Mixed Race Studies

‘Born a Crime,’ Trevor Noah’s Raw Account of Life Under Apartheid

The New York Times
2016-11-28

Michiko Kakutani, Chief Book Critic

Trevor Noah, host of “The Daily Show,” in 2015. His memoir provides a harrowing look at life in South Africa under apartheid and then after that era. Credit Chad Batka for The New York Times

As host of “The Daily Show,” Trevor Noah comes across as a wry, startled and sometimes outraged outsider, commenting on the absurdities of American life. During the presidential campaign, the South African-born comic remarked that Donald J. Trump reminded him of an African dictator, mused over the mystifying complexities of the Electoral College system and pointed out the weirdness of states voting on recreational marijuana.

In the countdown to and aftermath of the election, Mr. Noah has grown more comfortable at moving back and forth between jokes and earnest insights, between humor and serious asides — the way he’s done in his stand-up act, and now, in his compelling new memoir, “Born a Crime: Stories From a South African Childhood.”…

Read the entire review here.

Trevor Noah on Growing Up in South Africa Under Apartheid

Literary Hub
2016-12-02

Trevor Noah

“Where most children are proof of their parents’ love, I was the proof of their criminality.”

When the doctors pulled me out there was an awkward moment where they said, “Huh. That’s a very light-skinned baby.” A quick scan of the delivery room revealed no man standing around to take credit.

“Who is the father?” they asked.

“His father is from Swaziland,” my mother said, referring to the tiny, landlocked kingdom in the west of South Africa.

They probably knew she was lying, but they accepted it because they needed an explanation. Under apartheid, the government labeled everything on your birth certificate: race, tribe, nationality. Everything had to be categorized. My mother lied and said I was born in KaNgwane, the semi-sovereign homeland for Swazi people living in South Africa. So my birth certificate doesn’t say that I’m Xhosa, which technically I am. And it doesn’t say that I’m Swiss, which the government wouldn’t allow. It just says that I’m from another country.

My father isn’t on my birth certificate. Officially, he’s never been my father. And my mother, true to her word, was prepared for him not to be involved. She ’d rented a new flat for herself in Joubert Park, the neighborhood adjacent to Hillbrow, and that’s where she took me when she left the hospital. The next week she went to visit him, with no baby. To her surprise, he asked where I was. “You said that you didn’t want to be involved,” she said. And he hadn’t, but once I existed he realized he couldn’t have a son living around the corner and not be a part of my life. So the three of us formed a kind of family, as much as our peculiar situation would allow. I lived with my mom. We ’d sneak around and visit my dad when we could.

Where most children are proof of their parents’ love, I was the proof of their criminality. The only time I could be with my father was indoors. If we left the house, he ’d have to walk across the street from us. My mom and I used to go to Joubert Park all the time. It’s the Central Park of Johannesburg—beautiful gardens, a zoo, a giant chessboard with human-sized pieces that people would play. My mother tells me that once, when I was a toddler, my dad tried to go with us. We were in the park, he was walking a good bit away from us, and I ran after him, screaming, “Daddy! Daddy! Daddy!” People started looking. He panicked and ran away. I thought it was a game and kept chasing him…

Read the entire excerpt from Born a Crime: Stories from a South African Childhood here.

Carina E. Ray: Crossing the Color Line: Race, Sex, and the Contested Politics of Colonialism in Ghana [Interview]

New Books Network
2016-10-07

Dawne Curry, Associate Professor of History and Ethnic Studies
University of Nebraska, Lincoln

In Crossing the Color Line: Race, Sex, and the Contested Politics of Colonialism in Ghana (Ohio University Press, 2015), Carina E. Ray interrogates the intersections of race, marriage, gender and empire in this thought-provoking study that challenges the notion of identity and the politics that surround it. Ray plumbs the depth of an array of archival material, which includes travel narratives, visual sources, administrative records, wills, and personal and official correspondence. She also conducted interviews to further piece together the inner lives of Africans and Europeans to show how interracial marriages and relationships evolved in Ghana. In a very compelling way, Ray deconstructs intersexual economies to show their linkages to the slave trade and beyond. Her opening vignette not only sets the stage for the themes she addresses to illustrate how Africans had agency even when it came to marrying across the color line. Shortlisted for the United Kingdom’s Fage and Oliver Prize and the winner of the American Historical Associations’s Wesley-Logan Prize for African Diaspora History, this groundbreaking book has set new standards for understanding race, its implementation and its interpretation not only in Africa but also around the world.

Listen to the interview (00:57:50) here. Download the interview here.

A United Kingdom: Love In The Time Of The British Empire

Media Diversified
2016-11-28

Shane Thomas

Once the year in film began with #OscarsSoWhite, was it coincidence that 2016 is closing – and 2017 beginning – with a raft of movies featuring people of colour? We have Hidden Figures, Lion, Fences, and the magnificent Moonlight to come. We recently had the release of Queen of Katwe, and last Friday saw A United Kingdom, Amma Asante’s follow-up to Belle, appear in cinemas.

The story focuses around the true-life romance between Seretse Khama and Ruth Williams (played by David Oyelewo and Rosamund Pike). Seretse, who is studying in London in 1947, meets and falls in love with Ruth while in England. Normally this would set the table for a garden variety rom-com. But there’s no chance of any “com”, due to the complications the relationship brings. Seretse is the dauphin to the throne of Bechuanaland (a place under British control, before it was known as Botswana), and he is black, while Ruth is white…

Read the entire review here.

Carina Ray’s scholarship was sparked by her personal experiences

Brandeis Now
Brandeis University
Waltham, Massachusetts
2016-02-01

Jarret Bencks, News and Communications Specialist

Carina Ray performs research in the national archives in Ghana.

The newest AAAS professor will begin teaching courses next semester

When Carina Ray was an undergraduate at University of California at Santa Cruz in 1993, she was drawn to study abroad in Ghana because she wanted to connect with her Puerto Rican family’s African roots. The trip ended up being the beginning of a career dedicated to the study of what blackness means in West Africa.

Fast-forward to 2016, and Ray is a groundbreaking scholar of African history whose work is shedding new light on the history of race in Africa. She has been appointed as an associate professor of African and Afro-American Studies at Brandeis and will begin teaching courses in the fall of 2016.

Back in 1993, Ray was initially surprised that most Ghanaians she met saw her as white. Her longwinded explanations about being multiracial failed to persuade people otherwise.

“I realized it was more instructive to listen to Ghanaians talk about their own perceptions of blackness and how race works there.”

She found the subject was rarely written about from an African perspective, and that led her to pursue a PhD in African History at Cornell University followed by a robust teaching and publishing career devoted to a deeper understanding of race in Africa.

Out of that search for meaning came Ray’s first book, “Crossing the Color Line: Race, Sex, and the Contested Politics of Colonialism in Ghana,” which cuts to the heart of how interracial sex became a source of colonial anxiety and nationalist agitation during the first half of the twentieth century. The book has already received praise from noted scholars, including philosopher Kwame Appiah and historian Antoinette Burton…

Read the entire article here.

What Is the Color of Beauty?

The New York Times
2016-11-26

Helene Cooper, Pentagon Correspondent

Tiffany Ford

A multibillion-dollar industry of skin-whitening products dominates the West African beauty market, creating a world of mixed messages for the women who live there.

ACCRA, Ghana — Semiratu Zakaru was standing in the hot sun on a crowded noontime street explaining why Ghana’s new ban against certain skin-bleaching creams was unlikely to work, when her friend, Desmond Kwamina Odonkor, walked up and interrupted our conversation, oozing confidence and game.

“You have to stop bleaching,” he said, sotto voce. Then he winked at her and sauntered off.

Ms. Zakaru, a 23-year-old hairdresser, rolled her eyes. His advice, in her view, was rubbish for the simple reason that “all of his girlfriends are light-skinned.” She said she wasn’t about to stop using the Viva White cream and Clinic Clear lotion that had, over the last year and a half, made her skin several shades lighter than her original chocolate-milk complexion.

Here in the heart of the multibillion-dollar industry of products in West Africa that are meant to whiten skin, it is a world of mixed messages. Women are now being told that it is wrong, and even illegal, to bleach their skin. At the same time, they are flooded with messages — and not even subliminal ones — that tell them that white is beautiful…

…In many West African countries, at the top of that class structure, sit white expats, whether they are European diplomats in affluent neighborhoods, the United States Embassy staff members in their walled compounds or Lebanese merchants in electronic shops.

Next in the hierarchy are the mixed-race people. The European colonists who came to Africa mated with Africans and produced mixed-race offspring, who were then deemed to be of a superior class to the full-blooded Africans. South Africa’s apartheid system went so far as to legally enshrine mixed-race people, called “coloureds.”

“Anyone in this country could see that the mulattos were given precedence everywhere,” Dr. Delle said. “They were more educated, they were viewed as superior.” In many African countries, the word “mulatto” does not have the negative connotation that it has in the United States…

Read the entire article here.

Born a Crime: Stories from a South African Childhood

Spiegel & Grau (an imprint of Random House)
2016-11-15
204 pages
Hardcover ISBN: 978-0399588174

Trevor Noah

The compelling, inspiring, and comically sublime story of one man’s coming-of-age, set during the twilight of apartheid and the tumultuous days of freedom that followed

Trevor Noah’s unlikely path from apartheid South Africa to the desk of The Daily Show began with a criminal act: his birth. Trevor was born to a white Swiss father and a black Xhosa mother at a time when such a union was punishable by five years in prison. Living proof of his parents’ indiscretion, Trevor was kept mostly indoors for the earliest years of his life, bound by the extreme and often absurd measures his mother took to hide him from a government that could, at any moment, steal him away. Finally liberated by the end of South Africa’s tyrannical white rule, Trevor and his mother set forth on a grand adventure, living openly and freely and embracing the opportunities won by a centuries-long struggle.

Born a Crime is the story of a mischievous young boy who grows into a restless young man as he struggles to find himself in a world where he was never supposed to exist. It is also the story of that young man’s relationship with his fearless, rebellious, and fervently religious mother—his teammate, a woman determined to save her son from the cycle of poverty, violence, and abuse that would ultimately threaten her own life.

The stories collected here are by turns hilarious, dramatic, and deeply affecting. Whether subsisting on caterpillars for dinner during hard times, being thrown from a moving car during an attempted kidnapping, or just trying to survive the life-and-death pitfalls of dating in high school, Trevor illuminates his curious world with an incisive wit and unflinching honesty. His stories weave together to form a moving and searingly funny portrait of a boy making his way through a damaged world in a dangerous time, armed only with a keen sense of humor and a mother’s unconventional, unconditional love.

Amma Asante’s A United Kingdom

gal-dem
2016-11-18

Grace Barber-Plentie

Image via Telegraph

The characters and scenarios in Amma Asante’s A United Kingdom are like ghosts – they’re long gone, long dead, and yet there is still a resonance and urgency to them that keeps pushing through to our subconscious, never letting us quite forget. Regardless of the merits of her films themselves, Asante is a clever filmmaker, a filmmaker with a plan. At the BFI’s recent Black Star symposium, she told the audience that she deliberately makes period films about old issues in order to show how they reflect on our own contemporary problems with race, gender, love and money. Gone is the period dress of Belle, but there are still hoards of mixed race girls out there trying to find their place in society. And while in 2016 one would hope that an interracial couple could walk down the street holding hands without a second glance, Asante’s true story of the heir to the throne of Bechuanaland (now Botswana) and his white wife still makes us think about those of us that must fight for what we want and who we love.

The love worth fighting for, in the case of A United Kingdom, is that of white shopkeeper’s daughter Ruth, in a modest turn by Rosamund Pike and African heir Seretze Khama, played by David Oyelowo; another strong performance to add to his list. Their love, as seen in the opening scenes of the film, is not a fierce, passionate one, but one where each are equal and share love deeply in their own restrained way….

Read the entire review here.

How Trevor Noah went from biracial youth in S. Africa to leading light on U.S. TV

The Washington Post
2016-11-12

Karen Heller, National Features Writer

“Daily Show” host Trevor Noah has a new memoir about growing up mixed race in apartheid South Africa. (Marvin Joseph/The Washington Post)

NEW YORK — Trump. Trump. Clinton. The Obamas dancing like dorks.

Such is the stuff of a recent pre-election morning meeting at “The Daily Show” headquarters. Trevor Noah enters, water bottle and orange in hand, and wedges himself in among the writers, his back never pressing against the sofa.

“Can we talk about Brexit?” he asks. “I find Brexit fascinating, because in the U.S., people see it as done and dusted.”

They talk of Brexit, how British Foreign Secretary Boris Johnson resembles a Muppet. But then the discussion swiftly returns to the steady drip of Trump, Trump, Trump.

You may hire a guy for his global perspective, but comedy comes back to the familiar fast.

Last year, after a 16-year reign, Jon Stewart was replaced by a young comedian who is nothing like him: foreign, biracial, cool, GQ-photogenic and utterly unknown to Americans, having appeared on the show only three times before being tapped as the successor….

Read the entire article here.

Trevor Noah Wasn’t Expecting Liberal Hatred

The New York Times Magazine
2016-11-02

Ana Marie Cox

Your memoir, “Born a Crime,” is a striking depiction of your life in South Africa both under and after apartheid. How has that experience formed your perspective on the divisions we’re seeing in America because of the election? America is the place that always seems to treat the symptoms and not the cause. In South Africa, we’re very good at trying to go for the cause of racism. One thing that really never happened here, which is strange to me, was a period where white America had to reconcile with what it had done to black Americans.

I wonder if one difference is that in South Africa, no one could deny that the root of it all was racism, whereas here, people think there’s more ambiguity. What’s scary is how many people don’t realize that racism is written into your system in America. We had a very simple, blatant system. You could see where the tumor was, and you could cut it out. In America, the tumor masquerades as an organ, and you don’t know which parts to cut out because it’s hard to convince people that there’s a problem in the first place…

Read the entire interview here.