Mixed Race Studies

Thinking ‘Post-Racial’ Ideology Transnationally: The Contemporary Politics of Race and Indigeneity in the Americas

Critical Sociology
Published online before print 2015-07-03
DOI: 10.1177/0896920515591175

Alexandre Emboaba Da Costa, Assistant Professor, Theoretical, Cultural and International Studies in Education
University of Alberta, Canada

This article introduces the special issue on post-racial ideologies and politics in the Americas. It argues for the necessity of a transnational frame when examining the related, yet historically variable expressions of post-racial ideology and politics across diverse moments and contexts in the Western Hemisphere. The article examines various modalities of ‘post-racial’ thinking and politics, including mestizaje (racial and cultural mixture), colorblindness, and multiculturalism, elaborating their interrelated characteristics in relation to the silencing and minimization of racism and the elision of the role race plays in maintaining structural inequalities. The intersections between the post-racial and racial neoliberalism are highlighted as are the implications of post-racial ideologies for anti-racist and decolonial politics. Special issue article contributions are also described and situated.

Read or purchase the article here.

Oreo: A Comeback Story

On The Media
WNYC FM
New York, New York
Friday, 2015-07-17

Mythili Rao, Host and Producer

Guests: Mat Johnson, Harryette Mullen, Mark Anthony Neal and Danzy Senna

In 1974, Fran Ross published her first and only novel, “Oreo.” The satirical tale of a biracial teenager’s Theseus-style quest to find her father was almost completely overlooked in its era. Now, more than 4 decades later, its re-issue is being met with critical praise. Producer Mythili Rao explores why Ross’s take on racial identity was so ahead of its time.

Listen to the interview (00:10:58) here.

The “Telling Part”: Reimagining Racial Recognition in Jackie Kay’s Adoptee Search Narratives

Contemporary Women’s Writing
Volume 9, Issue 2 (July 2015)
pages 277-296
DOI: 10.1093/cww/vpu041

Pamela Fox, Professor of English
Georgetown University, Washington, D.C.

This article examines Jackie Kay’s earliest and renowned autobiographical poetic text, The Adoption Papers (1991), in relation to her latest narrative memoir, Red Dust Road (2010), and in the context of racial recognition theories recently revived in transracial adoption (TRA) discourse, as well as in transnational adoptee versions of TRA search narratives. Investigating the tropes of mirrors and bodily markings recurring in both texts, the article also draws on literary theories of recognition to enrich our understanding of Kay’s unique and dual intervention into TRA debates around notions of kinship, as well as autobiographical narrative models that fully reject or embrace a longing for racialized epistemic and narrative wholeness. Kay periodically preserves yet ultimately reimagines the myriad tensions of seeking and practicing racial recognition by constituting it as a distinct but momentary kind of vision. Her practice of life writing highlights reading (both literal and interpretive) as a crucial component of self-construction that continually mediates between individual and group identities. She presents the adoptive self as a freeing constellation of shifting affiliations, but as the product of intertwined Western and diasporic histories and relations, her texts also bear the marks of longing for a singular legible “home,” a stable “I.”

Read or purchase the article here.

Imperfect Unions: Staging Miscegenation in U.S. Drama and Fiction by Diana Rebekkah Paulin (review) [Black]

TDR: The Drama Review
Volume 59, Number 2, Summer 2015 (T226)
pages 178-180

Alex W. Black
Rutgers, The State University of New Jersey

Imperfect Unions: Staging Miscegenation in U.S. Drama and Fiction. Diana Rebekkah Paulin. Minneapolis: University of Minnesota Press, 2012. 336 pages.

Imperfect Unions is Diana Rebekkah Paulin’s award-winning study of “the symbolic and material implications of interracial unions” in the United States from the Civil War to World War I (3). During this period, interracial sex was often “the black-white headliner that overwrote stories featuring other intersecting relationships,” including those of gender and class (xvi). For example: In her 1892 pamphlet Southern Horrors, Ida B. Wells demonstrated that black men were lynched in the postbellum South not because they were a sexual threat to white women, but because they were an economic threat to white men. Paulin calls the process through which miscegenation came to stand in for such conflict “demographic distillation” for the way it “elided other types of power relations” (x, xiii). Interpreting drama and fiction to investigate “the contours of the color line,” Paulin argues that “the black-white encounter overshadows the complex” identities of, and relations between, all Americans, regardless of their race or ethnicity (xi, ix).

Paulin’s “miscegenated reading practices” draw on performance studies and literary history to examine formally hybrid productions like Thomas Dixon’s play The Clansman, which he adapted from his own novel, and Pauline Hopkins’s Winona, which she began as a play but rewrote as a novel (xiii). If the name Paulin gives to her method is provocative (one may argue how parallel the lines of color and of scholarship are), the method itself is productive. Her approach is consistent with the objects of study, which often make their arguments in theatrical terms — many are filled with spectacular enactments of identity — and with their creators, who worked in multiple media. More than viewing performance as a metaphor, these writers saw their texts as “mediating between the imagined world and the realities of everyday experience” (3): Louisa May Alcott based “M.L.” on the well-known case of a black male professor eloping with a white female student (30); Charles Chesnutt sent a copy of The Marrow of Tradition to Congress (104); James Weldon Johnson wrote The Autobiography of an Ex-Colored Man while serving as an American consul to Venezuela and Nicaragua (206).

In the first chapter, “Under the Covers of Forbidden Desire: Interracial Unions as Surrogates,” Paulin shows that miscegenation was viewed as a threat to the family and the nation it represented. In the Civil War era, America was figured as a divided house and as a mixed race. The title character of Dion Boucicault’s 1859 play The Octoroon embodies and inspires transgression: the other characters respond to her resistance to classification by revolting against their own classes — and races and genders (13, 10). Both of Alcott’s 1863 short stories, “M.L.” and “My Contraband,” feature white women who desire mixed-race men and their own liberation from patriarchal society (32, 44).

In the book’s second chapter, “Clear Definitions for an Anxious World: Late Nineteenth-Century Surrogacy,” Paulin describes how Americans dramatized national issues on an international stage. In the period between Reconstruction and Plessy v. Ferguson, they imagined Europe as a place where miscegenation originated or where it could settle and be resolved. The ambiguous racial status of the heroines of Bartley Campbell’s 1882 play The White Slave and William Dean Howells’s 1892 novel An Imperative Duty are resolved through marriage. In the former, a man declares his granddaughter (fathered by a foreigner and born abroad) to be his slave’s daughter to hide her illegitimate birth; her whiteness and their property are redeemed when she marries her grandfather’s adopted son (70–71). In the latter, a woman who learns that her mother was an octoroon chooses marriage to a white man and emigration to Europe over the cause of black uplift (87).

In chapter 3, “Staging the Unspoken Terror,” Paulin finds that Americans at the turn of the century connected the future of the nation’s government to the issue of miscegenation (102). This is the first chapter to present texts by a black writer and a white writer who take opposing positions, even if they foresee the same outcome: In Chesnutt’s The Marrow of Tradition, a white woman is killed (and rumored to have been…

Read or purchase the review here.

Respecting and Celebrating Black Writing and Storytelling presented by Dr Anita Heiss

Flinders University
182 Victoria Square
Adelaide, South Australia, Australia
2015-07-09, 18:00-19:00 ACDT (Local Time)

Anita Heiss

A NAIDOC Week event co-hosted by Yunggorendi First Nations Centre with the School of Humanities and Creative Arts

Anita will address staff, students and members of the community for NAIDOC Week around this year’s theme: We all Stand on Sacred Ground: Learn, Respect and Celebrate.

This seminar will discuss the ways in which Aboriginal authors across genres write about concepts of space, respect for place and connection to country, and why we should be celebrating this new Australian literature…

For more information, click here.

Review: Misty Copeland Debuts as Odette/Odile in ‘Swan Lake’

The New York Times
2015-06-25

Alastair Macaulay, Dance Critic

Misty Copeland and James Whiteside in “Swan Lake.” Julieta Cervantes for The New York Times

When Misty Copeland made her New York debut in the double role of Odette/Odile in “Swan Lake,” the most epic role in world ballet, two aspects of the performance on Wednesday afternoon proved marvelous. One: that it all happened successfully. Two: the curtain calls.

Let everyone know henceforth that an African-American ballerina has danced this exalted role with American Ballet Theater at the prestigious Metropolitan Opera House. Let everyone know that other African-American dancers, Raven Wilkinson (who danced with the Ballet Russe de Monte Carlo in 1955-61) and Lauren Anderson (who, with the Houston Ballet, was the first African-American ballerina to become a principal of an American ballet company), brought her bouquets onstage. And let everyone know that her fellow dancers shared her applause with pride. (The enthusiasm and affection shown by James Whiteside, who partnered her as Prince Siegfried, was especially engaging.)

As Odette, the Swan Queen, Ms. Copeland has moments of courage and grandeur when you feel the heroic scale of Tchaikovsky’s celebrated drama. She runs boldly around the stage like a creature accustomed to vast space; she raises her arms with the epic sweep of mighty wings. In other respects, she’s admirable but without striking individuality. The substance of “Swan Lake” is there, but in potential. I hope she dances it again and reveals more in it…

Read the entire review here.

White Womanhood Revised

Avidly: A Los Angeles Review of Books Channel
2015-06-15

Brigitte Fielder, Assistant Professor of Comparative Literature
University of Wisconsin, Madison

Whatever else we might say about it, let’s not forget this: Rachel Dolezal’s story is a decidedly American one. Here, I refer not only to story of Dolezal’s racial passing, but also to how Dolezal’s story triggers and reveals America’s racial fascinations. Whatever Dolezal’s motives or ethics, our scrutiny of Dolezal’s race echoes a long history of parsing race in the United States more generally.

Much of the conversation about Dolezal proceeds within long-standing US assumptions about how race “works”: if her biological parents are “really” white people, then so is she, and therefore she cannot be black. While Dolezal is a member of an interracial family, she seems to have no mixed-race African American genealogy, and this is the single deciding factor about her own race. In effect, these assumptions tell us that there is no way for a woman who was born white (i.e., to white parents) to become black. For her to claim blackness, then, is a conscious act of deception.

But for all the clarity these assumptions provide, they are not the only American story about race and womanhood. Even as Americans want race to be simple and essentialist, American racial ideologies rarely allows it to be. Race, Dolezal’s story reminds us, is connected to the history of racial justice work and interracial collaboration, and complicated by relations of power and privilege. Her story also reminds us how race is connected to not only biological relationships, but also to social relationships. For a scholar of race and nineteenth-century literature like myself, Dolezal’s complex (and confusing) story calls to mind other stories of white womanhood revised.

Consider how Dolezal’s American Story aligns with this fictional one: Kate Chopin’s 1893 short story, “Désirée’s Baby.” In the story, Désirée, a woman of unknown parentage, is adopted into a respectable white family and marries the wealthy son of slaveholders, Armand Aubigny. When Désirée and Armand’’s baby begins to show signs of being mixed-race, Armand argues that, because the baby does not look white, it is not white. The appearance of Désirée’s baby calls Désirée’s race into question…

Read the entire article here.

Tony Williams’ “Wilderness” and Mixed-Race Identity through Jazz

Soundscapes and Such: Critical Thoughts on Sonic Subjects
2015-05-27

Shawn M. Higgins
University of Connecticut

Tony Williams (source: Wikipedia)

Why do song writers choose the song titles they do? Perhaps Herbie Hancock’s 1980 track “4 A.M.” was recorded at that exact time – or maybe finished then? The song isn’t sleepy and lethargic as I might connotatively connect with the before-dawn hour, but jazz musicians are infamously night owls, and the song’s rhythm suggests this might be the funkiest, most active hour of the cycle. The title of John Coltrane’s 1967 song “Stellar Regions”, through the frenzied, echoing cymbal work of Rashied Ali and Coltrane’s trilling, screaming saxophone, could serve in a Romantic sense to invoke feelings of a paean to the heavens. The listeners, upon closing their eyes, are sonically shot into space and flung around the cosmos through the combination of music and such a song title. And of course, one of Duke Ellington’s most famous songs, which is in turn an absolute standard of jazz today, was given a title by the composer Billy Strayhorn after Duke gave him directions to his house and told him to “Take the ‘A’ Train.” None of these songs at the time of their composure had any lyrics to support these titles either in a refrain or in any thematic way. Rather, the listener is encouraged to interpret the sounds alongside the title or through the title. What happens in this exchange between artist, product, and consumer is my primary interest, and I would like to point to one artist in particular who used his song titles as a conscious way of addressing his newly discovered mixed-race identity.

Tony Williams, the legendary jazz drummer who is credited with inventing the “blast beat” and who called legends like Miles Davis, Herbie Hancock, and John McLaughlin his musical partners, candidly explained in a 1995 BET interview a recent revelation in his life. Williams had discovered at the age of roughly forty-nine that he was of a racially mixed ancestry – he was phenotypically African American but also of Chinese and Portuguese background…

Read the entire article here.

Mixed Race Stereotypes in South African and American Literature by Diana Adesola Mafe (review)

Research in African Literatures
Volume 46, Number 2, Summer 2015
pages 166-168

Tru Leverette, Associate Professor of English
University of North Florida, Jacksonville, Florida

Mafe, Diana Adesola, Mixed Race Stereotypes in South African and American Literature: Coloring Outside the (Black and White) Lines (New York, London: Palgrave Macmillan, 2013)

In her recently published study, Diana Adesola Mafe explores the literary trope of the tragic mulatto through a comparative analysis of American and South African novels. Her work is both useful and timely, filling a gap in the literary study of colouredness and the transnational study of mixed race literature. Through this transnational lens, Mafe argues that the advent of the “age of Obama” and the renewed celebration of race mixture in the United States coincide with South Africa’s post-apartheid efforts to imagine itself as a Rainbow Nation. This celebration in both nations, however, overlooks important historical realities that are often explored through the literary figure of the tragic mulatto. Acknowledging that mulattos have often been “called upon to embody historic national moments” (1), Mafe asserts “a reading of South African fictions alongside American counterparts reveals the ongoing relevance of the tragic mulatto, which functions not only as a dated cliché and cautionary tale but also as a radical embodiment of possibility and a vehicle for social critique” (2). Indeed, Mafe illustrates through her analysis that the tragic mulatto has long functioned as a trope through which American and South African writers have critiqued race, identity, national belonging, and state-sanctioned racism.

Mafe begins her study with the introduction “Tainted Blood: The ‘Tragic Mulatto’ Tradition,” wherein she introduces the celebration of mixture within the contemporary sociopolitical contexts of the United States and South Africa. She also begins to address the tragic mulatto as a historical type. Acknowledging that, in the United States, the tragic mulatto trope developed as an abolitionist tool, Mafe briefly explores its origins in antebellum and postbellum literature. Additionally, she presents a justification for her comparative study, arguing “the tragic mulatto is a provocative keystone for analyzing these American and South African texts, which might otherwise have little else in common. When read alongside each other, these fictions expose mutual histories of stigmatization and marginalization for the mulatto figure” (14).

In chapter one, “God’s Stepchildren: The ‘Tragedy of Being a Halfbreed’ in South African Literature,” Mafe offers a history of miscegenation in South Africa and the United States, allowing her to trace the origins of the coloured and mulatto populations, respectively, in each nation. Having delineated this history, Mafe then turns her attention to the use of colouredness in South African fiction, which, she asserts, was not offered in-depth characterization until the twentieth century: “This development is inextricable from the emergence of colouredness as a ‘new’ social identity, mounting national interest in race categorization, and a literary shift from exploring Anglo-Boer relations to exploring black-white relations” (34). Through analyses of Sarah Gertrude Millin’s eugenicist novel God’s Step-Children and Peter Abrahams’s The Path of Thunder, Mafe establishes the literary origins and original uses of the tragic mulatto trope in South African literature. Throughout, she draws parallels with and highlights divergences from the use of the trope in American literature, in particular Nella Larsen’s Quicksand and Passing and James Weldon Johnson’s Autobiography of an Ex-Colored Man.

In her next chapter, “‘An Unlovely Woman’: Bessie Head’s Mulatta (Re) Vision,” Mafe turns her analysis to the life and work of South African writer Bessie Head, specifically her novel A Question of Power, arguing “this text is a startling conceptualization of the mulatta that parallels but also challenges the efforts of earlier American writers” (59). Mafe explores the stereotype of the beautiful tragic mulatta and Head’s inversion of it through the presentation of an ugly protagonist, simultaneously exploring the novel’s ironic use of madness and its presentation of female sexuality. Since depictions of the tragic mulatta typically position her between the demands of white female respectability and the stereotype of black female passion, Head’s protagonist “destabilizes the exotic and erotic iconography of the mulatta, which is remarkably consistent in the American tradition” (63).

Turning from the tragic mulatta, in chapter three Mafe analyzes presentations of the mulatto man’s sexuality, again torn between “‘white’ propriety and ‘black’ passion” (86) and his filial relationship to his white father. In “‘A Little Yellow Bastard Boy’: Arthur Nortje’s Mulatto Manhood,” Mafe reads the father-son dynamic in…

What’s Radical About “Mixed Race?”

Asian/Pacific/American Institute at NYU
8 Washington Mews
New York, New York 10003
Phone: (212) 998-3700
Monday, 2015-04-20, 18:00-20:00 EDT (Local Time) | Free

Since the 1990s, mainstream media has heralded the growing population of self-identified “mixed race” people in the US and Canada as material proof of a post-racial era (a recent example: National Geographic‘s 2013 feature “The Changing Face of America,” whose title paraphrases a Time feature [at right] from two decades prior). Meanwhile, foundational multiracial activists and scholars like Maria Root claim a doubled oppression—racism via white supremacy and ostracizing from so-called “monoracial” people of color. A growing body of Critical Mixed Race Studies literature is challenging both positions, questioning the assumption that multiracial activism and scholarship is necessarily anti-racist.

Minelle Mahtani critically locates how an apolitical and ahistorical Canadian “model multiracial” upholds the multicultural claims of the Canadian settler state. Jared Sexton calls to task multiracial activists who leverage a mixed race identity in opposition to those who are “all black, all the time.”

Eschewing an apolitical “celebration” of mixed race, this panel examines the movement’s implications for multiracial coalition and the future of race in the US and Canada, asking: does the multiracial movement challenge—or actually reinforce—the logics of structural racism?.