“My dad is samurai”: Positioning of race and ethnicity surrounding a transnational Colombian Japanese high school student

Posted in Articles, Asian Diaspora, Campus Life, Identity Development/Psychology, Media Archive, Social Science, United States on 2013-05-23 20:42Z by Steven

“My dad is samurai”: Positioning of race and ethnicity surrounding a transnational Colombian Japanese high school student

Linguistics and Education
Available Online: 2013-05-22
DOI: 10.1016/j.linged.2013.03.002

Satoko Shao-Kobayashi
Chiba University, Japan

Highlights

  • Racial hierarchies in different countries impact transnational students’ positioning in local contexts.
  • Participants Other coethnics by using various labels to destigmatize their own minority positions.
  • Racial mixedness is variously interpreted and represented in the identity negotiation.
  • Social stratification of dominance and subordination is reenacted through Othering of coethnics.

From sociocultural, interactional and critical perspectives, this study investigates the practices and ideologies of racial and ethnic identities and relationships surrounding Jun, a Colombian Japanese high school student, within a transnational Japanese student community at Pearl High School (pseudonym) in California. In particular, the analysis focuses on how Jun’s racial and ethnic positioning is interpreted and represented by others and himself through examining their labeling and categorization practices. I utilized the analysis of two-year ethnography, in-depth discourse analysis of narratives and conversations and mental map analysis. The study shows how Jun and other participants interactionally negotiated their racial and ethnic identities and relationships by strategically positioning each other in an attempt to survive in the environment where they were marginalized. The study illuminates the dynamics and politics of inter-/intraracial and ethnic relations and identities as well as the circulation of a persisting Whiteness ideology in a global context.

Read or purchase the article here.

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Breaking the Color Barrier: Regina Andrews and the New York Public Library

Posted in Articles, History, Media Archive, United States, Women on 2013-05-23 02:26Z by Steven

Breaking the Color Barrier: Regina Andrews and the New York Public Library

Libraries & the Cultural Record
Volume 42, Number 4, 2007
pages 409-421
DOI: 10.1353/lac.2007.0068

Ethelene Whitmire, Associate Professor of Library & Information Studies
University of Wisconsin, Madison

Chicago native Regina Anderson Andrews (1901–93) was a librarian in the New York Public Library (NYPL) system for nearly half a century beginning in 1923 at the 135th Street branch (now the Schomburg Center for Research in Black Culture) until her retirement from the Washington Heights branch in 1967. Andrews broke the color barrier by becoming the first African American supervising librarian in NYPL history. Her accomplishment was not an easy one. This article illustrates Andrews’s groundbreaking career as a librarian and activist, including her fight, with W. E. B. Du Bois as a powerful ally, against the NYPL administration for opportunities for promotion and equal pay.

“I’m American,” Regina Anderson wrote in 1923 on her application for a position in the New York Public Library (NYPL) when asked to give her race. Three or four days after she completed the application at the main branch on 42nd Street, Anderson received a request to return to discuss her answers—this one in particular. Asked again about her racial designation and stating firmly that she was American, Anderson was told, “You’re not an American. You’re not white.”

Like untold numbers of U.S. citizens, Anderson came from a multicultural background requiring a roadmap to follow. Her father, William Grant “Habeas Corpus” Anderson, a prominent criminal lawyer in Chicago, was the son of a Swedish immigrant and his American Indian wife. Her mother, Margaret Simons, was the daughter of Henry Simons, the son of an Arkansas Confederate general and an immigrant Jewish woman. Henry’s wife, Regina’s maternal grandmother, was the offspring of a  Madagascar woman and an East Indian man. Regina considered herself an American.

In December 1924, a year after the application incident, this “pert olive-skinned girl” would grace the cover of Messenger magazine’s issue that featured “Negro women who are unique, accomplished, beautiful, intelligent, industrious, talented and successful.”

The NYPL hired Anderson, but because of her color, her interviewer told her, “We’ll have to send you to Harlem.” Besides determining her…

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Halving the Bones: A film by Ruth Ozeki

Posted in Asian Diaspora, Autobiography, Media Archive, United States, Videos, Women on 2013-05-22 20:08Z by Steven

Halving the Bones: A film by Ruth Ozeki

Women Make Movies
1995
70 minutes
Color/BW, DVD

Ruth Ozeki, Filmmaker, Novelist, and Zen Buddhist Priest

Skeletons in the closet? Halving the Bones delivers a surprising twist to this tale. This cleverly-constructed film tells the story of Ruth, a half-Japanese filmmaker living in New York, who has inherited a can of bones that she keeps on a shelf in her closet. The bones are half of the remains of her dead Japanese grandmother, which she is supposed to deliver to her estranged mother. A narrative and visual web of family stories, home movies and documentary footage, Halving the Bones provides a spirited exploration of the meaning of family, history and memory, cultural identity and what it means to have been named after Babe Ruth!

AWARDS, FESTIVALS, & SCREENINGS

  • Sundance Film Festival
  • International Documentary Association Award Nomination
  • Sydney & Melbourne Film Festivals
  • Margaret Mead Film Festival
  • San Francisco Asian American Film Festival
  • Montreal World Film Festival
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South Korea’s multiculturalism

Posted in Articles, Asian Diaspora, Media Archive, Social Science, Videos on 2013-05-22 19:15Z by Steven

South Korea’s multiculturalism

Al Jazeera
The Stream
2013-05-21

How is the nation dealing with its growing diversity?

A multi-cultural, multi-ethnic society is an emerging reality that is leading to a lot of racial and social discord in South Korea. Faced with an aging population and an influx of migrant wives, many are clinging to their “one-blood” ethnically homogenous national identity. Today the government is scrambling to focus a sound multicultural vision for the country. How are South Koreans adapting to their rapidly changing population?

In this episode of The Stream, we speak to:

Cindy Lou Howe, Director
Even the Rivers

Gregory Diggs-Yang, President,
The Mack Foundation

Also on Google Hangout: Yoo Eun Lee, Sajin Kwok, and Sarah Shaw.

Read the story and watch the video here.

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LAAPFF 2013: Mix-cultural Asians Find Their Roots

Posted in Articles, Asian Diaspora, Book/Video Reviews on 2013-05-22 03:03Z by Steven

LAAPFF 2013: Mix-cultural Asians Find Their Roots

8Asians
2013-05-20

Shako Liu

One common theme that has been echoing in some of the documentaries presented in Los Angeles Asian Pacific Film Festival is that mix-raced Asians either in the states or in an Asian country, or Asian immigrants are trying to find out who they are and what country they represent. The identity searching is a ever-green theme in the Asian American community which has 60 percent first-generation immigrants and the largest percentage of interracial marriage.

In the documentary Hafu, it explored the life of mix-raced Japanese in Japan. The film showed that about 2 million foreigners were living in Japan in 2010, constituting around 30,000 international marriages. Children from these marriages are called Hafu, a Japanese word evolved from the English word “half,” indicating half Japanese and half foreigner.

Japan strictly upholds the ideology of “one nation, one culture, one race.” It outcasts the mix-raced Japanese, who grew up there and speak the language perfectly. The film has profiled different mix-raced Japanese from all kinds of racial combination, background, age and both genders. It provides a deep and well-rounded view about the struggle they have and the questions they raise about their country and themselves. All of their stories are revolving around one question–“Who am I?”…

Read the entire article here.

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Multiracial Identity Development and the Impact of Race-Oriented Student Services

Posted in Campus Life, Dissertations, Identity Development/Psychology, Media Archive, United States on 2013-05-21 01:45Z by Steven

Multiracial Identity Development and the Impact of Race-Oriented Student Services

Kansas State University
2013
46 pages

Margaret Roque

A REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF SCIENCE Department of Special Education, Counseling, and Student Affairs College of Education

Multiracial identity development has been a topic of study that has slowly begun to grow interest in academia. While it is important to acknowledge the process of multiracial identity development in and of itself, it is also essential to understand how this development is influenced by different ecological factors in higher education, such as when and where a multiracial student may encounter instances of marginalization, as well as instances of mattering. One of the more prominent facets of this ecology is race-oriented student services, which can provide either a space in which multiracial students feel marginalized, or one in which they feel that they matter. This report will examine multiracial identity development and why it is needed in order to better understand multiracial students’ needs, as well as how race-oriented student services affect development and expression of their identity.

Table of Contents

  • List of Tables
  • Chapter 1 – Introduction
    • Concepts and Key Terms
    • Race as a Social Construct
    • Mattering and Marginalization
    • Summary
  • Chapter 2 – Review of the Literature
    • Introduction
    • Monoracial Identity Development
      • Cross & Fhagen-Smith’s Life Span Model of Black Identity Development
    • Multiracial Identity Development
      • Poston’s Biracial Identity Development Model
      • Root’s Five Types of Identity
      • Renn’s Identity Patterns
      • Multiracial Identity Denial
        • External Identity Denial
        • Internal Identity Denial
      • The Effects of Marginalization
    • Race-Oriented Student Services
    • The Influence of Campus Ecology on Multiracial Identity
    • Monoracial Race-Oriented Student Services
      • External Denial
      • Marginalization
    • Multiracial Race-Oriented Student Services
      • Providing a Sense of Mattering
      • Making Meaning of Marginalizing Experiences
    • Summary
  • Chapter 3 – Analysis through Personal Reflection
    • Personal Narrative
  • Chapter 4 – Implications for Student Affairs Practitioners and Future Research
    • Implications for Student Affairs Practitioners
    • Need for Future Research
    • Conclusion
  • References

Read the entire report here.

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Yokohama Yankee: My Family’s Five Generations as Outsiders in Japan [Presentation]

Posted in Asian Diaspora, History, Live Events, Media Archive on 2013-05-20 19:46Z by Steven

Yokohama Yankee: My Family’s Five Generations as Outsiders in Japan [Presentation]

German Institute for Japanese Studies (Deutsches Institut für Japanstudien)
Jochi Kioizaka Bldg. 2F
7-1 Kioicho
Chiyoda-ku, Tokyo 102-0094, Japan
Wednesday, 2013-06-12, 18:30 JST (Local Time)

Leslie Helm, Seattle Business Magazine

The DIJ Social Science Study Group is a forum for young scholars and Ph.D. candidates in the Social Sciences. Presentations on a scholar’s research project are about 45 minutes, followed by about 45 minutes of Q&A. The DIJ Social Science Study Group usually meets once a month, on a Wednesday from 6:30 to 8:00 p.m.

Leslie Helm’s decision to adopt Japanese children launches him on a personal journey through his family’s 140 years in Japan, beginning with his German great-grandfather, who worked as a military adviser in 1870, married a Japanese woman and started a stevedoring and forwarding business in Yokohama. The family operates a successful business across two world wars by having sons take German, Japanese and U.S. citizenship, and transferring management among the sons as Japan shifts its alliances from the U.S. and Britain to Germany and Italy. While the business survives, the family suffers from its mixed-race identity and the inability to ever truly establish a sense of belonging in Japan. The book draws a contrast between the Helm family, and the family of Leslie’s mother, Barbara Schinzinger, whose father, Robert Schinzinger, taught German in Japan for sixty years but always maintained a strong identity as a German national with a duty to teach the Japanese about “the true Germany.”

In this presentation I am presenting my recently published book on this topic. My family history and our story of a multinational, biracial merchant family serves as historical document, shedding light on the political, economic, cultural, and racial interactions and tensions between Japan and the United States for more than a century and a half, right up to the present day.

For more information, click here. View the program here.

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The Limits of Literary Realism: Of One Blood’s Post-Racial Fantasy by Pauline Hopkins

Posted in Articles, Literary/Artistic Criticism, Media Archive, United States on 2013-05-20 17:31Z by Steven

The Limits of Literary Realism: Of One Blood’s Post-Racial Fantasy by Pauline Hopkins

Callaloo
Volume 36, Number 1, Winter 2013
pages 158-177
DOI: 10.1353/cal.2013.0049

Melissa Asher Daniels, Assistant Professor of English
University of Alabama, Birmingham

Fiction is of great value to any people as a preserver of manners and customs—€”religious, political and social. It is a record of growth and development from generation to generation. No one will do this for us; we must ourselves develop the men and women who will faithfully portray the inmost thoughts and feelings of the Negro with all the fire and romance which lie dormant in our history, and, as yet, unrecognized by writers of the Anglo-Saxon race.

Pauline Hopkins, Contending Forces

In the preface to her first novel, an excerpt of which appears above, Pauline Hopkins offers a critical assessment of the cultural stakes of fiction. According to the prolific writer and editor, fiction and history should serve mutual ends: the uplifting of the race. Pointing to the artistic and archival merits of both disciplines, Hopkins implores her fellow African Americans to take up the pen. As Hopkins seems to suggest, fiction’s primary power lies in its pedagogical potential. Fiction has the ability to educate literate African Americans about their rich and painful past, and this past can in turn enrich literary production, as it is replete with material that might easily be adapted for the sake of artistic development and political agitation. Addressing African Americans specifically, Hopkins indicates that it is the responsibility of the race to produce the writers who will narrate this past “with all the fire and romance” that it deserves. Calling for a fiction of mimetic detail and romantic affect, Hopkins echoes white writer Albion Tourgée’s claim, made some several years before, that realism alone cannot convey “the grand truth which makes up the continued story of every life” (411).

In Of One Blood; or, the Hidden Self (1902-1903), Hopkins advances her views on the limitations of literary realism and puts her ideas about the aesthetic virtues of romantic fiction into practice. Published serially in the Colored American Magazine, the episodic novel blends realism with romance to explore issues of ancestry, miscegenation, and tangled kinship. In this respect, the novel is generically and thematically akin to much of nineteenth-century African American writing. But in some fundamental ways, Of One Blood is one of the most intricate, if not bewildering texts. Indeed, critics often describe it as “unruly”—taking their cue from the title of an anthology edited by John Cullen Gruesser. To be sure, the novel draws from several romantic traditions—the gothic, adventure, utopian genres—€”and adopts a bifurcated plot line—one American, one African—€”that splits the novel into two separate narratives. The text begins in America, focusing on Reuel’s racial passing, and culminates in Africa with his discovery of a hidden city that doubles as a metaphor for his hidden identity. Together, both the American and African sequences form a “realistic” and “romantic” meditation on blood, genealogy, and fantasies of racial difference circulating in the United States imaginary during the nadir.

Critics, however, have a tendency to overlook the novel’s realism or to under assess its romantic value. Some, following Eric Sundquist’s cue, read the book as “patently escapist” (569); while others, such as Adenike Marie Davidson and Yogita Goyal, more recently, situate it within a constellation of black nationalist and Pan-Africanist discourses advocating emigrationism. My trouble with these readings is twofold: first, critical assessments that describe the novel as “escapist” come off sounding slightly condemnatory; such readings carry a pejorative connotation that seem to suggest that the novel evades pressing political concerns confronting black Americans at the turn of the century or that it disavows literary realism (which it does not); second, analyses that take the novel’s “back to Africa” plot at face value are too literal, neglecting the novel’s fantastic and allegorical qualities in the service of advancing emigrationist readings. And while the novel is clearly in conversation with such discourses, it is more interested in promoting black consciousness and cultural distinctiveness than in advocating actual repatriation. An imaginative take on the problem of American racism,…

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A Conversation with Lawrence Hill

Posted in Articles, Canada, History, Interviews, Literary/Artistic Criticism, Media Archive, Slavery on 2013-05-20 04:57Z by Steven

A Conversation with Lawrence Hill

Callaloo
Volume 36, Number 1, Winter 2013
pages 5-26
DOI: 10.1353/cal.2013.0072

Winfried Siemerling, Professor of English
University of Waterloo, Ontario, Canada

When Paul Gilroy in The Black Atlantic offered an alternative account of modernity that placed transnational, black transatlantic lives and cultures at the center, Canada was not on his map. Slavery, however, did not stop at the borders first of New France and then the Canada’s until it was abolished in the British Empire in 1834, and the Underground Railroad made Canada an important site of black writing especially after the Fugitive Slave Act of 1850. To be fair, the current surge of impressively strong African Canadian writing, heralded by some authors and anthologies since the 1960s and 1970s, was still gathering steam in the early 1990s.

Lawrence Hill, a novelist and nonfiction writer whose parents immigrated to Canada from the United States after WWII, has become one of the most important contributors to black culture here. His first novel, Some Great Thing (1992), was followed by Any Known Blood (1997), a multi-generational border-crossing novel in which the allusively named Langston Cane V explores his own mixed race and family. In the process, he uncovers a forebear’s slave narrative that recounts his involvement in John Brown’s raid on Harpers Ferry. Hill’s third novel, The Book of Negroes (2007), is a neo-slave narrative in its entirety that redraws the map of Gilroy’s black Atlantic. The protagonist Aminata, abducted in West Africa, flees first from slavery in South Carolina, then from Americans taking control of New York in 1783, and finally from Nova Scotia to return to Africa. She travels to Sierra Leone in 1792, and from there sails to London to support the abolition of the slave trade. In Hill’s transfiguration of these historical events, Aminata herself becomes a scribe of Guy Carleton’s “Book of Negroes,” recording the 1783 black exodus from New York. The use of the word “Negroes” in Hill’s title, although taken from that historical document, has proven controversial, and the novel appeared in the United States, New Zealand, and Australia as Someone Knows My Name. A breakthrough for Hill internationally, the novel won among other awards the Commonwealth Writers’ Prize and the Rogers Writers’ Trust Fiction Prize.

Hill’s work offers United States readers an especially inviting entrance into contemporary black Canadian literature, not only because of his fiction’s frequent transborder thematic but also since his nonfiction—€”for example Black Berry, Sweet Juice: On Being Black and White in Canada—often speaks to issues of race from a United States-Canadian comparative perspective. The following interview conversation, though concentrating on the novels, seeks to provide an introduction to his entire career, including his formative travels in Africa. It is divided by short subtitles for orientation and ease of reading.

Early Writing and Travels in Africa

Siemerling:

In your last novel, The Book of Negroes (named after a historical document but published in the United States as Someone Knows My Name), you thematize the back-to-Africa journey of 1,200 people from Nova Scotia to Sierra Leone in 1792, and you talk about the fact that it is the first one historically. We also know that for many people still today it is a very emotional and important event, to “go back” to Africa.

Hill:

Yes, and many people of African American or African Canadian origin are seeking some sort of validation from or connection with the motherland. It’s a connection with one’s extended family, metaphorically. Of course, why should a typical African who is selling coffee in his street stand in Niamey, Niger, look at some kid from Toronto and say “hey, here’s my brother.” Sorry, that’s just not going to happen, especially with the way I look, which to many of them was white. Many African Americans and African Canadians have observed this kind of rocky reception that they received. When I went there, I wanted to be welcomed as one of the race and have my blackness celebrated. I wanted to be brought into the arms of my people, in a way. And it’s a natural thing for a twenty-two-year-old to…

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The Place in Between: An Interview with Esi Edugyan

Posted in Articles, Europe, Interviews, Literary/Artistic Criticism, Media Archive on 2013-05-20 04:42Z by Steven

The Place in Between: An Interview with Esi Edugyan

Callaloo
Volume 36, Number 1, Winter 2013
pages 46-51
DOI: 10.1353/cal.2013.0070

Maaza Mengiste

Esi Edugyan’s 2011 Man Booker Prize finalist, Half-Blood Blues, opens with the lines, “Chip told us not to go out. Said, don’t you boys tempt the devil.” It is 1940 in Nazi-occupied Paris and the “boys” include Afro-German, Jewish, and African-American members of a jazz band who have recently fled an increasingly dangerous Berlin. They are living under a terrifying regime, trapped as much by the color of their skin as the curfews and constant presence of the Gestapo. Told from the perspective of Sid, an African-American bassist who left pre-civil rights era Baltimore to escape racial segregation, it is Hiero, the incomparably gifted trumpeter player, who holds the band together. But Half-Blood Blues is more than a book about music. Edugyan illuminates one of the forgotten victims of Nazi Germany’s ruthless quest for a racially “pure” state: the “Rhineland Bastards,” mixed-race Germans whose stories were lost when they went into hiding, fled, or disappeared into concentration camps. Hiero is one of those “mischlings,” and through him, we begin to understand how encompassing a denied history can be. But perhaps more than anything, this is a story about friendship, betrayal, loyalty, and the possibility of redemption through music. To read Half-Blood Blues is to hear jazz and the ache of regret through prose. Garnering nominations and awards internationally, the book has kept Edugyan on a busy, hectic schedule. It was my honor to have the chance to catch her in a quiet moment to talk about her book.

Mengiste:

I want to just jump right in and talk a little bit about the book’s setting and its characters. Part of the story takes place in 1940 Paris and Nazi Germany. What was your motivation for writing about this moment in history? What got you really interested in it, and these characters?

Edugyan:

I think I’ve always had a fascination with that period of history. It was such an extreme time in terms of what was happening everywhere, but especially in Europe, in those initial months when the Third Reich came to power. It was very fascinating for me. I had been living in Germany for about a year and a half, over two separate periods. The first time I was there for about thirteen months, learning German and really trying to immerse myself in the culture. And being a black woman living in Southern Germany, I started to wonder about the history of black people in Europe in general, but specifically in Germany. And so I did some research and discovered the story about the Rhineland Bastards—or the so-called “Rhineland Bastards.” That’s how I came to focus on this period that I had done quite a bit of reading on over my lifetime. It was interesting to me.

Mengiste:

When you were researching these Rhineland Bastards, these children born to black soldiers and German mothers in the period following WWI, what guided your decision to make your characters musicians?

Edugyan:

I have a very strong interest in music and grew up with a very strong interest in music even though I was never able to play the instruments very well. So, I’d been working on a project about a different kind of musician, a classical musician. And when I was in Germany, I started putting that aside and turning my sights to jazz musicians. And this was, in large part, because I quite love jazz. I’m not a huge expert on it, I’ll admit that, but what I’ve heard I really like. But also because I knew that Germany had gone through a big jazz age in the twenties, you know, there was a big avant-garde time after the First World War. So then you start to think about “well, what would happen to all of those musicians once the Third Reich took power?” And, you know, it was something that I certainly didn’t know anything about, so I just had to do…

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