answers that Saulny articulates, I suspect that one would notice in those answers a structural function that blackness serves within multiracial discourse. This structural function owes to the staying power that comes from blacks’ unique position not just as a group, but also as useful rhetorical figures against which the coherence of an asserted “freedom to identify” might be sustained…

…The problems with multiracial identity, at least according to this article series, are not for the most part problems within the movement or its philosophical foundations. Rather, the problems almost always consist of the failure of others to accept mixed-race people—and those “others” are not those with the power to shape things like media representations or urban geography. For example, Saulny says,

No one knows quite how the growth of the multiracial population will change the country. Optimists say the blending of the races is a step toward transcending race, to a place where America is free of bigotry, prejudice and programs like affirmative action.

Pessimists say that a more powerful multiracial movement will lead to more stratification and come at the expense of the number and influence of other minority groups, particularly African-Americans. (Saulny, 2011, January 29)

This passage is performing some subtle but important ideological work. Those who advocate “the blending of the races” are contrasted with those who oppose “a more powerful multiracial movement.” Considering that one can be in favor of “the blending of the races” and yet opposed to the particular politics of “a more powerful multiracial movement,” this statement is a curious slippage, comparing “apples with oranges.” There is also the laying of the mantle of “optimist” on those who make the questionable juxtaposition between “bigotry, prejudice and programs like affirmative action,” almost as though there is no question that affirmative action is rooted in the bigotry and prejudice that necessitated it. Based on my reading of the article series as a whole, it is unclear to which specific “optimists” Saulny refers here, but, far more important is the way she leaves this equation unpacked. By juxtaposing these terms without critically examining them, Saulny ends up, intentionally or not, echoing a connection that multiracial discourses routinely and uncritically draw: the connection between black freedom struggle (affirmative action in this case, although any of the other political concessions that black freedom struggle has effected would probably suffice) and bigotry by blacks toward non-blacks…

Moves like these might be easily bypassed, if they did not bear a close resemblance to a common trope within multiracial discourse. As analyzed by Jared Sexton in his book Amalgamation Schemes: Antiblackness and the Critique of Multiracialism, the thing that unifies a diverse (left, liberal, conservative, and right) field of discourse around multiracial identity is the singular desire to achieve distance from “certain figures of blackness” that “resurface in each instance of multiracial discourse” and “are generally made to serve as a foil for the contemporary value of multiracialism” (Sexton, 2008). It would require an excessive degree of naïveté or willful disregard to ignore the same symptoms of thought in Saulny’s article series. In Sexton’s words, “what lends [multiracial discourse] its coherence […] is its obdurately unsophisticated understanding of race and sexuality and its conspicuously negative disposition toward what Fanon (1967) terms ‘the lived experience of the black’” (Sexton, 2008).

Most essentially, then, in multiracial discourse, blackness stands in not as an identity or identification to be rejected or worked through but, in the words of Sexton, as a structural position “against which all other subjects take their bearings” (Sexton & Copeland, 2003). In what might otherwise be an incomprehensible world or a movement without a cause, blackness is so serviceable that it can be used to stand in as that with which nobody wants to be associated, even by those who are partly black.

Even if multiracialism shifts us from the “one-drop rule” to a more graduated mestizaje model of racialization, this changes nothing for black people because blackness is still located at the “undesirable” end of the continuum—or, more accurately, hierarchy. In my view, it is necessary that we first understand the stability of that unethical structural relation before we can say that multiracialism challenges racism by injecting into the racist structure a “more fluid” sense of identity. Rainier Spencer’s 2009 Chronicle of Higher Education article, [“Mixed Race Chic”] (Spencer, 2009, May 19), for example, asked, “how can multiracial identity deconstruct race when it needs the system of racial categorization to even announce itself?” Posing this question as a statement would be to say that one needs for there to be a structure of race in order to call oneself multiracial. Small wonder, then, that so many celebrations of multiracial identity sound antiblack. They are…

Read the entire article here.

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Multiracialism and Anti-Blackness

Posted in Excerpts/Quotes on 2011-07-13 03:46Z by Steven

Even if multiracialism shifts us from the “one-drop rule” to a more graduated mestizaje model of racialization, this changes nothing for black people because blackness is still located at the “undesirable” end of the continuum—or, more accurately, hierarchy. In my view, it is necessary that we first understand the stability of that unethical structural relation before we can say that multiracialism challenges racism by injecting into the racist structure a “more fluid” sense of identity. Rainier Spencer’s 2009 Chronicle of Higher Education article, [“Mixed Race Chic”] (Spencer, 2009, May 19), for example, asked, “how can multiracial identity deconstruct race when it needs the system of racial categorization to even announce itself?” Posing this question as a statement would be to say that one needs for there to be a structure of race in order to call oneself multiracial. Small wonder, then, that so many celebrations of multiracial identity sound antiblack. They are…

Omar Ricks, “Playing Games with Race,” The Feminist Wire, June 3, 2011. http://www.thefeministwire.com/2011/06/03/playing-games-with-race/

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A New Branch of the United States’ Miscegenated Family Tree: Lynn Nottage’s “By the Way, Meet Vera Stark”

Posted in Articles, Literary/Artistic Criticism, Media Archive, Passing, United States, Women on 2011-07-13 02:50Z by Steven

A New Branch of the United States’ Miscegenated Family Tree: Lynn Nottage’s “By the Way, Meet Vera Stark”

The Feminist Wire
2011-04-29

Soyica Colbert, Assistant Professor of English
Dartmouth College

Pulitzer Prize winner Lynn Nottage’s new play By the Way, Meet Vera Stark opened at the Second Stage Theatre on April 6, 2011 to guffaws and robust applause. The play puts a playful twist on what Daphne Brooks calls “America’s miscegenated history” in order to recuperate the story of a forgotten black actress. Fittingly a comedy, Nottage’s play calls to mind the ongoing melodrama that is race relations in the United States. From the saga that Thomas Jefferson’s relationship with Sally Hemings has become to the ongoing and offensive questions regarding President Barack Obama’s citizenship, the popular conversation about race seems to leap in the blink of an eye from the postracial world of the twenty-first century as Hortense Spillers describes in her provocative piece “Mama’s Baby, Papa’s Too” to the scientific racism of the nineteenth century epitomized in a racist email Tea Party activist Marilyn Davenport sent to her constituency, picturing Obama’s parents as chimpanzees.

Using the temporal confusion race triggers in the twenty-first century to her dramaturgical advantage, Nottage’s play, directed by Jo Bonney, shuttles the viewer seamlessly through different time periods in the twentieth century, from 1933 to 1973 to 2003. The play offers an uproarious insight into the life of Vera Stark (Sanaa Lathan), an African American woman striving to become a Hollywood actress while working as the maid of a famous purportedly white actress Gloria Mitchell (Stephanie J. Block). By the end of a play that focuses on how the choices we make determine who we will become, we learn that Gloria is Vera’s cousin and that Gloria is passing for white. Laugh out loud funny, innovative in its staging and powerful in its organization, Nottage’s new play, playfully reveals the way that U.S. racial mixtries— a term used in Langston Hughes’ Broadway play Mulatto (1935) that communicates mixtures that are mysteries—create lines of contentious affiliation among women…

Read the entire article here.

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