Mixed Race Studies

The Colors of Zion: Blacks, Jews, and Irish from 1845 to 1945

Harvard University Press
February 2011
272 pages
6-1/8 x 9-1/4 inches
20 halftones
Hardcover ISBN: 9780674057012

George Bornstein, C. A. Patrides Professor of Literature, Emeritus
University of Michigan, Ann Arbor

A major reevaluation of relationships among Blacks, Jews, and Irish in the years between the Irish Famine and the end of World War II, The Colors of Zion argues that the cooperative efforts and sympathies among these three groups, each persecuted and subjugated in its own way, was much greater than often acknowledged today. For the Black, Jewish, and Irish writers, poets, musicians, and politicians at the center of this transatlantic study, a sense of shared wrongs inspired repeated outpourings of sympathy. If what they have to say now surprises us, it is because our current constructions of interracial and ethnic relations have overemphasized conflict and division. As George Bornstein says in his Introduction, he chooses “to let the principals speak for themselves.”

While acknowledging past conflicts and tensions, Bornstein insists on recovering the “lost connections” through which these groups frequently defined their plights as well as their aspirations. In doing so, he examines a wide range of materials, including immigration laws, lynching, hostile race theorists, Nazis and Klansmen, discriminatory university practices, and Jewish publishing houses alongside popular plays like The Melting Pot and Abie’s Irish Rose, canonical novels like Ulysses and Daniel Deronda, music from slave spirituals to jazz, poetry, and early films such as The Jazz Singer. The models of brotherhood that extended beyond ethnocentrism a century ago, the author argues, might do so once again today, if only we bear them in mind. He also urges us to move beyond arbitrary and invidious categories of race and ethnicity.

Table of Contents

• List of Illustrations
• Preface
• Introduction
• 1. Races
• 2. Diasporas and Nationalisms
• 3. Melting Pots
• 4. Popular and Institutional Cultures
• 5. The Gathering Storm: The 1930s and World War II
• Notes
• Index

Race, Color, Identity: Rethinking Discourses about ‘Jews’ in the Twenty-First Century

Berghahn Books
May 2013
398 pages
bibliog., index
Hardback ISBN: 978-0-85745-892-6
eBook ISBN: 978-0-85745-893-3

Edited by:

Efraim Sicher, Professor of Comparative and English Literature
Ben-Gurion University of the Negev

Advances in genetics are renewing controversies over inherited characteristics, and the discourse around science and technological innovations has taken on racial overtones, such as attributing inherited physiological traits to certain ethnic groups or using DNA testing to determine biological links with ethnic ancestry. This book contributes to the discussion by opening up previously locked concepts of the relation between the terms color, race, and “Jews”, and by engaging with globalism, multiculturalism, hybridity, and diaspora. The contributors—leading scholars in anthropology, sociology, history, literature, and cultural studies—discuss how it is not merely a question of whether Jews are acknowledged to be interracial, but how to address academic and social discourses that continue to place Jews and others in a race/color category.

Contents

• Foreword / Sander Gilman
• Introduction: Rethinking Discourses about “Jews” / Efraim Sicher
• PART I: JEWS AND RACE IN AMERICA
  • Chapter 1. “I’m not White – I’m Jewish”: The Racial Politics of American Jews / Cheryl Greenberg
  • Chapter 2. Reflections on Black/Jewish Relations in the Age of Obama / Ibrahim Sundiata
  • Chapter 3. Stains, Plots, and the Neighbor Thing: Jews, Blacks and Philip Roth’s Utopias / Adam Zachary Newton
  • Chapter 4. Spaces of Ambivalence: Blacks and Jews in New York City / Catherine Rottenberg
  • Chapter 5. African-American Culture, Anthropological Practices and the Jewish “Race” in Zora Neale Hurston’s Mules and Men / Dalit Alperovich
  • Chapter 6. Jewish Characters in Weeds: Reinserting ‘Race’ into the Postmodern Discourse on American Jews / Hannah Adelman Komy Ofir and Shlomi Deloia
• PART II: JEWS AS BLACKS / BLACK JEWS
  • Chapter 7. A Member of the Club? How Black Jews Negotiate Black Anti-Semitism and Jewish Racism / Bruce Haynes
  • Chapter 8. Ethiopian Immigrants in Israel: The Discourses of Intrinsic and Extrinsic Racism / Steven Kaplan
  • Chapter 9. Black-Jews in Academic and Institutional Discourse / Yonah Zianga
  • Chapter 10. The “Descendants of David” of Madagascar: Crypto-Judaic identities in 21st century Africa / Edith Bruder
• PART III: DISCOURSES OF RACIAL AND ETHNIC IDENTITIES
  • Chapter 11. After the Fact: “Jews” in Post-1945 German Physical Anthropology / Amos Morris-Reich
  • Chapter 12. Genes as Jewish History?: Human Population Genetics in the Service of Historians / Noa Sophie Kohler and Dan Mishmar
  • Chapter 13. Sarrazin and the Myth of the “Jewish Gene” / Klaus Hödl
  • Chapter 14. Blood, Soul, Race, and Suffering: Full-Bodied Ethnography and Expressions of Jewish Belonging / Fran Markowitz
  • Chapter 15. Jews, Muslims, European Identities: Multiculturalism and Anti-Semitism in Britain / Efraim Sicher
  • Chapter 16. Brothers in Misery: Re-connecting Sociologies of Racism and Anti-Semitism / Glynis Cousin and Robert Fine
  • Chapter 17. Race by the Grace of God: Race, Religion, and the Construction of “Jew” and “Arab” / Ivan Davidson Kalmar
• Select Bibliography
• Notes on Contributors
• Index

Summer in the Global Village: Trevor Noah, South Africa’s Comic Phenomenon

The World
Public Radio International
2013-07-16

Mirissa Neff

In South Africa, comedian Trevor Noah is a phenomenon.

A friend who recently came back from Johannesburg and Cape Town, remarked that the 28-year-old’s every utterance, whether on TV or Twitter (where he has nearly a million followers), “creates a ripple throughout the entire country.”

For six weeks in the early summer, New Yorkers got a taste of why.

Noah’s solo show, “Born a Crime,” (which ran at Culture Project in NoHo) references his mixed-race heritage: He was born during the apartheid era to a black South African mother and a white Swiss father.

Much of his sidesplitting routine is devoted to skewering the politics of race, both within and outside of his native South Africa, where his father, who was barred from walking in public with his brown-skinned son, instead watched Noah from across the street, “like a creepy pedophile.”…

Read the entire article here.

Blackness/Mixedness: Contestations over Crossing Signs

Cultural Critique
Number 54 (Spring, 2003)
pages 178-212

Naomi Pabst, Assistant Professor of African American Studies and American Studies
Yale University

While studies of cultural syncretism, transnationalism, and “hybridity” have lately become all the rage, there is one area in which claims of racially “hybrid” identity are still subtly resisted, quietly repressed, or openly mocked. The child of both black and white parents encounters various forms of incomprehension in a society for which “blackness” and “whiteness” seem to constitute two mutually exclusive and antagonistic forms of identity.

—George Hutchinson, “Nella Larsen and the Veil of Race”

In spite of rumors regarding the infinite privileges open to those of us with visible white ancestry, there is always, yes always, a great deal of pain that comes with this “privilege.” Our sufferings as Black [people] of different shades are not identical, and they aren’t even always equal, but they most certainly are mutual. And because my experience of racism as it is felt through this light skinned body is not the same as that experience which is felt through darker colored flesh does not mean that either of the two is any truer, more valid or authentic.

—Kristal Brent Zook, “Light-Skinned(ded) Naps”

Much has been made, and rightfully so, of the hybridity, the mixedness, of African-Americans. Indeed, the vast majority of black Americans have white, native, and sometimes other cultural and racial ancestry in addition to African. And the refrain is by now familiar, even if it still bears repeating: there are no pure races or cultures to begin with. At the same time, much has been made of the “one-drop rule,” the law of hypodescent, which denies black/white interracial persons a legitimate claim to whiteness and assigns them to a purportedly lower rung on the heritage hierarchy. Through this practice, black/white mixed persons have generally come to be classified as black, legally and in popular imaginaries. This essay will examine the links and rifts between blackness and mixedness, with an eye to what is at once a chiasmus and a truism, that black people are mixed and (black/white) mixed people are black.

Through an analysis of various literary and critical representations of racial hybridity, this essay will demonstrate that the blackness/mixedness paradox is and always was but the very beginning and by no means the end of the story of American racial classification within the black/white schema. Even the most vociferous proponent of the one-drop rule would have to concede that it does not require, nor has it ever required, much of a stretch of the imagination to make a commonsense distinction, even if a fraught, provisional one, between authentic blackness and black/white interraciality. To even state that a mixed-race subject is black or the reverse is to reference the joint realities of both mixedness and blackness. The one-drop rule itself suggests quite literally that one can at once be fully black and only one drop black. Moreover, the tendency to overstate the historical ineluctability of the one-drop rule elides the a priori crisis of classification mulattoes have long presented within American discursive and cultural imaginaries. As Werner Sollors underscores in the introduction to Interracialism, “contrary to many assertions, the so-called one-drop rule (according to which any African ancestry, no matter how far removed, made an American ‘black’) was never widely applied” (6). Rather, contestations over the “true” racial and cultural status of mixed-race subjects are ongoing and can be traced a long way back.

Endless and passionate debate on how to situate black/white interraciality has penetrated the realms of legal classification, census taking, and grassroots movements, as well as the domains this essay mainly concerns itself with, the discursive, the ideological, and the popular. I problematize rather than contribute to these debates, for what is more interesting to me is the extent to which interracial subjects elide a classification that can be agreed on. I recommend that…

Read or purchase the article here.

‘White House Down’ and Black Presidents on Screen

The New York Times
2013-06-26

Mekado Murphy

At one point in the action thriller “White House Down,” which opens June 28, the president of the United States, played by Jamie Foxx, is trying to thwart a paramilitary group that has overtaken the White House. After swapping his more presidential footwear for basketball shoes, he kicks a bad guy in the face and yells, “Get your hands off my Jordans!”

It’s not a line many Hollywood versions of the leader of the free world would utter: he (it’s usually a he) is often stuffier, a little bland maybe, and most often white. “White House Down,” directed by Roland Emmerich, doesn’t wear the race of its president on its sleeve, but it doesn’t shy away from the fact either. Before President Obama’s election, Dennis Haysbert set the standard for television presidents with his portrayal of David Palmer on “24.” But memorable black commanders in chief have been harder to come by on the big screen. And as with their real-life counterparts, they get their way only some of the time…

Read the entire article here.

Naked Bodies, Bodies of History

Hyphen Magazine: Asian America Unabridged
2013-06-27

Jenny Lee

“She mimics the speaking. That might resemble speech. (Anything at all.) Bared noise, groan, bits torn from words…From the back of her neck she releases her shoulders free.  She swallows once more.”

So begins the story of the halting diseuse, or female storyteller, of Theresa Hak Kyung Cha’s genre-defying text Dictée, first published just over three decades ago in 1982. Organized in nine parts named after the Greek Muses, Dictée has been described in mythic terms – a Korean Odyssey, a rewriting of the Hesiodic Catalogue of Women, a theatrical ritual, a shamanistic exorcism.  Above all, however, Cha’s work interrogates history, refracting the history of Korea in the twentieth century through the themes of exile, the displacement of colonized bodies, and the lost – and resurrected – bodies and voices of women…

…I must have had Dictée on the brain, because I thought of Cha’s work again a few weeks ago when I dropped by the DePaul Art Museum to see the exhibit War Baby/Love Child: Mixed Race Asian American Art, curated by DePaul and San Francisco State University professors  Laura Kina and Wei Ming Dariotis. The exhibit is part of a larger project that features visual media produced by nineteen artists who hail from the rapidly expanding community of 2.6 million Americans (and counting) who identify as Asian American plus one or more ethno-racial groups. While the exhibit blurb explains that the show “examines the construction of mixed heritage Asian American identity in the United States,” this actually doesn’t do justice to its ambitious range, which not only investigates the historical origins of these identities (U.S. wars in Asia, colonialism, transnational adoption, the 1967 Supreme Court decision Loving v. Virginia outlawing laws against interracial marriage) but breaks down insidious present-day theories about “post-racialness,” while also featuring work by a younger generation of artists who seem to stay out of the conversation completely.  

In an interview, Dariotis revealed that the title of the exhibit was inspired by her own experience fielding annoying questions about her background (which, incidentally, is Chinese, Greek, Swedish, English, Scottish, German, and Dutch). According to Dariotis, people would inquire whether her parents “met in the war.” “And I always ask myself, ha, I was born in 1969, we were not at war with China in 1969. Where did they get this image?” Dariotis’s story highlights persistent mainstream assumptions about mixed-race (if not mixed-ethnic) Asian Americans of a certain age as either/or – that is, either the product of military personnel and Asian women, or free-love hippies indulging in illegal interracial sex. If Young Jean Lee’s Untitled Feminist Show offers a critique of the sexualizing of women’s bodies, War Baby/Love Child draws attention to the cultural sexualization of specifically Asian (and mostly female) bodies through the bodies of their mixed-race offspring…

Read the entire article here.

‘One Drop of Love’ (Theatre Review)

The Chic of Domesticity: A Woman-to-Women Conversation on All Facets of Life – Fashion – Politics – Religion – Style – Travel
2013-06-29

Jennifer Vaughn-Estrada

Plans free for tomorrow evening? I recommend catching the final performance of One Drop of Love: A Daughter’s Search for Her Father’s Racial Approval at the Hollywood Fringe Festival. Race is an uncomfortable, and often confusing, subject for us “mixies,” and Fanshen Cox DiGiovanni, co-founder of the Mixed Roots Film and Literary Festival, addresses it head on in this one-woman play about identities, stereotypes, and family frustrations…

Read the entire review here.

Some Thoughts on Biracialism and Poetry

Boston Review
2013-06-13

Paisley Rekdal, Associate Professor of English
University of Utah

To be a biracial and female writer might suggest one of two things: first, that my gender and race are the subject matter of my work or, second, that the forms of my writing reflect my identity. Between these two possibilities–race and gender as theme versus race and gender as enacted form—a tension exists, perhaps arising from our current distrust of both narrative and identity politics. To write from the first position—race and gender as theme—boils a poem down to the recounting of experience, most likely the narrator’s marginalization. It is an easy poetry to identify, and it is a type whose detractors (rightfully and wrongly) criticize as an attempt to engender in the reader both sympathy with and catharsis through the personal revelations of the narrator. It is a poetry that at its worst risks becoming performative cultural “kitsch” through its manipulation of readers’ sensitivities to race and racism but, at its best, illuminates some part of the complexity currently surrounding ideas of racial authenticity and identification.

The second option—identity as enacted form—is harder to pinpoint, relying as it does as much on the writer’s stated objectives for the work, as on readers’ stereotypes about what kind of poetic form female biracialism could take. On the surface, we might expect “biracial” forms to be highly skeptical of an imaginatively coherent first person. They could be poems that rely on fragmentation, that are deeply engaged with critical theory regarding perception and language. They could be ironic, self-reflexive, suspicious of catharsis, engaged more with the playful destruction of archetypal myths of identity than in reifying them. In short, they would be hard to distinguish from much of contemporary poetry today…

Read the entire article here.

What’s it like to “come out” as a Third Culture Kid on stage? Elizabeth Liang tells all!

The Displaced Nation: A home for international creatives
2013-06-20

The Displaced Nation Team

As reported here last month, Elizabeth Liang spent the month of May performing, at a venue in Los Angeles, a one-woman show about being a Third Culture Kid, or TCK. As some readers may recall, Liang is a self-described Guatemalan-American business brat of Chinese-Spanish-Irish-French-German-English descent. She was brought up by peripatetic parents in Central America, North Africa, the Middle East, and Connecticut. Many of us were curious about not only how she could pack all of that personal history into a solo stage performance, but also how the (mostly American) audiences would respond. Today is the day we get to find out. Take it away, Elizabeth!

—ML Awanohara

I had no idea what to expect from audiences when I opened my solo show, Alien Citizen, in Hollywood, California, on May 3rd (it closed June 1st).

Since the show is about my upbringing as a dual citizen of mixed heritage in six countries, I assumed it would appeal mainly to Adult Third Culture Kids (ATCKs) and people of mixed heritage—the people I wrote it for, since we rarely see our stories portrayed on stage or screen.

I wanted the show to be funny, but wasn’t sure if the humor would translate.

And I wanted people to be moved by the story…

Read the entire article here.

Writing Mixed Race Asian Americans into the Nation: Narratives of National Incorporation in the Bildungsroman and the Multiracial Movement

Wesleyan University
May 2013
80 pages

May Lee Watase

A thesis submitted to the faculty of Wesleyan University in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Departmental Honors in American Studies

Introduction

In spring 2011, during my sophomore year at Wesleyan, the student group I was a member of, MIX (an acronym for mixed heritage, interracial, cross-cultural), invited Ken Tanabe, a multiracial graphic designer and social activist to host a Loving Day celebration on Wesleyan’s campus. Tanabe is the founder of Loving Day, an event that celebrates interracial love, multiethnic identity, and marks the 1967 anniversary of the Loving v. Virginia case that legalized interracial marriage. At our own event, Tanabe and a few other representatives of the Loving Day organization gave us Loving Day buttons, showed us a power point presentation, and chatted with us about our mixed race identities. At the end of the hour, Tanabe asked to take a picture of the group, snapping the exact moment the ten of us jumped in the air. About a month ago, two years following our celebration with Tanabe, I opened an email from the Loving Day listserv to find the following:

The Loving Day Project is pleased to announce the launch of Loving Day ON CAMPUS… a resource guide and forum to help students across the country connect, share, and inspire…Students have celebrated this important civil rights milestone in a variety of ways…We want every student and organization to have the best events possible, so we have created the Loving Day ON CAMPUS facebook page.

I clicked the link and found the picture of the Wesleyan MIX group on the Facebook page—there we all were, happy and smiling as the unofficial faces of Loving Day ON CAMPUS. I was slightly surprised to see myself there and began scrolling through the rest of the Loving Day website, becoming increasingly aware of the fact that Loving Day’s marketing strategy relied heavily on a celebratory “mixed-race” look…

In this thesis, I examine the relationship between the multiracial movement, the genre of the bildungsroman, or “coming of age novel,” and mixed race Asian American novels that are contextualized in the decade of the 1990s. The three novels I use in this study are Paper Bullets: a Fictional Autobiography, by Kip Fulbeck (2001); American Son: A Novel, by Brian Ascalon Roley (2001); and My Year of Meats, by Ruth Ozeki (1998). I situate each novel within the rhetoric of the multiracial movement of the 1990s, which forwarded the institutionalization and legitimization of mixed race identity in American society both legally and socially, in the government, in education, and in popular culture. Each novel employs different functions of the bildungsroman, narrating the protagonists’ complex relationships with the boundaries of the nation, grappling with the notion of national belonging and validation. The bildungsroman structure and the multiracial movement both construct a progressive, teleological discourse, narrating a trajectory from exclusion and  marginality to an endpoint of inclusion within the nation as a celebratory affirmation of identity. By focusing on the ways in which these three mixed race Asian American texts subvert, manipulate, or are confined by the form of the bildungsroman and the rhetoric of the multiracial movement, I examine the pathways to inclusion in the American body politic and the positionality of the mixed race Asian American subject within and beyond the boundaries of the America. My studies of each text draw from contentious moments in the United States in the 1990s: the rhetoric of Ethnic Studies and cultural nationalism, the Rodney King beating and L.A. Riots, and the ascendancy of Asian economic power—all discourses that intervene in the narrative progress of the mixed race Asian American subject in American public discourse…

Read the entire thesis here.