Mixed Race Studies

Phil Wang: I wouldn’t be a comic if I weren’t mixed-race

BBC News
2021-09-11

Helen Bushby, Entertainment and arts reporter

Phil Wang says the face of “every Eurasian person I’ve ever seen sings with loneliness”

Phil Wang, the stand-up comic you may recall for his viral video spoofing a Tom Hiddleston advert, has been baring his soul, or at least some of it, in his new book Sidesplitter.

Wang, 31, whose TV duties include Live at the Apollo, 8 Out of 10 Cats Does Countdown and Taskmaster, insists it’s not a memoir, as his life doesn’t merit one.

“I haven’t escaped a gulag or revolutionised an industry,” he explains, adding memoirs are a “saturated market” anyway.

What he really talks about in his book of essays is the impact of being mixed-race, of being “from two worlds at once”.

But although it has its serious moments, Sidesplitter is eloquently laced with laughs and bittersweet observations…

Read the entire article here.

She was raped by the owner of a notorious slave jail. Later, she inherited it.

The Washington Post
2020-02-01

Sydney Trent, Local enterprise reporter

An engraving print of the Lumpkin Slave Jail, from Corey’s “A History of the Richmond Theological Seminary.” (City of Richmond)

Robert Lumpkin was one of the South’s most prolific and brutal slave traders, presiding over a slave jail in Richmond so notorious that it was referred to as the “Devil’s Half Acre.”

Mary Lumpkin lived with him — and with the horror of who he was, bearing witness to the extreme punishments he meted out to enslaved people like her.

Under Robert Lumpkin’s ownership from 1844 until the end of the Civil War, the jail held thousands of enslaved men and women in its dim and cramped cells, permeated by the stench of human excrement. Many were destined for the auction block; others were captured runaways. Some had been delivered there by their masters to receive more expert punishment. The names of dead prisoners appeared on Robert Lumpkin’s insurance claims, their bodies buried in unmarked graves scattered about the property.

Described by an abolitionist minister who met her as “large, fair-faced . . . nearly white,” Mary was also Robert’s slave. She was raped and impregnated by him as a child, ultimately bearing at least seven of his children, five of whom survived. She kept house and raised their offspring within the fenced brick compound that included the jail…

Read the entire article here.

Work Of First African American Painter With International Reputation Explored

Art Where You’re At
National Public Radio
2021-09-07

Susan Stamberg, Special Correspondent

Photograph of Henry Ossawa Tanner in 1907. Frederick Gutekunst (1831–1917)/National Portrait Gallery, Smithsonian Institution

I just met Henry Ossawa Tanner. Nice trick, since he died in 1937. Tanner was the first African American artist with an international reputation. His paintings are in many museums, but I’ve walked past them countless times. Now, preparing for this column, I got to know a bit about his life and times (as well as new revelations about his artistic thinking) and thought I’d make the introductions.

Quite the gentleman. Born in Pittsburgh, 1859. Grew up in Philadelphia. Died an expatriate in Paris. “He saw right away that he could do better in France,” says Dallas Museum of Art curator Sue Canterbury.

He was having trouble getting into the art classes he wanted — and finding teachers who’d take him on. In France, skin color didn’t matter as much. He told a magazine writer, “in Paris no one regards me curiously. I am simply M[onsieur] Tanner, an American artist. Nobody knows or cares what was the complexion of my forebears.”

The French liked his work. In 1897, the government bought one of his pieces for the state collections. With that rare honor his reputation soared. Museums started buying Tanners. By 1900, when mass reproductions of Christ’s portrait and books on his life were circulating, curator Canterbury says, “Tanner was considered the leading European painter of religious scenes…

Read the entire article here.

The First Black Supermodel, Whom History Forgot

The Cut
2013-07-10

Keli Goff

Photo: Woodgate/Associated Newspapers/Rex USA

Fashion has a notoriously complicated history when it comes to black models, but the past month felt particularly loaded with talking points: Prada hired their first black model for a campaign in nineteen years; Kinee Diouf became the first black model on the cover of Vogue Netherlands, months after the magazine had painted a white model in “blackface”; and then Raf Simons cast black runway models – six of them – in his Dior couture show for the first time since he arrived at the house.

It’s slow progress since Donyale Luna became the first black supermodel nearly 50 years ago. Especially since most inveterate fashion-watchers don’t even know Luna’s name…

Read the entire article here.

Tracing roots of the Chinese Jamaican diaspora

gal-dem
2021-09-04

Nandina Hislop

via author

With over 50,000 Chinese-Jamaicans residing on the Caribbean island, how did such a unique community form?

When my maternal great-grandfather Baker Chung-Yu migrated from Hong Kong to Jamaica over a hundred years ago, he probably didn’t expect that a few generations later, there would be over 50,000 Chinese-Jamaicans residing in the land of wood and water. He arrived as a businessman in the 1920s, after Hong Kong was snatched by the British Empire in 1842, seeking financial comfort for his future. This move allowed him to meet my Afro and Indo-Jamaican great-grandmother May Ranger and unknowingly spark the beginning of a growing Chinese-Jamaican family that would live to continuously explain our unusual heritage.

Growing up, I didn’t fully grasp the meaning of what it meant to be a Chinese immigrant in Jamaica. I am fourth generation Chinese, mixed in heritage and Black in racial identity. Born in Jamaica, raised in the Turks and Caicos Islands, and now living in the UK, my hop-scotching residential reality had meant I was isolated from most of my extended family, a significant portion being those of Chinese descent. Now that I’m older, I crave details about my Chinese ancestry and am now exploring a cavernous story rooted in struggle and resilience that I never knew existed…

Read the entire article here.

Glen Ford, Black Journalist Who Lashed the Mainstream, Dies at 71

The New York Times
2021-08-18

Clay Risen, Reporter and Editor

Glen Ford in the 1970s. As a journalist, he took aim at the intersection of corporate interests and what he called the Black “misleadership” class. via Tonya Rutherford

Fiercely progressive and independent, he was a persistent critic of the liberal establishment, especially Black leaders like Barack Obama.

Glen Ford, who over a 50-year career was a leading voice among progressive Black journalists and a constant scourge of the liberal establishment, especially Black politicians like Barack Obama, died on July 28 in Manhattan. He was 71.

His daughter, Tonya Rutherford, said the cause was cancer.

Originally as a radio news reporter in Augusta, Ga., and later as a television and online correspondent, Mr. Ford offered his audience a progressive perspective across a wide array of issues, including welfare rights, foreign policy and police misconduct.

Read the entire obituary here.

How Jean Toomer Rejected the Black-White Binary

The Paris Review
2019-01-14

Ismail Muhammad

…to be a Negro is—is?—
to be a Negro, is. To Be.

—from “Toomer,” by Elizabeth Alexander

Jean Toomer had a complex relationship to his first and only major publication, the 1923 book Cane. The “novel,” which Penguin Classics has recently reissued with an introduction by the literary scholar George Hutchinson and a foreword by the novelist Zinzi Clemmons, is a heterogeneous collection of short stories, prose vignettes, and poetry that became an unlikely landmark of Harlem Renaissance literature. Its searching fragments dramatize the disappearance of African-American folk culture as black people migrated out of the agrarian Jim Crow South and into Northern industrial cities. It is a haunting and haunted celebration of that culture as it was sacrificed to the machine of modernity. Toomer termed the book a “swan song” for the black folk past.

The literary world was then (as it is now, perhaps) hungry for representative black voices; as Hutchinson writes, “Many stressed the ‘authenticity’ of Toomer’s African-Americans and the lyrical voice with which he conjured them into being.” This act of conjuring lured critics into reflexively accepting the book as a representation of the black South—and Toomer as the voice of that South. As his one-time friend Waldo Frank remarked in a forward to the book’s original edition, “This book is the South.” Cane transformed Toomer into a Negro literary star whose influence would filter down through African-American literary history: his interest in the folk tradition crystallized the Harlem Renaissance’s search for a useable Negro past, and would be instructive for later writers from Zora Neale Hurston to Ralph Ellison to Elizabeth Alexander…

Read the entire article here.

New York City Ballet’s Rachel Hutsell Is Turning Heads in the Corps

Pointe
2018-05-22

Marina Harss

Rachel Hutsell Photographed for Pointe by Jayme Thornton.

“I’m very cautious by nature,” Rachel Hutsell says over herbal tea at Lincoln Center between rehearsals. You wouldn’t think so from the way she moves onstage or in the studio. In fact, one of the most noticeable characteristics of Hutsell’s dancing is boldness, a result of the intelligence and intention with which she executes each step. (What she calls caution is closer to what most people see as preparedness.) She doesn’t approximate—she moves simply and fully, with total confidence. That quality hasn’t gone unnoticed.

Even though she has been at New York City Ballet for less than three years, Hutsell, 21, is regularly cast in a wide variety of repertoire. She has already collaborated with several choreographers, including Troy Schumacher, Gianna Reisen, Peter Walker and Justin Peck, on new works. “She’s not afraid to make mistakes,” says Peck, who has used her in two premieres, The Most Incredible Thing and The Decalogue. “And she’s open to exploring new movements.”…

Read the enter article here.

Josephine Baker is 1st Black woman given Paris burial honor

The Associated Press
2021-08-21

FILE – In this file photo dated March 6, 1961, singer Josephine Baker poses in her dressing room at the Strand Theater in New York City, USA. The remains of American-born singer and dancer Josephine Baker will be reinterred at the Pantheon monument in Paris, Le Parisien newspaper reported Sunday Aug. 22, 2021, that French President Emmanuel Macron has decided to bestow the honor. Josephine Baker is a World War II hero in France and will be the first Black woman to get the country’s highest honor. (AP Photo)”

PARIS (AP) — The remains of American-born singer and dancer Josephine Baker will be reinterred at the Pantheon monument in Paris, making the entertainer who is a World War II hero in France the first Black woman to get the country’s highest honor.

Le Parisien newspaper reported Sunday that French President Emmanuel Macron decided to organize a ceremony on Nov. 30 at the Paris monument, which houses the remains of scientist Marie Curie, French philosopher Voltaire, writer Victor Hugo and other French luminaries.

The presidential palace confirmed the newspaper’s report.

After her death in 1975, Baker was buried in Monaco, dressed in a French military uniform with the medals she received for her role as part of the French Resistance during the war.

Baker will be the fifth woman to be honored with a Pantheon burial and will also be the first entertainer honored…

Read the entire article here.

How the Myth of Barack Obama Overtook the Man (and the Politician)

Hyperallergic
2021-08-15

Justine Smith
Montreal, Quebec

From Obama: In Pursuit of a More Perfect Union (2021), dir. Peter Kunhardt (image courtesy HBO)

A new HBO film introduces a level of nuance to its depiction of the president that’s been sorely lacking in most portrayals.

What is “home” in the American imagination? Politicians often cite this ideal. Will our “doors” be open or closed? What do our “neighbors” look like? In the introduction to The Age of Surveillance Capitalism, Shoshana Zuboff describes the home as “where we know and where we are known, where we love and are loved. Home is mastery, voice, relationship, and sanctuary: part freedom, part flourishing … part refuge, part prospect.” Barack Obama promised this image of home, preaching that the United States could pursue unity and love for all. His very presence as a Black man on the world stage signaled a cultural shift that made it seem, if only briefly, that a tide was turning and the US was ready to grapple with its racism. For many, he was a symbol of progress. To others, he was a conniving invader, a covert socialist/communist/terrorist, or even the antichrist. Both images leave his actual humanity behind. What happens when a person becomes a symbol?

The new HBO film Obama: In Pursuit of a More Perfect Union looks at his life and work with a level of nuance that’s rare for a mainstream documentary. Still, like most Obama movies, the focus remains firmly on his social and cultural impact rather than his policy. “People underestimate the value of symbols,” Ta-Nehisi Coates argues at one point. Undeniably, Obama himself catered to and was well aware of his symbolic importance. And most films about him, made by a sympathetic media — By the People, The Final Year, The Way I See It, etc. — cater to his image as a historic groundbreaker. Even the Michelle Obama biography Becoming portrays the former first family as beacons of hope in a dark time…

Read the entire article here.