Mixed Race Studies

Remember Me to Miss Louisa: Hidden Black-White Intimacies in Antebellum America

Northern Illinois University Press
June 2015
200 pages
21 illus.
6×9
Paper ISBN: 978-0-87580-723-2

Sharony Green, Assistant Professor of American History
University of Alabama

Barbara “Penny” Kanner Prize, Western Association of Women Historians, 2016

It is generally recognized that antebellum interracial relationships were “notorious” at the neighborhood level. But we have yet to fully uncover the complexities of such relationships, especially from freedwomen’s and children’s points of view. While it is known that Cincinnati had the largest per capita population of mixed race people outside the South during the antebellum period, historians have yet to explore how geography played a central role in this outcome. The Mississippi and Ohio Rivers made it possible for Southern white men to ferry women and children of color for whom they had some measure of concern to free soil with relative ease.

Some of the women in question appear to have been “fancy girls,” enslaved women sold for use as prostitutes or “mistresses.” Green focuses on women who appear to have been the latter, recognizing the problems with the term “mistress,” given its shifting meaning even during the antebellum period. Remember Me to Miss Louisa moves the life of the fancy girl from New Orleans, where it is typically situated, to the Midwest. The manumission of these women and their children occurred as America’s frontiers pushed westward, and urban life followed in their wake. Indeed, Green’s research examines the tensions between the urban Midwest and the rising Cotton Kingdom. It does so by relying on surviving letters, among them those from an ex-slave mistress who sent her “love” to her former master. This relationship forms the crux of the first of three case studies. The other two concern a New Orleans young woman who was the mistress of an aging white man, and ten Alabama children who received from a white planter a $200,000 inheritance (worth roughly $5.1 million in today’s currency). In each case, those freed people faced the challenges characteristic of black life in a largely hostile America.

While the frequency with which Southern white men freed enslaved women and their children is now generally known, less is known about these men’s financial and emotional investments in them. Before the Civil War, a white Southern man’s pending marriage, aging body, or looming death often compelled him to free an African American woman and their children. And as difficult as it may be for the modern mind to comprehend, some kind of connection sometimes existed between these individuals. This study argues that such men were hidden actors in freedwomen’s and children’s attempts to survive the rigors and challenges of life as African Americans in the years surrounding the Civil War. Green examines many facets of this phenomenon in the hope of revealing new insights about the era of slavery.

Historians, students, and general readers of US history, African American studies, black urban history, and antebellum history will find much of interest in this fascinating study.

Multiracial Identity in Children’s Literature

Routledge
2017-02-10
154 pages
Hardback ISBN: 9781138860179
eBook (VitalSource) ISBN: 9781315716725

Amina Chaudhri, Associate Professor of Teacher Education
Northeastern Illinois University, Chicago

Racially mixed children make up the fastest growing youth demographic in the U.S., and teachers of diverse populations need to be mindful in selecting literature that their students can identify with. This volume explores how books for elementary school students depict and reflect multiracial experiences through text and images. Chaudhri examines contemporary children’s literature to demonstrate the role these books play in perpetuating and resisting stereotypes and the ways in which they might influence their readers. Through critical analysis of contemporary children’s fiction, Chaudhri highlights the connections between context, literature, and personal experience to deepen our understanding of how children’s books treat multiracial identity.

Contents

• 1. Introduction
• 2. Multiracial Identity in the United States: Historical and Current Discourse
• 3. Multiracial Picturebooks
• 4. In/Visibility: The Legacy of Pathology in Contemporary Fiction
• 5. Multiracial Blending: The Post-Racial Myth in Contemporary Fiction
• 6. Multiracial Awareness: Power and Visibility In Contemporary Fiction
• 7. Voices of the Past: Multiracial Identity in Historical Fiction
• 8. Hidden Identities: Whiteness and Passing
• 9. Teaching and Learning with Multiracial Fiction
• Appendices

Hapa Japan: History (Volume 2)

Kaya Press
2017-02-28
400 pages
Paperback ISBN: 9781885030542

Edited by:

Duncan Ryūken Williams, Associate Professor of Religion and East Asian Languages and Cultures
University of Southern California

The film Kiku and Isamu (1959) was one of the first cinematic depictions of mixed-race children in postwar Japan, telling the story of two protagonists facing abandonment by two different Black GI fathers and ostracism from Japanese society. Bringing together studies of the representations of the Hapa Japanese experience in culture, Hapa Japan: Identities & Representations (Volume 2) tackles everything from Japanese and American films like Kiku and Isamu to hybrid graphic novels featuring mixed-race characters. From Muslim Japanese-Pakistani children in a Tokyo public school to “Blasian” youth at the AmerAsian School close to a US military base in Okinawa, the Hapa experience is multiple, and its cultural representations accordingly are equally diverse. This anthology is the first publication to attempt to map this wide range of Hapa representations in film, art and society.

James Baldwin and the Meaning of Whiteness

Common Dreams: Breaking News & Views for the Progressive Community
2017-02-20

Chris Hedges

The work of James Baldwin, pictured here in 1969, is as relevant today as in his time. The essayist, novelist, poet and social critic died in 1987. (Photo: Allan Warren / Wikimedia Commons)

Raoul Peck’s “I Am Not Your Negro” is one of the finest documentaries I have ever seen—I would have stayed in the theater in New York to see the film again if the next showing had not been sold out. The newly released film powerfully illustrates, through James Baldwin’s prophetic work, that the insanity now gripping the United States is an inevitable consequence of white Americans’ steadfast failure to confront where they came from, who they are and the lies and myths they use to mask past and present crimes. Baldwin’s only equal as a 20th century essayist is George Orwell. If you have not read Baldwin you probably do not fully understand America. Especially now.

History “is not the past,” the film quotes Baldwin as saying. “History is the present. We carry our history with us. To think otherwise is criminal.”

The script is taken from Baldwin’s notes, essays, interviews and letters, with some of the words delivered in Baldwin’s voice from audio recordings and televised footage, some of them in readings by actor Samuel L. Jackson. But it is not, finally, the poetry and lyricism of Baldwin that make the film so moving. It is Peck’s understanding of the core of Baldwin’s message to the white race, a message that is vital to grasp as we struggle with an overt racist as president, mass incarceration, poverty gripping half the country and militarized police murdering unarmed black men and women in the streets of our cities.

Whiteness is a dangerous concept. It is not about skin color. It is not even about race. It is about the willful blindness used to justify white supremacy. It is about using moral rhetoric to defend exploitation, racism, mass murder, reigns of terror and the crimes of empire…

…Nearly all African-Americans carry within them white blood, usually the result of white rape. White slaveholders routinely sold mixed-race children—their own children—into slavery. Baldwin knew the failure to acknowledge the melding of the black and white races that can be seen in nearly every African-American face, a melding that makes African-Americans literally the brothers and sisters of whites. African-Americans, Baldwin wrote, are the “bastard” children of white America. They constitute a peculiarly and uniquely American race.

“The truth is this country does not know what to do with its black population,” he said. “Americans can’t face the fact that I am flesh of their flesh.”…

Read the entire article here.

Call for Papers: Power, Intimacy and the State: Mixed Families in Europe and Beyond

Power, Intimacy and the State: Mixed Families in Europe and Beyond Conference
University of Amsterdam
June 12-13, 2017
2017-01-20

Betty de Hart, Professor of Migration Law
Amsterdam Centre for European Law and Governance (ACELG)
University of Amsterdam, Amsterdam, Netherlands

CALL FOR PAPERS (View PDF version here.)

Historically, mixed couples and people of mixed descent have been seen as a problem, in popular culture as well as in academic literature. ‘Ethnically’ and ‘racially’ mixed relationships were described as dominated by power imbalances and as devoid of love. This perspective was brought to bear upon relationships and marriages in colonial times and in times of slavery. Even today, within the context of global migration, mixed couples are often perceived in negative terms, e.g. in discourses on ‘mail order brides’ (marriages between white men and migrant women) or ‘beznez marriages’ (marriages between white women and migrant men).

There is no denying that mixed couples and relations are fraught with power inequalities as they developed in the context of historical and modern-day global inequalities, colonialism, post-colonialism, slavery and racialised hierarchies. However, issues concerning the entanglement of power and privilege with intimate relationships are much more complex than they are often envisioned to be. Since the 1980s, scholars of ‘mixture’ and ‘mixedness’, including critical race and critical mixed race studies, have been questioning this pathologisation of mixed couples and mixed descent. They have called for more nuanced approaches to the lived experiences of mixed couples and persons of mixed descent, that should help us strike a proper balance between an overly negative view on the one hand and an unwarranted romanticised view on the other, which regards mixed relationships and mixed heritage as a means for creating a boundary-less and race-less world.

Hence, this conference addresses questions such as: how we may gain a fuller understanding of the lived experiences of mixed couples, power, and intimacy, without pathologizing and dehumanizing them? This conference aims to approach these questions from international comparative perspectives. How can a balanced view be achieved in the European context, where mixed couples are mostly studied with respect to the contradictory imperative of cultural assimilation on the one hand and respect for cultural difference on the other? And what about other continents such as Africa or Asia?

The conference

The conference seeks to bring together people from different disciplines (ethnic and racial studies, critical (mixed) race studies, history, (post)colonial studies, film and media studies, literature, sociology, anthropology, geography, law, gender studies, sexuality and queer studies, migration studies, et cetera), and from different national backgrounds. We believe that an interdisciplinary and comparative approach is key to gaining the ‘thick’ understanding of mixed relationships that this conference aims at. We especially hope to give a boost to the study of mixture and mixed intimacies in the European context.

The conference is a joint initiative of the Amsterdam Centre of European Law and Governance (University of Amsterdam), and the Maastricht Centre for Gender and Diversity, in cooperation with LovingDay.NL. It will take place on 12 and 13 June 2017, when Loving Day is commemorated as the 50th anniversary of the 1967 Loving v. Virginia American Supreme Court decision, that held that interracial marriage prohibitions were unconstitutional.

Papers may relate to, but are not limited to, the following topics:

1. Mixed couples and persons of mixed heritage navigating power and inequality

In order to study power differentiations within mixed families adequately, obviously, not only race or ethnicity but also gender and class are relevant identity markers. How can an intersectional approach of race, gender and class illuminate power dynamics within mixed families? How do members of mixed families respond to them? Another issue is how youngsters and persons of mixed descent negotiate the different social dynamics and power relations that shape their experiences? How and by what means do they claim the power to define themselves?

2. Activism and NGOs of mixed families and people of mixed descent

Across the globe, mixed couples and people of mixed descent have become activists and established NGOs to facilitate the telling of their stories and to challenge the disempowerment caused by dominant negative, pathologizing understandings of mixed couples and mixture. Who are the persons and parties that speak in the name of mixed families, and what are the interests at stake? What alternative discourses do they put forward? How do stories and experiences of mixed families and persons of mixed heritage matter in public and political debates on multicultural/multiracial societies, and anti-racism? And how does discovering ‘hidden’ historical stories of mixed heritage function in these debates?

3. State and institutional policies shaping power and inequalities

Power dynamics within mixed couples and families are closely intertwined with the power hierarchies of race/ethnicity, gender, and class within society at large. State laws and policies shape identities of ‘race’ and ‘ethnicity’ and determine the definition of who or what is ‘mixed’. State and institutional policies have both struggled to discourage or prevent, and to encourage or even celebrate mixed relationships. If state and institutional policies decide the meaning of difference, how should we understand various meanings of ‘mixed couples’ and ‘mixed descent across Europe and beyond? What are the transnational linkages between continents, colony and metropole, global north and global south? How does the state shape and regulate mixed families and identities and which effects do they have on the internal power dynamics of mixed couples?

4. Performing mixed relationships in the arts, popular culture and news media

In the present and in the past, the arts, popular culture and news media have been enacting specific scripts for mixed relationships, which have confirmed and critiqued perspectives implied in social policies, and state politics. We will study in what ways the arts, popular culture and news media have constructed, mediated and challenged the dominant, problematizing approach to mixed couples and people of mixed descent, as well as unwarranted romantic idealizations of mixed couples as the key to a fair society. What concepts of mixed identity have been produced by these media and how were these perceived by the general public? What were the agencies of mixed individuals and families in dealing with the written texts and visual images about them? And how have these changed through time and across space?

5. Studying mixedness in Europe

Until today, Europe does not have a strong academic tradition in studying mixed couples and mixed descent, as opposed to, for instance, the US or the UK. How can the study of mixedness in Europe be given a boost, and move beyond the exclusive association of mixed couples with the ‘assimilation versus difference’ debate? How is European research linked to dominant, politicized categorizations of what and who is ‘mixed’? How is research in Europe linked to policy perceptions of the social meaning of mixed relationships and mixed heritage? Do European research traditions challenge the binaries between ‘us’ and ‘them’? And what about the heteronormativity of much of the studies on mixed couples and families? How can the development of an interdisciplinary or multidisciplinary approach help us understand the relation between power, intimacy and the state in the European context? How can we take inspiration from the Anglo-American research traditions? And in what ways can we employ approaches from critical race and critical mixed race studies?

Abstracts of maximum 400 words to be submitted before March 1, 2017 at: mixedintimacies-fdr@uva.nl

Check our website for regular updates of conference information and practical matters http://acelg.uva.nl/mixedintimacies

The conference will be held at University of Amsterdam, Amsterdam, The Netherlands.

Conference organizers:

• Prof. Betty de Hart Amsterdam, Centre for European Law and Governance (ACELG), University of Amsterdam
• Prof. Lies Wesseling, Maastricht Centre for Gender and Diversity, Maastricht University
• Stichting LovingDay.NL

View in PDF here.

The Forgotten Work of Jessie Redmon Fauset

The New Yorker
2017-02-18

Morgan Jerkins

Among the events that helped to crystallize what would come to be known as the Harlem Renaissance was a dinner, in March, 1924, at the Civic Club, on West 12th Street. The idea for the dinner was initially hatched by Charles Spurgeon Johnson, the editor of Opportunity, a journal published by the National Urban League and, under Johnson, one of the leading outlets for young black writers. Johnson planned to invite twenty guests—a mix of white editors and publishers as well as black intellectuals and literary critics—to honor Jessie Redmon Fauset and the publication of “There Is Confusion,” her début novel, about a black middle-class family’s struggle for social equality. But when Johnson ran the idea by the writer and philosopher Alain Locke, who he hoped would serve as master of ceremonies, Locke said that the dinner should celebrate black writers in general, rather than just one in particular. So the purpose of the event changed, and the list of invitees grew; among those who ultimately attended were Countee Cullen, Gwendolyn Bennett, Langston Hughes, and W. E. B. Du Bois. That evening, attendees listened to a series of salutations, an address by Locke, and presentations by several black men. At the end of the dinner, Locke—who had praised “There Is Confusion” as what “the Negro intelligentsia has been clamoring for”—introduced Fauset. But though she was a guest of honor, she evidently felt like an afterthought. Years later, in 1933, she would write a scathing letter to Locke (who had just reviewed her most recent novel, about which he had some misgivings), declaring that he, with “consummate cleverness,” had managed, on that evening in 1924, to “keep speech and comment away from the person for whom the occasion was meant”—that is to say, her…

…“Initially, Fauset’s work was dismissed as sentimental and Victorian, primarily because she dealt with ‘women’s issues,’ centering on the marriage plot,” Cherene Sherrard-Johnson, a professor of English at the University of Wisconsin, said. Fauset’s second novel, “Plum Bun,” is probably her best, and it received the most attention when it was published, with reviews in The New Republic, the New York Times, and Saturday Review. Like “There Is Confusion,” it is a story about middle-class respectability. It centers on a mixed-race young woman named Angela Murray, who grows up in a posh black neighborhood in Philadelphia where each house looks just the same. All the residents know their neighbors’ names, and everyone goes to church on Sundays. Young women train to be teachers and young men do the same or strive to become post-office workers. Angela, tired of this bourgeois world, wants to become a famous painter, and believes that the only way to do so is to abandon her family, move to New York City, and pass for white. In New York, she meets a poor artist who falls in love with her and a wealthy white man she hopes to marry. At one point, she sees her sister at the train station in New York and pretends not to recognize her, so that she can keep up the charade that she is white. Later, however, in order to support a fellow art student, a black woman, she reveals her true identity. In a conversation with her sister, Angela says, “When I begin to delve into it, the matter of blood seems nothing compared with individuality, character, living. The truth of the matter is, the whole business was just making me fagged to death . . . You can’t fight and create at the same time.”…

Read the entire article here.

Trevor Noah, Colorism and The Unexpected Role He Plays In Expanding the Divide

Atlanta Black Star
2017-02-05

Jared Ball, Professor of Communication Studies
Morgan State University, Baltimore, Maryland

“He’s out to neutralize, not to awaken.” – Willa Paskin

The leadership of our School of Global Journalism and Communication at Morgan State University has encouraged that professors like myself find ways this semester to incorporate into our work the new book Born a Crime: Stories from a South African Childhood by Trevor Noah. Noah is the South African-born, biracial, Colored comedian and host of Comedy Central’s The Daily Show. Copies have been distributed to students and faculty alike and I anticipate there being a flurry of engagement for courses in media studies as Noah’s book has plenty to offer.

Immediately we can start with critiques of false balance and Western politicized notions of objectivity, both of which were in play during Noah’s recent extended exchange with the aggressive right wing commentator Tomi Lahren. Many know of Noah’s nightly television work and it appears many more know him now after the straw woman performed her role in enhancing Noah’s credibility and right in time to coincide nicely with his book’s launch. What liberal aspirant to the throne of legitimacy wouldn’t want her as an interlocutor? Even in the silly film Pop Star Conner Friel (Andy Samberg) made sure his entourage consisted of a “perspective adjuster” whose sole function was to make the star look better by comparison. Muhammad Ali’s legend wasn’t born by his fights with Henry Cooper and Brian London. It were the fights with Liston, Frazier, Foreman and the federal government that told us he was the greatest.

We can also as a class ask, what is happening semiotically with the book’s cover? It read to me from the first like the perfect symbolic display of Noah’s entire political function as celebrity.  Noah’s beige face, askew, askance even – especially – with that grin, hand touching his head, painted on a tattered township wall, imposing, top-down upon a faceless Black African woman, almost saying, in an aloof, twisted version of the Old Spice commercial, “aww-shucks, look at me. Now look at you. Now look at me again. Now look at you. And back to me. I’ve made it and you can to? Never mind that. Look at me!” Its reminiscent of any billboard falsely advertising an exclusive lifestyle of which most onlookers can only dream…

Read the entire article here.

What the #ThankYouLovings campaign gets wrong about interracial couples and the future of America

Fusion
2016-12-09

Tahirah Hairston

FOCUS FEATURES

Last month, Loving, a biopic about Mildred and Richard Loving—the couple at the center of the Supreme Court’s Loving v. Virginia decision which struck down bans on interracial marriage in 1967—was released nationwide. June 12th, 2017 will be the 50th anniversary of the historic trial.

As a way to celebrate the Lovings—and promote the movie—the Loving Twitter account began encouraging people to use the hashtag #ThankYouLovings. The hashtag has been shared across social media, accompanied by photos of interracial couples—everything from candid selfies to intimate wedding photos.

It’s important, beautiful, and in a sense almost surreal to see how much America has progressed—and how much it has failed—in one photo and one film. On one hand, there is no rule on who we can or can’t love. People of all races and, thanks to last year’s Supreme Court ruling, genders, can now marry. On the other hand, we’re no closer to ending systematic racism, sexism or homophobia, with the 2016 election being our most up-to-date example…

Read the entire article here.

ENLS 4012-01 Lit: Cross-Dressing and Racial Passing

Tulane University
New Orleans, Louisiana
Spring 2017

Lauren Heintz, Mellon Postdoctoral Fellow
Department of English

The genre and literary trope of passing, most commonly expressed in characters who are “legally” black but who are able to pass for white, is a popular narrative that runs throughout American fiction from the mid-nineteenth to late-twentieth century. The importance of the passing narrative rests is in its ability to expose how race is a social construct, set down in legal codes like “one-drop-rules.” Alongside narratives of racial passing also runs narratives of cross dressing and gender passing (man for woman or woman for man). This course will examine why and how racial passing is often aided and abetted by gender passing. Taking an intersectional approach, this course will continuously think through how race, gender, class, and sexuality are social constructs. We will begin with foundational texts of racial passing and the discourse of blackface, and we will build on this by moving to texts in which race and gender passing converge. We will come to better understand these constructs through the language of fiction, metaphors of race, performances of gender, and the visual strategies of film. Literary selections will include works by Mark Twain, Kate Chopin, Ellen and Willian Craft, Pauline Hopkins, Billy Tipton, Nell[a] Larso[e]n, Patricia Powell, Toni Morrison. Films may include A Florida Enchantment and Boys Don’t Cry.

The ‘Failed’ Project of Blackness in Contemporary Afro-Puerto Rican Discourse

A Contra corriente: A Journal on Social History and Literature in Latin America
Volume 5, Number 3, Spring 2008
pages 243-251

Sonja Stephenson Watson, Director of the Women’s & Gender Studies Program; Associate Professor of Spanish
University of Texas, Arlington

Escritura afropuertorriqueña y modernidad (2007), by Eleuterio Santiago-Díaz, is an insightful critical work on contemporary afropuertorican discourse with an emphasis on the writings of Carmelo Rodríguez Torres. The work commences by situating Puerto Rico in the “Black Atlantic,” that is, the greater African Diaspora. Ironically, Santiago-Díaz begins and ends his study noting that his research on Afro-Puerto Rico and Rodríguez Torres is simultaneously an affirmation and a negation of black identity because it counters official discourses of racial homogeneity during the island’s nation-building period which posited blackness over whiteness. This racial oppression and suppression of blackness stems from early twentieth-century (1930s and 1940s) Puerto Rican national discourse which erased blackness from the national imaginary and contributed to the failed black project of modernity. Thus, Santiago-Díaz argues that afropuertorican discourse is a failed modern project stemming from Antonio de Nebrija’s seminal text Gramática castellana (1492) and the literary whitening that resulted from it. Instead of illustrating the complexity of Afro-Puerto Rican discourse, these contemporary texts illustrate the suppression of Afrocentricity that can be traced to the publication of Gramática. As the title suggests, Santiago-Díaz places the work in modernity and views it from a cultural studies perspective, stemming from the identity politics research of black British cultural critic Paul Gilroy (The Black Atlantic: Modernity and Double Consciousness 1993) and the late Afro-American intellectual W.E.B. Du Bois. Du Bois’ work on double consciousness (The Souls of Black Folk 1903), that is, the duality of being both black and (North) American, explicates the problematic of identity and the complexities of it in Puerto Rico, which is rooted in multiple representations of identity (white, mixed-race, mulatto, black, etc.) Finally, he uses performance studies to illustrate that blackness is a performance that is never realized due to a colonial discourse of whiteness…

Read the entire article here.