• Daniel Sharfstein awarded Alphonse Fletcher Sr. Fellowship by Fletcher Foundation

    Vanderbilt University Law School
    2011-07-06

    Daniel J. Sharfstein, associate professor of law, has been awarded an Alphonse Fletcher Sr. Fellowship by the Fletcher Foundation.
     
    Professor Sharfstein’s new book, The Invisible Line: Three American Families and the Secret Journey from Black to White, examines the history of race in the United States through three families who crossed the color line and assimilated into white communities. He will use the Fletcher Fellowship, which provides awards of $50,000 to fund research and support literary and artistic works that contribute to improving race relations and further the broad social goals of the Supreme Court’s landmark 1954 decision in Brown v. Board of Education, to chronicle a group of Southern lawyers who argued against integration in courts during the decade following Brown

    Read the entire article here.

  • Appiah’s Uncompleted Argument: W.E.B. Du Bois and the Reality of Race

    Social Theory and Practice
    Volume 26, Number 1 (Spring 2000)
    pages 103-128

    Paul C. Taylor, Associate Professor of Philosophy
    Pennsylvania State University

    For people concerned by philosophy’s reputation for ivory-tower isolation, K. Anthony Appiah’s work on race is one of the more encouraging developments to come along in some time. Appiah has contributed greatly to making one of the messier and more contentious public issues of our time into an acceptable subject of English-language philosophical inquiry. And having launched his project by taking W.E.B. Du Bois as one of his principal interlocutors, he has also helped rescue an important American social theorist from the shadows of philosophical neglect.

    As it happens, Appiah ushers Du Bois into the light mainly to make visible what appear to him to be blemishes. We can see this, and we can see why, from the title of one of the essays that mark Appiah’s inception of the project: “The Uncompleted Argument: Du Bois and the Illusion of Race.”(1) Du Bois was a racialist: he believed that races are real entities, that racial identities are real and valuable properties of human individuals, and that racial solidarity can help realize such human goods as equality and self-actualization. He accepted, of course, the testimony of the physical sciences, building even in his day toward the conclusion that races are not useful posits for the physical sciences; but he nevertheless insisted that race exists, as a phenomenon that is “clearly defined to the eye of the Historian and Sociologist.”(2) Appiah, by contrast, is what we might call a racial eliminativist. He believes that races do not exist, that acting as if they do is metaphysically indefensible and morally dangerous, and, as a result, that eliminating “race” from our metaphysical vocabularies is an important step toward the right, or a better–that is to say, a rational and just–world-view.

    A number of commentators have taken issue with Appiah’s treatment of Du Bois’s, or of Du Boisian, sociohistorical racialism.(3) Unfortunately, neither Appiah nor his critics seem to have noticed a fairly straightforward way of reading Du Bois’s argument, a way that leads to a similarly straightforward refutation of the metaphysical underpinnings for Appiah’s eliminativism–a way that it is one of the burdens of this essay to make clear. I’m interested in the metaphysics of Appiah’s eliminativism because he says often enough that we should stop talking about race on pain of various sorts of moral error, but he argues mainly that we should stop talking about race because there’s no such thing. He makes his way to his eliminativist conclusion as Peirce suggests: by weaving different strands of argument into, as it were, “a cable whose fibres … are … numerous and intimately connected,” rather than by producing a single chain of reasoning “which is no stronger than its weakest link.”(4) But the metaphysical “strand” does most of the work, does it badly, and gets away with it because of its entanglement with broadly plausible ethical claims that are too poorly developed to stand on their own.

    In this essay I will construct the alternative readings of Du Bois and Appiah that I have in mind. I am concerned to do so not, or not principally, because of some abstract interest in clearing the ontological ground. My concern derives from the concrete worry that Appiah’s metaphysical sleight-of-hand obscures the need for a real debate about the merits of racialized and race-based practices and institutions. My sense is that once we quit kicking up the dust with arguments about the alleged non-existence of race, we’ll be able to see how much work remains to be done on the ethics of racial identification. That is: Once we recognize that there are eminently sensible routes to the claim that races do exist, perhaps we’ll recognize also that worries about the prudence and permissibility of appealing to race ought to be explicated and addressed in those terms. It is not enough simply to gesture at moral concerns while using metaphysics to avoid moral argument.

    I will begin in sections 2 and 3 by examining the argument that Appiah develops in the second chapter of his important book, In My Father’s House.(5) His claim there is that Du Bois’s allegedly sociohistorical racialism ultimately relies on a more or less garden-variety biological notion of race. My counterclaim on Du Bois’s behalf is that Appiah manages this reading only by seizing upon perhaps the least plausible ways of rendering a few rather crucial details and by manufacturing perplexity in the face of a patently non-vicious circularity.

    In section 4, I take a moment to sketch the kind of account that I take Du Bois to have been groping for. Then in sections 5 and 6, I consider the argument that Appiah develops in his contribution to the prize-winning book, Color-Conscious.(6) In “Race, Culture, Identity: Misunderstood Connections,” he uses conceptual analysis to argue that race-talk necessarily involves an untoward commitment to biological racialism. Unfortunately for the eliminativist cause, this argument pre-supposes the success of the earlier attempt to unmask Du Bois as a biological racialist, and eventually gets mired in metaphysical vacillation. Appiah does go on to gesture at the ethical concerns that motivate his inquiry, but, as we’ll see, without their metaphysical accompaniment these gestures don’t get him very far…

    Read the entire article here.

  • The Uncompleted Argument: Du Bois and the Illusion of Race

    Critical Inquiry
    Volume 12, Number 1, “Race,” Writing, and Difference (Autumn, 1985)
    pages 21-37

    Kwame Anthony Appiah, Laurance S. Rockefeller University Professor of Philosophy
    Princeton University

    Introduction

    Contemporary biologists are not agreed on the question of whether there are any human races, despite the widespread scientific consensus on the underlying genetics. For most purposes, however, we can reasonably treat this issue as terminological. What most people in most cultures ordinarily believe about the significance of “racial” difference is quite remote, I think, from what the biologists are agreed on. Every reputable biologist will agree that human genetic variability between the populations of Africa or Europe or Asia is not much greater than that within those populations; though how much greater depends, in part, on the measure of genetic variability the biologist chooses. If biologists want to make interracial difference seem relatively large, they can say that “the proportion of genic variation attributable to racial differences is … 9-11%.”‘ If they want to make it seem small, they can say that, for two people who are both Caucasoid, the chances of difference in genetic constitution at one site on a given chromosome are currently estimated at about 14.3 percent, while for any two people taken at random from the human population, they are estimated at about 14.8 percent. (I will discuss why this is considered a measure of genetic difference in section 2.) The statistical facts about the distribution of variant characteristics in human populations and subpopulations are the same, whichever way the matter is expressed. Apart from the visible morphological characteristics of skin, hair, and bone, by which we are inclined to assign people to the broadest racial categories—in the population of England that are not found in similar proportions in Zaire or in China; and few too (though more) which are found in Zaire but not in similar proportions in China or in England. All this, I repeat, is part of the consensus (see “GR,” pp. 1-59). A more familiar part of the consensus is that the differences between peoples in language, moral affections, aesthetic attitudes, or political ideology—those differences which most deeply affect us in our dealings with each other—are not biologically determined to any significant degree.

    These claims will, no doubt, seem outrageous to those who confuse the question of whether biological difference accounts for our differences with the question of whether biological similarity accounts for our similarities. Some of our similarities as human beings in these broadly cultural respects—the capacity to acquire human languages, for example, or, more specifically, the ability to smile—are to a significant degree biologically determined. We can study the biological basis of these cultural capacities and give biological explanations of our exercise of them. But if biological difference between human beings is unimportant in these explanations – and it is-then racial difference, as a species of biological difference, will not matter either.

    In this essay, I want to discuss the way in which W. E. B. Du Bois—who called his life story the “autobiography of a race concept”—came gradually, though never completely, to assimilate the unbiological nature of races. I have made these few prefatory remarks partly because it is my experience that the biological evidence about race is not sufficiently known and appreciated but also because they are important in discussing Du Bois. Throughout his life, Du Bois was concerned not just with the meaning of race but with the truth about it. We are more inclined at present, however, not to express our understanding of the intellectual development of people and cultures as a movement toward the truth; I shall sketch some of the reasons for this at the end of the essay. I will begin, therefore, by saying what I think the rough truth is about race, because, against the stream, I am disposed to argue that this struggle toward the truth is exactly what we find in the life of Du Bois, who can claim, in my view, to have thought longer, more engagedly, and more publicly about race than any other social theorist of our century…

    Read the entire article here.

  • Call for Robson Square Art Installation: Hapapalooza Festival

    Hapa-Palooza Festival seeks outdoor art installation proposal to show-case work by individual artist and/or groups of mixed cultural descent whose artistic work explores mixed roots/cultural heritage/hybridity/identity.

    Submission Deadline: 2011-07-15
    Contact: Ella Cooper – ella@ecoartslab.com

    Hapa-Palooza: A Vancouver Celebration of Mixed-Roots Arts and Ideas is a new cultural festival that commemorates Vancouver’s 125th anniversary and celebrates the city’s identity as a place of hybridity, synergy and acceptance.

    In an unprecedented gathering of artists, Hapa-palooza will bring together in one festival Vancouver’s many talents of mixed-heritage and hybrid cultural identities. A vibrant fusion of music, dance, literary, artistic and film performances, Hapa-palooza places prominence on celebrating and stimulating awareness of mixed-roots identity, especially amongst youth.

    This inaugural event will take place between Sept 7-10, 2011 with our Mainstage event taking place on September 10, 2011 from noon to 6pm in Robson Square.

    Submission Details: We are seeking an artist or artists whose existing work deals with hybridity, identity, contemporary traditions and/or cultural heritage. Depending on the submissions received, this final installation will either showcase a variety of works or feature one or two artists in Robson Square. Compensation includes funds to mount the installation, volunteer support during the event plus an artist honorarium. Emerging artists are welcome.

    For more information, click here.

  • Do You See Your Family?: An Examination of Racially Mixed Characters & Families in Children’s Picture Books Available in School Media Centers

    University of North Carolina, Chapel Hill
    2002
    37 pages

    Susan S. Lovett

    A Master’s paper submitted to the faculty of the School of Information and Library Science of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Science in Library Science.

    This study describes a survey of public elementary schools in Wake County, North Carolina determining what picture books that include mixed-race characters or mixed-race families are available and which are most commonly collected in public school media centers. Fifty-two of the seventy-nine elementary school media centers in the Wake County Public School System responded. Thirty-four titles that included a mixed-race character or a mixed-race family, where the family was not multiracial due to adoption, are identified. Nine titles prove to be highly collected, eleven titles are somewhat collected, and fourteen titles are rarely collected. Half of the highly collected titles are award winners, whereas the mid and rarely collected category books have not won any awards. The parental racial combinations vary, but the prevalent pairing is African American/Caucasian. Titles appear to be collected more because they are award-winning than because they represent a non-Caucasian population. The majority of elementary school media specialists have never been asked to find materials that include mixed-race characters or families. Overall, few of these books exist, and fewer still are collected in school media centers.

    TABLE OF CONTENTS

    • Table of Tables
    • Introduction
    • Literature Review
    • Research Questions
    • Methodology
      • Locating Mixed Race Materials
      • Instrument
      • Procedure
    • Findings & Discussion
    • Conclusions
    • Future Research
    • References
    • Appendices
      • Appendix A – School Media Collection Survey Instrument
      • Appendix B – Survey Data Arranged by Quantity Owned
      • Appendix C – Annotated Picture Books

    TABLE OF TABLES

    • Table 1 – Identified Picture Books with Racially Mixed Characters or Families
    • Table 2 – Highly Collected Titles
    • Table 3 – Mid Collected Titles
    • Table 4 – Rarely Collected Titles
    • Table 5 – Total Racially Mixed Picture Book Collection per Media Center
    • Table 6 – Titles Suggested by Surveyed Media Specialists
    • Table 7 – Racial Pairings per Title

    Read the entire paper here.

  • White Skin, White Masks: The Creole Woman and the Narrative of Racial Passing in Martinique and Louisiana

    University of North Carolina, Chapel Hill
    2006
    83 pages

    Michael James Rulon

    A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Curriculum of Comparative Literature

    Through an examination of two Creole passing subjects from literary passing narratives of the twentieth century, this thesis simultaneously treats two problems that have been largely overlooked by contemporary scholarship: the role of the Creole racial identity in the genre of the passing narrative, as well as the possibility of racial passing within the context of a Creole society. In Walter White’s 1926 novel, Flight, and Mayotte Capécia’s 1950 novel, La négresse blanche, the protagonists’ difficulties in negotiating a stable racial identity reveal the inherent weakness of the racial binary that is essential to the very notion of racial passing, and they also show that Creoleness has failed to establish itself as a stable racial identity in the societies represented in both novels.

    Table of Contents

    • 1. Pawòl Douvan/Some Opening Words
    • 2. Nwè, Blan èk Kréyòl/Black, White, and Creole
    • 3. Mimi èk Isaure/Mimi and Isaur
    • 4. Pasé pou Blan, Pasé pou Nwè/Passing for White, Passing for Black
    • 5. Ovwè tè kréyòl/Goodbye, Creole Land
    • 6. Conclusion: Èk alòs… /And so
    • WORKS CITED

    Read the entire dissertation here.

  • The Cross-Heart People: Race and Inheritance in the Silent Western

    Journal of Popular Film and Television
    Volume 30, Number 4 (Winter 2003)
    pages 181-196
    DOI: 10.1080/01956050309602855

    Joanna Hearne, Assistant Professor of English
    University of Missouri

    The author examines the visualization of Indianness in the context of cross-racial romance and in relation to the emergence of the Western genre in early silent film. Popular attitudes toward Indian assimilation and United States policy are traced through the cinematic versions of The Squaw Man and other “Indian dramas” from 1908 to 1916.

    …the heir is always the one who stays on the land.
    —Bourdieu,
    The Logic of Practice, 1990

    Silent Westerns and “Indian dramas” from 1908 to 1916 provide a remarkable window on Euro-American popular culture representations of the encounter between tribal peoples and the United States military and educational establishments. These early Westerns, many of them now unknown or unavailable outside of archives, provide a composite narrative that depicts the white “family on the land” emerging from the “broken home” of a previous mixed-race marriage, and that equates children, land, and gold as the spoils of failed romance, not of war. The ordeal of separating children from their families and cultures through the Indian boarding-school policy—and the trauma of their return home as outsiders—is fully recognized in silent Westerns, which were produced during a time when federal Indian policy encouraged both assimilation and removal from the land. In these tales of interracial romance, captivity, and adoption, defining narrative features include doubling, mistaken identity, and the social and geographic displacement and replacement of persons. Such narrative strategies reflected the physical acts of displacement and replacement that have been hallmarks of U.S. American Indian policy, from Indian Removal and the Indian Wars through the slow erosion of reservation lands in the twentieth century.

    The Squaw Man (Apfel and De Mille, 1914), the first feature-length Western, offers a particularly influential example of the pattern. The film tells the story of James Wynnegate, a refugee from the corrupt English aristocracy, as he establishes a new life for himself in the American West. Jim’s attempt at ranching fails, but in the process he has an affair with Nat-u-Ritch, the daughter of the local Indian chief. When he finds her making a tiny pair of moccasins, he rushes to get a pastor, who refuses to marry the cross-racial couple. Jim’s ranch hands try to talk him out of the marriage as well, until he shows them the moccasins. The ranch hands then force the pastor at gunpoint to perform the ceremony in a racially inflected version of the “shot-gun marriage.”…

    …The plot—adapted from Edwin Milton Royle and Julie Opp Faversham’s successful stage play and 1906 novel—is a defining one for cross-racial romance narratives, and the film is a major landmark in the evolution of American cinema. Adapted for the screen three times by Cecil B. De Mille, in 1914, 1918, and 1931, The Squaw Man launched both his directing career and Samuel Goldfish’s Lasky Feature Play Co., which would later become the major studio Metro-Goldwyn-Mayer. Why does The Squaw Man narrative—differing as it does from the early Westerns of Tom Mix, and certainly from such later iterations of the genre as John Ford’s Stagecoach—hold such a crucial place in the development of the Western? And why does this story emerge so strongly in the first two decades of the twentieth century? Why does this film, and others based on it, link Indian women’s marriage to white men with the women’s suicide? What is the significance of the forced separation of Indian mother and mixed-blood child that forms the heart of the film’s conflict, as one family gives way to another?…

    …Contemporaneous with Westerns and “Indian dramas” such as The Squaw Man, the writings of native and mixed-blood writers such as E. Pauline Johnson, Gertrude Bonnin (Zitkala-Sa), Mourning Dove (Christine Quintasket), John Joseph Mathews, and D’Arcy McNickle provide an indigenous literary context for—and counterpoint to—popular representations of native people. Pauline Johnson’s short stories, including “A Red Girl’s Reasoning,” “As It Was in the Beginning,” and “The Derelict,” emphasize the strength of Indian women and moral weakness of white men in cross-racial relationships. Mourning Dove’s novel Cogewea, first published in 1927, narrates the betrayal of the mixed-blood protagonist Cogewea by her white lover. Other native writers depict the emotional impact of family separation and boarding-school education. D’Arcy McNickle was himself forced to attend the Chemawa Indian Boarding School in Oregon, despite his own and his parents’ objections (Child 13), and writes about children being taken to boarding school in his short story “Train Time” (Peyer). Gertrude Bonnin, who attended missionary Indian schools and later taught at Carlisle, wrote about the failure of missionary education to prepare a Lakota man to care for his family and community in “The Soft-Hearted Sioux.” Native writers working against representations in popular literature and film also highlight issues of inheritance, Indian policy, boarding schools, and cross-racial relationships and mixed-blood children but offer alternative points of view based on personal experience, political advocacy, and cultural authority…

    Read the entire article here.

  • This lame and utterly boring series has yet to even reach the already low, low bar set in the mid-1990s regarding this topic by Time and Newsweek. Beyond the drippingly bathetic nature of the reporting throughout the series, there is never more than a sentence or two given over to the fact that there is a huge ideological debate occurring within critical mixed-race studies circles about just what mixed race is and is not, about whether or not supporting it requires belief in the fallacy of biological race, about how much it does or does not advance the cause of white supremacy (whether overtly and knowingly or not), and about the propriety of the disproportionate influence of white mothers of black/white children within the multiracial movement.

    The only boundary being pushed by the “Race Remixed” series is the continued fencing off of any significant input (beyond that sentence or two acknowledged above) by scholars who are critical of multiracial identity. If this thoroughly unbalanced series wanted to actually provide real news, it would dare to investigate how multiraciality poses a danger to civil rights compliance monitoring, how multiraciality is assisting certain persons of Hispanic and Asian descent in their transition to “honorary whiteness” while persons of African descent remain barred from doing the same, and how the multiracial movement remains absolutely exclusionary in terms of setting itself apart from the nearly 40 million Afro-Americans of mixed descent in this country. If that thoroughly mixed population is not mixed race, then no one is.

    Rainier Spencer (Professor and author of Reproducing Race: The Paradox of Generation Mix, 2011), Reader’s Comments (#49) for article “Pushing Boundaries, Mixed-Race Artists Gain Notice,” The New York Times, July 5, 2011. http://community.nytimes.com/comments/www.nytimes.com/2011/07/06/arts/mixed-race-writers-and-artists-raise-their-profiles.html?permid=49#comment49

  • More than a ‘tragic mulatto’

    Runnymede Bulletin
    Spring 2011, Issue 365
    pages 26

    Zaki Nahaboo
    Department of Politics & International Studies
    The Open University, UK

    Daniel R. McNeil. Sex and Race in the Black Atlantic: Mulatto Devils and Multiracial Messiahs. London: Routledge, 2009, 186 pp. Hardback ISBN 978-0-415-87226-3, Paperback ISBN 978-0-415-89391-6, eBook ISBN 978-0-203-85736-6.

    Daniel McNeil illuminates harrowing accounts and insidious perceptions of mixed-race that exist across Canada, America and Britain. His monograph charts the transgression of the ‘colour-line’, exploring the subjectivity of those compelled to negotiate a mixed-race heritage while providing a critical intervention into the discourse of mixed-race as the contemporary cosmopolitan signifier of a post-racial future. These issues leap from the pages as he draws upon influential figures and popular culture ranging from Philippa Schuyler to Barack Obama.

    As the title suggests, these issues cannot be analysed without considering the gendered forms of violence and the masculine structuring of desire, which snare the mixed race woman, particularly, between a rock and a hard place.

    This is best exemplified in the second chapter of the book, in which McNeil seeks to uncover the linkages between the likes of W. E. B Du Bois, Frantz Fanon and Otto Rank. McNeil does not undermine recent poststructuralist readings of these theorists, instead choosing to delve into their perceptions about the mulatto. Here he finds that within their masculinist framework the mixed-race woman, in particular, is perceived as a hindrance, a problem, a neurotic and an object of pity. McNeil has provided a novel contribution, subtly showing that mixed-race is not simply a position of the petty bourgeoisie, but rather is seen as a shameful reminder of colonialism and ‘dilution’.

    McNeil’s account of renowned American child prodigy Philippa Schuyler is a strategically deployed case study for elucidating a far more complex identity than the ‘tragic mulatto‘: i.e. “a feminised and neurotic figure who desires a white lover and either dies or returns to the black community”. Schuyler’s life is deployed to expose how the black/white binary is paradoxically and simultaneously transcended, escaped, denied and repudiated, while also remaining a continuous weight upon her life…

    Read the entire review here.

  • Seeing in color – art and mixed race

    Laura Kina’s Art Blog
    2011-07-06

    Laura Kina, Associate Professor Art, Media and Design and Director Asian American Studies
    DePaul University

    I was reviewing an Asian American marketing book (Many Cultures One Market by Robert Kumaki and Jack Moran) and getting my toenails painted dark fuchsia pink, just a few steps from blood red, at a neighborhood Vietnamese nail salon when I got a text that the New York Times article I’ve been waiting for had finally come out: Pushing Boundaries, Mixed-Race Artists Gain Notice by Felicia Lee.

    The article highlights, amongst others, the recent Mixed Roots Film & Literary Festival, works by authors such as Heidi Durrow and Danzy Senna, filmmaker Jeff Chiba Stearn’s “One Big Hapa Family” and artist Kip Fulbeck’s traveling exhibition Part Asian/100% Hapa.

    In the hours that followed, my inbox blew up with comments on mixed race (see the Critical Mixed Race Studies Facebook wall and the comments on the NY Times article). I kept thinking that what was missing here (both in the article and the online commentary) was a discussion of the artwork itself in terms of form and aesthetics and the different ways the various art forms (literature, film, spoken word, performance, visual arts etc.) change the terms of discussion on mixed race and how we might see (or read, or hear, or feel and experience) color…

    Read the entire article here.