Mixed Race Studies

A Family History of British Empire

Black Perspectives
2021-02-05

Mary Hicks, Assistant Professor of Black Studies and History
Amherst College, Amherst, Massachusetts

“Where are you from?”—The deceptively simple question looms over the sprawling narrative of Imperial Intimacies: A Tale of Two Islands, the newest work by Black feminist theorist, literary critic, and historian Hazel Carby. This historical and existential query frames Carby’s gripping exploration of her ambivalent relationship to idealized “Britishness” as the child of a white, working-class Welsh mother and a Black, Jamaican father born in 1940s London. The omnipresent demand by strangers that she produce a satisfying account of her origins exemplifies her experiences as an unlocatable and thus unimaginable subject (98). Her own emotionally charged childhood memories ground Carby’s evocative examination of the intertwined nature of intimacy, race, and labor in the British Empire, stretching from the period following World War II back to the revolutionary wars of the late eighteenth century.

Imperial Intimacies begins with the Gramscian imperative to reconstruct, and at times invent, one’s personal genealogy, not only in fact but in feeling…

Read the entire review here.

The True Story of Jess Krug, the White Professor Who Posed as Black for Years—Until It All Blew Up Last Fall

The Washingtonian
2021-01-27

Marisa Kashino

Photograph courtesy of YouTube

She fabricated harrowing personal backstories, peddled gross caricatures, and spoke from perspectives she had no right to claim. And nobody stopped her.

“Iam a coward.”

Jessica Krug’s confession started ricocheting across screens one brutally muggy afternoon in late-summer Washington. “For the better part of my adult life,” it began, “every move I’ve made, every relationship I’ve formed, has been rooted in the napalm toxic soil of lies.” Krug, a faculty member at George Washington University, had taken to Medium, the online forum, to reveal a stunning fabrication. Throughout her entire career in academia, the professor of African history—a white woman—had been posing as Black and Latina.

“I have thought about ending these lies many times over many years, but my cowardice was always more powerful than my ethics. I know right from wrong. I know history. I know power. I am a coward,” she wrote. “You should absolutely cancel me, and I absolutely cancel myself.”

The statement, posted September 3, 2020, went viral immediately, unleashing a tidal wave of Oh, my Gods across the text chains of Krug’s GW colleagues and other academics. “We were all blindsided,” says GW history-department chair Daniel Schwartz. Distraught emails from Krug’s students—less than a week into a virtual semester already upended by the coronavirus pandemic—began piling up in faculty in-boxes. Meanwhile, an online mob went to work churning up old photos of Krug and tanking the Amazon ratings of her book. By the end of the day, a now-infamous video of Krug calling herself “Jess La Bombalera” and speaking in a D-list imitation Bronx accent was all over the internet….

Read the entire article here.

No Future in This Country: The Prophetic Pessimism of Bishop Henry McNeal Turner

University Press of Mississippi
November 2020
208 pages
Hardcover ISBN: 9781496830708
Paperback ISBN: 9781496830692

Andre E. Johnson, Associate Professor of Rhetoric and Media Studies
University of Memphis, Memphis, Tennessee

A critical study of the career of the nineteenth-century bishop

No Future in This Country: The Prophetic Pessimism of Bishop Henry McNeal Turner is a history of the career of Bishop Henry McNeal Turner (1834–1915), specifically focusing on his work from 1896 to 1915. Drawing on the copious amount of material from Turner’s speeches, editorial, and open and private letters, Andre E. Johnson tells a story of how Turner provided rhetorical leadership during a period in which America defaulted on many of the rights and privileges gained for African Americans during Reconstruction. Unlike many of his contemporaries during this period, Turner did not opt to proclaim an optimistic view of race relations. Instead, Johnson argues that Turner adopted a prophetic persona of a pessimistic prophet who not only spoke truth to power but, in so doing, also challenged and pushed African Americans to believe in themselves.

At this time in his life, Turner had no confidence in American institutions or that the American people would live up to the promises outlined in their sacred documents. While he argued that emigration was the only way for African Americans to retain their “personhood” status, he also would come to believe that African Americans would never emigrate to Africa. He argued that many African Americans were so oppressed and so stripped of agency because they were surrounded by continued negative assessments of their personhood that belief in emigration was not possible. Turner’s position limited his rhetorical options, but by adopting a pessimistic prophetic voice that bore witness to the atrocities African Americans faced, Turner found space for his oratory, which reflected itself within the lament tradition of prophecy.

Olivia Ward Bush-Banks: Anchored in Her Ancestry

Three Village Historical Society
Setauket, New York
2020-07-12

Tara Mae

Everyone is influenced by their cultural background, either through acceptance, rejection, or some combination of the two. Olivia Ward Bush-Banks was a writer, journalist, historian, and dramatist. Her relationship with her Black and Montaukett lineage, and her ties to Long Island, informed and inspired her work. In her writing and much of her other work, Bush-Banks amplified her cultural identity.

During her life, Bush-Banks was a respected and valued figure in Black and Indigenous communities. Throughout her many travels, her ties to her heritage kept her grounded in her history even as her writing and outreach relayed it to a larger audience. Sustained by her familial ties, her work was driven by the need to provide for her family, and it elevated the effort of her pursuits.

Born on May 23, 1869, in Sag Harbor, she was the youngest of three daughters. Her parents, Eliza Draper and Abraham Ward, were each of Black and Montaukett descent. It was not uncommon for Blacks and Indigenous people to intermarry: such unions and their resulting families faced racism and discrimination. Her mother died when she was around 9 months old, and her father moved the family to Providence, Rhode Island. Upon Abraham’s remarriage, he gave Bush-Banks to be reared by her maternal aunt, Maria Draper, who raised her as her own. She studied nursing in high school but, encouraged and supported by Maria, developed a passion for drama and poetry…

Read the entire article here.

Olivia Ward Bush-Banks and the Dualism of African and Native American Identity

Amistad Research Center
Tilton Hall, Tulane University
6823 St. Charles Avenue
New Orleans, Louisiana 70118

2014-09-24

Chianta Dorsey

The birth of the African American literary condition occurred in 1773 with the publication of Phyllis Wheatley’s book of poetry and has evolved into a thriving apparatus within American literature ever since. Olivia Ward Bush-Banks is amongst this tradition and the presence of her literary work offers a view into the complex identities of Americans—Black, Native American, and a woman, Bush-Banks had plenty to pull from when she began her writing career at the turn of the 20th century…

Read the entire article here.

Black Like Kamala

The New York Times
2020-08-14

Jamelle Bouie, Opinion Columnist

Kamala Harris in 1966 during a family visit to Harlem. Kamala Harris campaign, via Associated Press

Republican efforts to deny Senator Harris’s identity as an African-American and turn her into a noncitizen are destined to fail.

It was probably inevitable that becoming Joe Biden’s running mate would result in controversy over Kamala Harris’s heritage.

Harris, whose mother emigrated from India and whose father emigrated from Jamaica, is a woman of Tamil and African ancestry who identifies as Black. That’s why, after Biden’s announcement, she was described as the first Asian-American and African-American woman on a major-party presidential ticket.

Not everyone thought this was the right description for Harris. Several allies of President Trump, for example, were quick to dispute the idea that Harris was or could be Black. The radio host Mark Levin said Harris’s Jamaican origins placed her outside the category of African-American. “Kamala Harris is not an African-American, she is Indian and Jamaican,” Levin said. “Her ancestry does not go back to American slavery, to the best of my knowledge her ancestry does not go back to slavery at all.”…

Read the entire article here.

Afro-German Women are Still Upholding the Legacy of May Ayim

Catapult
2020-09-10

Tari Ngangura

May Ayim with Audre Lorde/Photograph via audrelordeberlin.com

There have always been people suffering from anti-Blackness. And May Ayim highlights the continuity of the Black experience—not only her own, but those before her as well.

In 1986, Afro-German author and poet May Opitz—better known as May Ayim—co-edited the anthology, Showing Our Colours: Afro-German Women Speak Out. The book carries the stories of Afro-German women and their volatile, often violent experiences with anti-Blackness, belonging, and sexism in the European nation. Showing Our Colours remains a seminal offering in works that claim the existence and legitimacy of Black history within Europe, and also examines Germany’s specific role in the nineteenth century colonization of Africa—including the genocide in Namibia, which saw over one hundred thousand of the Herero, Nama, and San people killed by the German regime from 1904 until 1908.

Those who survived the genocide were locked in concentration camps, a precursor to those that would be utilized in the Holocaust. Showing Our Colours is as much about claiming space as it is about holding Germany accountable to its imperial history and its effects on the contemporary realities of Black immigrants living in the country. The book also outlines political shifts through the ages that saw terms like Moor, Negro, and African morph into racial epithets that would later be used by pseudoscientists to justify anti-Black racism, fascism, and medical bias.

Ayim died by suicide in 1996, and in her life and death, I see a testament to the resilience of Black women, and an indictment of insidious white supremacy that makes Black life a fragile negotiation between visibility and erasure. Since her death, Ayim’s work has been revisited most often by young Afro-Germans searching for the language and tools to explore their Blackness and womanhood alongside a European history that interrupted their ancestry and systematically destabilizes their present. For Afro-Germans, and especially the youth who have lived through global Black Lives Matter conversations, who witnessed police brutality on both a national and global scale, it is not enough to be simply German. It’s in this space that Ayim’s work is finding new eyes…

I spoke with Marny Garcia Mommertz, a Black-German researcher born in Oldenburg, Lower Saxony, about how the late author’s work has been something of a map, detailing similar experiences of othering, and a reminder that her contemporary reality is not simply of her own making, but part of a larger structural legacy of oppression…

Read the entire interview here.

Born Enslaved, Patrick Francis Healy ‘Passed’ His Way to Lead Georgetown University

Smithsonian Magazine
2020-09-08

Bryan Greene
Washington, D.C.

Because the 19th-century college president appeared white, he was able to climb the ladder of the Jesuit community

This back-to-school season, as the coronavirus pandemic demands continued social distancing, many college students are logging onto their classes remotely. While the country fights this public health crisis on one front, it fights the ongoing effects of systemic racism on another, and the battle is joined on America’s college campuses, where skyrocketing tuition costs, debates over academic freedom, and reckonings with the legacies of institutional racism come together.

The University of North Carolina, for instance, has had to tackle both crises this summer, as it shuttered dorms and sent students home after Covid-19 cases spiked soon after opening. In July, administrators approved guidelines for renaming buildings that currently honor North Carolinians who promoted the murderous 1898 overthrow of Wilmington’s elected multiracial government. In June, meanwhile, Princeton acceded to longstanding demands to strip Woodrow Wilson’s name from its public policy school, since his most notorious public policy as President of the United States was to segregate the federal workforce. Following the Minneapolis police killing of George Floyd, an ever-widening circle of students on campuses nationwide are re-examining their institutions’ unquestioned genuflection to their white-supremacist heritage.

But at Georgetown University, students, faculty, alumni, and administration have been re-appraising the school’s racist past for years. In 1838, when the Jesuit school was deep in debt, its president, Reverend Thomas F. Mulledy, on behalf of the Maryland Jesuits, sold 272 black men, women and children to Louisiana plantations to keep the school afloat. Three years ago, Georgetown pulled Mulledy’s name off a dormitory, replacing it with the name of enslaved laborer Isaac Hawkins. Georgetown will now consider applicants who are descendants of these enslaved persons in the same light as the children of faculty, staff and alumni for purposes of admission.

What makes Georgetown’s reflective moment most remarkable, however, and complicated, is that 35 years after Mulledy salvaged the school’s finances by selling human property, the school would be led by a man who, himself, was born enslaved. The story of Georgetown president Reverend Patrick Francis Healy reveals how a university built by enslaved persons, and rescued from collapse by the sale of enslaved persons, saw its “second founding” in the late 19th century under the guidance of a man whom the Jesuits knew had been born black but helped “pass” as white…

Read the entire article here.

The Black Violinist Who Inspired Beethoven

The New York Times
2020-09-04

Patricia Morrisroe

The violinist George Bridgetower has, like so many other Black artists, been largely forgotten by a history that belongs to those who control the narrative. The Trustees of the British Museum, via Art Resource, NY

George Bridgetower, the original dedicatee of the “Kreutzer” Sonata, was a charismatic prodigy but faded into history.

Six months after Beethoven contemplated suicide, confessing his despair over his increasing deafness in the 1802 document known as the Heiligenstadt Testament, he was carousing in taverns with a charismatic new comrade, George Polgreen Bridgetower. This biracial violinist had recently arrived in Vienna, and inspired one of Beethoven’s most famous and passionate pieces, the “Kreutzer” Sonata.

Beethoven even dedicated the sonata to Bridgetower. But the irritable composer — who would later remove the dedication to Napoleon from his Third Symphony — eventually took it back.

While Napoleon didn’t need Beethoven to secure his place in history, this snub reduced Bridgetower to near obscurity. Though his name was included in Anton Schindler’s 1840 biography of Beethoven, he was described inaccurately as “an American sea captain.” Like so many Black artists prominent in their lifetimes, he has been largely forgotten by a history that belongs to those who control the narrative.

Bridgetower was born on Aug. 13, 1778, in eastern Poland, and christened Hieronymus Hyppolitus de Augustus. His father, Joanis Fredericus de Augustus, was of African descent; his mother, Maria Schmid, was German-Polish, making Bridgetower what was then known as a mulatto, a person of mixed race. (The poet Rita Dove’s 2008 book “Sonata Mulattica,” an imagined chronicle of Bridgetower’s life, has helped raise his profile a bit in recent years.)…

Read the entire article here.

Author Event: Dedria Humphries Barker on AADL.TV

Ann Arbor District Library
343 South Fifth Avenue
Ann Arbor, Michigan 48104
2020-08-20, 00-01:30Z [2020-08-19, 20:00 to 21:30 EDT]

Join Dedria Humphries Barker as she discusses her book, Mother of Orphans: The True and Curious Story of Irish Alice, a Colored Man’s Widow.

Before Her Time: The Heroic Schooling of a Mulatto Girl

White women who for love crossed the 19th century Jim Crow color line for a new life in a Black family were highly unusual and often ostracized. But one such woman was Alice Donlan. Her interracial family braved further complication when her husband died in 1912, and Alice put their three children in an orphanage. Why was the one-hundred year old mystery unraveled by a two decades of research by Alice’s great granddaughter, Dedria Humphries Barker. Mother of Orphans is the resulting family biography. In this presentation, Humphries Barker argues that Alice’s act was heroic and helped propel future generations, including the author, to lives of opportunity.

Richly illustrated with historical and contemporary photographs, Mother of Orphans tells the story of Humphries Barker’s great grandmother, Alice Donlan, an Irish American woman from Indiana, who found love in Cincinnati, Ohio, at the end of the Gilded Age when the Ohio River city was known as the London and Paris of America. It was also the age of Jim Crow and lynching. This family biography explains how navigating interracial family life and different cultural values led to Alice’s unspeakable act. An intricate social history, Mother of Orphans links the stories of four generations of related White and Black women directly affected by Alice’s unspeakable act. And, in the final analysis, the author was amazed at how the social condition of 21st century women remains very similar to the daunting challenges Alice faced, especially when it comes to child care.

Dedria Humphries Barker is a African American woman writer who lives in Lansing, Michigan where she is a working mother of three adult children. Her work has included being a journalist at The Michigan Chronicle, Detroit’s African American newspaper, a staff writer for two Gannett, Co., Inc. daily newspapers, The Commercial News in Danville, Illinois, and The Lansing State Journal in Michigan’s capitol city; an editor at Michigan State University, and a freelance writer whose work on parenting has appeared on Salon.com, Your Teen, and Literary Mama, and in the Redbook and Good Housekeeping magazines, and The Detroit News, among other periodicals. Her work has been published by the historical societies of Ohio and Michigan. She is a former professor of English at Lansing Community College in Michigan.

To watch the event, click here.