Mixed Race Studies

Interraciality in Early Twentieth Century Britain: Challenging Traditional Conceptualisations through Accounts of ‘Ordinariness’

genealogy
Volume 3, Number 2
24 pages
DOI: 10.3390/genealogy3020021

Chamion Caballero, Visiting Senior Fellow
London School of Economics

Unknown Anglo-Chinese family, Liverpool, c.1930s. Image courtesy of Yvonne Foley. Foley has campaigned for greater recognition of the brutal repatriation of Chinese seaman by the British government in 1945–1946, many of whom were consequently forced to leave their white wives and children behind. See http://www.halfandhalf.org.uk/.

The popular conception of interraciality in Britain is one that frequently casts mixed racial relationships, people and families as being a modern phenomenon. Yet, as scholars are increasingly discussing, interraciality in Britain has much deeper and diverse roots, with racial mixing and mixedness now a substantively documented presence at least as far back as the Tudor era. While much of this history has been told through the perspectives of outsiders and frequently in the negative terms of the assumed ‘orthodoxy of the interracial experience’—marginality, conflict, rejection and confusion—first-hand accounts challenging these perceptions allow a contrasting picture to emerge. This article contributes to the foregrounding of this more complex history through focusing on accounts of interracial ‘ordinariness’—both presence and experiences—throughout the early decades of the twentieth century, a time when official concern about racial mixing featured prominently in public debate. In doing so, a more multidimensional picture of interracial family life than has frequently been assumed is depicted, one which challenges mainstream attitudes about conceptualisations of racial mixing both then and now.

Read the entire article in HTML or PDF format.

Tia Mowry Talks Adjusting To The Racism She Experiences With Her Black Husband Vs Growing Up With A White Father

MadameNoire
2019-05-31

Veronica Wells, Culture Editor

I don’t think it’s any secret that Tia Mowry (and Tamera) are biracial. While it was a minute before we saw their parents, their mother, Darlene Mowry, is Black and their father, Timothy Mowry, is White. You might imagine that growing up in that household was a bit different than living in the household she does now. And it is. On her YouTube channel, Tia Mowry’s Quick Fix, she shared the racism her parents experienced when they were initially dating, the racism her mother experienced that her father didn’t, and how it’s different having a White father vs. a Black husband in terms of racial treatment.

See what Tia had to say about all of this below…

Read the entire article here.

Mulattoes Cannot Vote Under the “Grandfather Clause.”

The Progressive Farmer
Winston, North Carolina
Tuesday, 1902-09-30
page 5, column 4
Source: Chronicling America (ISSN 2475-2703), Library of Congress, Washington, D.C.

The Observer is in receipt of the following from a friend at Carthage:

“A question which is having some discussion here is: Can a mulatto whose father was a white man register under the ‘grandfather clause?’”

“Now it is a generally accepted fact that most mulattoes are such from the fact that their fathers and not their mothers were white. Would this general application be sufficient grounds for a general mulatto registration? If not, could a mulatto whose mother was a negro but whose father is unknown register according to law? Is the burden upon the applicant for registration to prove that his father was a white man and could vote prior to 1867?”

“Your subscribers would be pleased to have you give some editorial answers and explanations to the above questions. I am certain such would be of interest to many people throughout the State at this time and the independence of your paper renders it the logical medium through which such information can do the most good.”

Assuming that the mulatto was the illegitimate son of a white man (which must be assumed, as marriages between whites and blacks is and was unlawful) the mulatto could not vote, as the law does not recognize that an illegitimate has any father and unless the said mulatto is otherwise qualified he cannot get in under the “grandfather clause.”

As nearly all negroes were slaves prior to their emancipation the presumption is that the grandfather of any mulatto was disqualified from voting prior to 1868, and the burden rests upon him to show to the contrary before he shall be entitled to register or vote. —Charlotte Observer.

Black, White and Red All Over: Genevieve Gaignard

Musée: Vanguard of Photography Culture
2019-04-24

Ashley Yu

Genevieve Gaignard This American Beauty, 2019. Vintage magazine cutouts, clear acrylic, on panel, 48 x 36 x 2.5 in. (121.9 x 91.4 x 6.3 cm). Courtesy the artist and Monique Meloche Gallery, Chicago.

Genevieve Gaignard’s first solo show “Black White and Red All Over” is currently exhibited at the Monique Meloche Gallery in Chicago from April 5th-May 24th. The exhibition showcases Gaignard’s new body of mixed media artwork and a new site-specific installation. In this exhibition, the artist speaks on the intersecting representational issues of race, femininity and class in modern American society.

Ashley Yu: Why do you use photo collages of magazine cutouts as your medium of choice?

Genevieve Gaignard: I wouldn’t say this is my medium of choice per se. It’s more that I’m an artist that works in various mediums (photography, installation, sculpture and collage) in order to address the topics of gender, class and racial injustice in America. For me, it’s very instinctual to work with magazine images. I grew up collaging my bedroom walls as a teenager. I feel like, in a way, I’m taking from that memory and applying it to my practice…

…Ashley: You often refer to the “invisibility” of growing up mixed-race in America. Would you explain that to us?

Genevieve: Sure. My particular experience growing up in a predominately white town and looking white to most people felt like I wasn’t really seen at all…

Read the entire interview here.

Black Achilles

Aeon
2018-05-09

Tim Whitmarsh, A.G. Leventis Professor of Greek Culture
University of Cambridge

Achilles slaying Penthesilea. Detail from an amphora, 530-525 BCE. Photo courtesy the Trustees of the British Museum

The Greeks didn’t have modern ideas of race. Did they see themselves as white, black – or as something else altogether?

Few issues provoke such controversy as the skin-colour of the Ancient Greeks. Last year in an article published in Forbes, the Classics scholar Sarah Bond at the University of Iowa caused a storm by pointing out that many of the Greek statues that seem white to us now were in antiquity painted in colour. This is an uncontroversial position, and demonstrably correct, but Bond received a shower of online abuse for daring to suggest that the reason why some like to think of their Greek statues as marble-white might just have something to do with their politics. This year, it was the turn of BBC’s new television series Troy: Fall of a City (2018-) to attract ire, which cast black actors in the roles of Achilles, Patroclus, Zeus, Aeneas and others (as if using anglophone northern European actors were any less anachronistic).

The idea of the Greeks as paragons of whiteness is deeply rooted in Western society. As Donna Zuckerberg shows in her book Not All Dead White Men (2018), this agenda has been promoted with gusto by sections of the alt-Right who see themselves as heirs to (a supposed) European warrior masculinity. Racism is emotional, not rational; I don’t want to dignify online armies of anonymous trolls by responding in detail to their assertions. My aim in this essay, rather, is to consider how the Greeks themselves viewed differences in skin colour. The differences are instructive – and, indeed, clearly point up the oddity of the modern, western obsession with classification by pigmentation…

Read the entire article here.

Culture, Identity, And Erasure

The Odyssey Online
2015-11-17

Lina Chaoui, Contributing Writer
Île-de-France, France

Do not put me in a box you are more comfortable with.

An open letter to anyone who has ever tried to define me by appearances. To those who are of a mixed background and have had their identities ruled by others. If you break it down, I am 1/4 swiss, 1/4 Irish, 1/4 Moroccan, 1/8 Italian and 1/8 Lithuanian. I don’t really claim my Italian or Lithuanian side because it is relatively minuscule and the culture was never prevalent in my life…

Read the entire article here.

Rediscovering My Father

The New York Times
2019-05-31

Shannon Luders-Manuel

Lucy Jones

In a lost photo, I found the memory of my dad I wanted to preserve.

One night in 2001, newly married and in my first real apartment, I pulled out my grandma’s vintage leather suitcase. Its handle was long gone, but I used it to store hundreds of old photos.

I searched through each photo and negative, hoping I might find a double of the one good picture of my dad and me.

My dad had recently died of lung cancer. The last photo I had was of him lying on his hospice bed, feeble and hooked to an oxygen tank. Any hope of future connection was buried along with his ashes.

Back when I was in high school and living in San Jose, my friends Pamela and Emily had joined me on a rare weekend train ride to see my father in Sacramento. The infectious giggles of teenage girls rubbed off on my dad, who was a natural kidder but always reserved and debonair. He and I were growing apart, as parents and teenagers often do, but the space between us was inflated by the extra complications of alcoholism, poverty and racially-blended families…

Read the entire article here.

Novels That Reach for the Stars : DECORATIONS IN A RUINED CEMETERY, By John Gregory Brown (Houghton Mifflin: $19.95; 244 pp.)

The Los Angeles Times
1994-01-23

Margaret Langstaff

I wish more people today would attempt books like this one, novels that take on the big questions, the eternal verities, and, without pretense and a whole lot of claptrap, address the difficulty of finding meaning and significance in life. For this is the stuff of which classics are made and what literature, certainly, is all about. That John Gregory Brown had the nerve to square off before such issues in his first novel is by itself laudable. The fact that he wrote a fine story with believable, memorable characters in the process is reason for applause.

Brown, not yet 40, writes out of the Southern tradition in fiction, and is midway, in terms of depth and accessibility, between Faulkner and Walker Percy, (sort of a Lite-Faulkner or a Percy au jus.) Race, family, heritage, faith, good and evil are the obsessions in question, and the plot turns on critical choices having to do with one’s understanding of the difference between virtuous behavior and cowardice, and one’s courage to do the right thing. More readable than Faulkner, less comedic than Percy, Brown is nonetheless in their direct line of descent, their natural heir, without any obvious imitation.

“Decorations in a Ruined Cemetery” concerns the Eagen family of New Orleans and its immediate vicinity, Irish Catholics whose lineage is made more colorful, if not more difficult, by containing within it a black matriarch who mysteriously, in midlife, disappears, leaving her husband and small son to continue their lives without her. The legacy of this racial intermarriage and the mystery of Molly Moore Eagen’s disappearance–unsolved until the book’s final pages–haunt and twist the lives of three generations of Eagens…

Read the entire review here.

Reviewed Work: Passing Interest: Racial Passing in US Novels, Memoirs, Television, and Film, 1990–2010 by Nerad, Julie Cary

CLA Journal
Volume 61, Number 3 (March 2018)
pages 250-253
DOI: 10.34042/claj.61.3.0250

Sharon L. Jones, Professor of English
Wright State University, Dayton, Ohio

Nerad, Julie Cary. Passing Interest: Racial Passing in Novels, Memoirs, Television, and Film, 1990-2010. Albany: SUNY Press, 2014. 360pp. ISBN: 9781438452272. $95.00. Hardcover.

Passing Interest. Racial Passing in US Novels, Memoirs, Television, and Film, 1990-2010 provides relevant, meaningful information because of its scope and range. Julie Cary Nerad, the editor and the other contributors, should be praised for the book, which features innovative contributions offering new and useful analysis of literature and film from varying critical perspectives. Overall, it serves an important purpose in advancing knowledge, discussion, and debates about different genres and centuries. Ultimately, Passing Interest: Racial Passing in US Novels, Memoirs, Television, and Film, 1990-2010 promotes a reconsideration of how numerous factors influence literature and popular culture.

In “Preface: The ‘Posts’ of Passing,” Gayle Wald assesses the book in an enlightening and thoughtful manner by drawing upon personal and academic contexts (vii-x). Wald states, “In particular, this book expands upon a rich body of scholarship on passing by exploring recent literary and visual texts produced in an era often referred to as ‘post-racial,’ and by bringing a host of new voices to the scholarly con-versation” (vii). Wald astutely acknowledges the scholarly writings of other authors, and some examples include the following: Barbara Christian, Houston Baker, Valerie Smith, Henry Louis Gates, Jr., as well as Werner Sollors (viii). Wald also stresses, “In some ways, the essays in Passing Interest are about the conditions of the possibility of post-ness itself “ (ix). Wald’s approach demonstrates the book’s relevant position in helping potential readers to better understand contemporary and earlier times.

As both editor and contributor, Julie Cary Nerad highlights her careful and meticulous approach to analyzing the book’s topic. In “Introduction: the (Not So) New Face of America,’’ (chapter one) Nerad argues that “ln the United States, race does still matter. Indeed, the concept of race continues to be a fundamental element of identity in America” (5). Nerad identifies several books that are noteworthy including Crossing the Line: Racial Passing in Twentieth-Century U.S. Literature and Culture, Passing and the Fictions of Identity, Passing: Identity and Interpretation in Sexuality, Race, and Religion, as well as acknowledging additional scholarship (12). Nerad contends “These works generally read passing texts from early American literature up to the Civil Rights Era” (12). Nerad’s introductory essay then lays a foundation for the idea that Passing Interest: Racial Passing in US Novels, Memoirs, Television, and Film, 1990-2010 proves distinct from many other books because of its emphasis on analyzing more recent publications (12).

The subsequent chapters offer useful insight or perspectives. For example, the second and third chapters concentrate on nonfiction and present illuminating commentary. In “On the Margins of a Movement: Passing in Three Contemporary…

Read or purchase the article here.

Fear of a Multiracial Planet: Loving’s Children and the Genocide of the White Race

Fordham Law Review
Volume 86, Issue 6 (2018)
pages 2761-2771

Reginald Oh, Professor of Law
Cleveland-Marshall College of Law, Cleveland, Ohio

Part I analyzes the Loving decision striking down antimiscegenation laws and examines the segregationists’ justifications for antimiscegenation laws. Next, Part II explores the historical opposition of white segregationists to interracial marriages, families, and children and argues that the principle and practice of endogamy is a central feature of Jim Crow segregation. Finally, Part III examines the present ideology of white nationalism and shows that white nationalists oppose interracial unions and families for some of the same reasons that white segregationists opposed them. Specifically, white nationalists oppose interracial families because they are one of the main factors contributing to the so-called genocide of the white race.

Read the entire article here.