Mixed Race Studies

Carlton Mackey: Conversations beyond color

Emory Profile
Emory News Center
2013-11-22

Kimber Williams

As director of Emory’s Ethics and the Arts program — and a lifelong photographer and filmmaker — Carlton Mackey is used to exploring the questions that intrigue him through an artist’s lens. 

So as he prepared to become a father for the first time, questions of skin tone and identity, beauty and culture came to captivate him as never before: Will this child identify as biracial? Will he identify as black? What is blackness? What does skin tone mean in the search for identity?

His response was to embark upon a deeply personal exploration of the topic, which has resulted in “50 Shades of Black” (self-published, 2013), a multi-disciplinary art project funded, in part, by a grant from Emory’s Center for Creativity & Arts, that investigates the intersection of skin tone and sexuality in shaping identity through both a book, a website and traveling art exhibit…

…Emory Report caught up with Mackey to discuss the evolution of “50 Shades of Black,” which will be the focus of a public exhibition at the Center for Ethics next February. 

Where does your story as an artist begin?

My roots go back to Southern Georgia. I was born in Jesup, Georgia, and raised by a mom (Burnell Mackey) and dad (Carl Mackey) who loved me dearly. When I was 4 years old, my mom passed away after battling cancer. After that, I moved to Blackshear, Georgia, to live with my grandmother, Pearl Taylor — the single most important female figure in my life, outside of my mom, who spent my formative years rearing, shaping and molding me. 

As an adult, I have a new set of eyes for understanding how she influenced me as an artist. But it doesn’t look like painting or drawing or making films. She got as far as the sixth grade and worked hard her entire life — so no, not a lot of art in that sense. But I’ve come to understand some of the key ingredients for being a successful artist are thinking outside the box, being resourceful. Creativity can flourish more when there are limitations than when there is excess, I think. That’s what she showed me day after day. I use that as an artist…

…How did you come up with the idea for the “50 Shades of Black” project?

Before I had my son Isaiah, I’d never dated anyone who didn’t look like me. But I fell in love with my wife (Kari, who is white). When I was going to become a father, I started having these questions: What is this kid going to look like? Is he going to identify with me? Am I going to identify with him? Is he going to be black? What is blackness? 

When I saw him, all that went out the window, didn’t even matter. But the root of those questions are very real and continue to be very real, not only for parents, but for children who look like him, historically, who will go through life with people asking, “What are you? Where are you from?”…

Read the entire interview here.

Dr. Yaba Blay to Appear Tonight on “Totally Biased with W. Kamau Bell”

Totally Biased with W. Kamau Bell
FXX
Wednesday, 2013-11-13, 23:00 EST (2013-11-14, 04:00Z)

W. Kamau Bell, Executive Producer and Host

Tonight on Totally Biased, we proudly welcome Dr. Yaba Blay! 

Dr. Yaba Blay is a professor, producer, and publisher. As a researcher and ethnographer, she uses personal and social narratives to disrupt fundamental assumptions about cultures and identities. As a cultural worker and producer, she uses images to inform consciousness, incite dialogue, and inspire others into action and transformation. While her broader research interests are related to Africana cultural aesthetics and aesthetic practices, and global Black popular culture, Dr. Blay’s specific research interests lie within global Black identities and the politics of embodiment, with particular attention given to hair and skin color politics. Her 2007 dissertation, Yellow Fever: Skin Bleaching and the Politics of Skin Color in Ghana, relies upon African-centered and African feminist methodologies to investigate the social practice of skin bleaching in Ghana; and her ethnographic case study of skin color and identity in New Orleans entitled “Pretty Color and Good Hair” is featured as a chapter in the anthology Blackberries and Redbones: Critical Articulations of Black Hair/Body Politics in Africana Communities.

One of today’s leading voices on colorism and global skin color politics, Dr. Yaba Blay is the author of (1)ne Drop: Shifting the Lens on Race and artistic director of the (1)ne Drop project. In 2012, she served as a Consulting Producer for CNN Black in America – “Who is Black in America?” – a television documentary inspired by the scope of her (1)ne Drop project. In addition to her production work for CNN, Dr. Blay is producing a transmedia film project focused on the global practice of skin bleaching (with director Terence Nance).

‘Hafu’ tells story of Japan’s mixed-race minority and changing attitudes in society

Japan Today
2013-11-15

Philip Kendall

TOKYO—For such a small word, “half” carries an awful lot of weight here in Japan. Adapted to fit the syllabary, the word is pronounced “hafu” in Japanese, and describes a person who has one Japanese – and of course one non-Japanese – parent. More often than not, the word carries certain connotations, and many Japanese have preconceived, often erroneous, notions that hafu have natural English ability, have spent time abroad, and possess many of the physical characteristics Japanese associate with Westerners. At the same time, the word is immediately indicative of something very un-Japanese, and many hafu – even those who have never set foot outside of Japan and speak no other language – are never truly accepted by society as a result.

The Hafu Project was begun in 2009 as an initiative aiming to promote awareness of racial diversity in Japan and the issues facing those of mixed heritage. It was after becoming involved with the project that two filmmakers, Megumi Nishikura and Lara Perez Takagi, began a collaborative work that would eventually become a full-length feature film titled, simply, “Hafu.”

Three years in the making, “Hafu” was completed in April this year, and has been screened at independent cinemas everywhere from Madrid to Tokyo. After checking out the film for ourselves when it came to Shibuya recently, RocketNews24 talked with Megumi and Lara to learn a little more about the making of the film and how in their opinion attitudes in Japan are evolving.

“Hafu” documents the daily lives and experiences of five hafu who have either lived most of their lives in Japan or are visiting for the first time in an effort to learn more about their Japanese heritage. Shot in the documentary style with the featured hafu providing the voiceover throughout, the film has a quiet poignancy to it that at times brought us close to tears, yet ultimately left us feeling both upbeat and confident that attitudes toward hafu in Japan are changing for the better.

Hugely impressed by this profoundly moving and inspiring film, RocketNews24 got in touch with Megumi and Lara, who kindly answered our questions about themselves, the making of the film, and how they see life for hafu in Japan changing as the number of children born to mixed-race parents increases each year…

Read the entire interview here.

Dr. Yaba Blay on shifting the lens on race

Radio Times with Marty Moss-Coane
WHYY 90.9 FM
Philadelphia, Pennsylvania
2013-10-30

Who is black? And who is not? “Mixed/Jamerian,” “Black/Latina,” “Appalachian African American” are examples of how some people of color describe themselves. Drexel University Africana Studies professor Dr. Yaba Blay explores the nuances of the politics of racial identity and hair and skin color. Her work sheds light on the legacy of the outdated “one-drop” law – that if a person had a drop of black blood, they would be forever identified as black. Through interviews and research, she shows the diversity of the many ways bi-racial and multi-racial people self-identify. Her new portrait essay book is “(1)ne Drop: Shifting the Lens on Race.”

Download the episode here.

Playwright Sarah Rutherford on her play Adult Supervision

TheatreVOICE
Department of Theatre & Performance
Victoria and Albert Museum
2013-10-22

Heather Neill

Interview: Sarah Rutherford

The playwright talks to Heather Neill about her new drama, Adult Supervision, a story about race which is currently playing at the Park Theatre in London’s Finsbury Park in Jez Bond’s production. Recorded at the Park Theatre, 16 October 2013.

Listen to the interview here.

Growing Up Black in American Apartheid – Ford Pt1

Reality Asserts Itself
The Real News Network
2013-10-23

Paul Jay, Host

Glen Ford, Executive Editor
Black Agenda Report

On Reality Asserts Itself with Paul Jay: Glen Ford, Executive Editor of Black Agenda Report, tells his story as a red-diaper baby, growing up facing racism in the North living with his white activist mother, and living in the Deep South with his black deejay father.

An Essentially American Narrative

The New York Times
2013-10-11

Nelson George

A Discussion of Steve McQueen’s Film ‘12 Years a Slave’

Amid comic book epics, bromantic comedies and sequels of sequels, films about America’s tortured racial history have recently emerged as a surprisingly lucrative Hollywood staple. In the last two years, “The Help,” “Lincoln,””Django Unchained,””42” and “Lee Daniels’ The Butler” have performed well at the box office, gathering awards in some cases and drawing varying degrees of critical acclaim.

The latest entry in this unlikely genre is “12 Years a Slave,” the director Steve McQueen’s adaptation of Solomon Northup’s 1853 memoir. A free black man living in Saratoga, N.Y., Northup (played by Chiwetel Ejiofor) was kidnapped in 1841 and sold into brutal servitude in the Deep South. During his ordeal, he labors at different plantations, including the one owned by the sadistic Edwin Epps (Michael Fassbender), who has a tortured sexual relationship with the slave Patsey (Lupita Nyong’o).

Following a buzzed-about preview screening at the Telluride Film Festival and the audience award at the Toronto International Film Festival, “12 Years a Slave” arrives in theaters Friday amid much online chatter that it may be headed for Oscar nominations. But Mr. Ejiofor, who portrays Northup, and Mr. McQueen, known for the bracingly austere “Hunger” and “Shame,” both say that getting audiences to see an uncompromisingly violent and quietly meditative film about America’s “peculiar institution” is still a challenge even with the presence of a producer, Brad Pitt, in a small role.

While the material was developed by Americans (including the screenwriter John Ridley) the director and most of the major cast members are British, a topic of concern among some early black commentators.

On a sweltering afternoon in SoHo last month, the author and filmmaker Nelson George led a round-table discussion at the Crosby Street Hotel with Mr. Ejiofor and Mr. McQueen. Joining them to provide a wider historical and artistic context were the Columbia University professor Eric Foner, author of the Pulitzer Prize-winning “Fiery Trial: Abraham Lincoln and American Slavery,” among other books; and the artist Kara Walker, whose room-size tableaus of the Old South employing silhouettes have redefined how history and slavery are depicted in contemporary art and influenced many, including the “12 Years a Slave” production team. Current civil rights issues including the New York police practice of stop and frisk, recently declared unconstitutional; sexuality and slavery; Hollywood’s version of American history; and the themes of Obama-era cinema were among the topics of the sharp but polite dialogue. These are excerpts from the conversation…

Q. I wanted to start with contemporary analogues. One thing that came to mind was stop and frisk, a way the New York City police could stop a black or Latino male. I thought of Solomon as a character who, for a lot of contemporary audiences, would be that young black person. [To Mr. McQueen and Mr. Ejiofor] When you were seeking a way into the slave story, was what happens now part of that?

Steve McQueen Absolutely. History has a funny thing of repeating itself. Also, it’s the whole idea of once you’ve left the cinema, the story continues. Over a century and a half to the present day. I mean, you see the evidence of slavery as you walk down the street.

What do you mean? 

McQueen The prison population, mental illness, poverty, education. We could go on forever…

…Servitude and Sexuality 

There’s a lot of things to say about sex in the film, but one of the things that is going to leap out is Alfre Woodard’s character [Mistress Shaw, described in the book as the black wife of a white plantation owner]. 

McQueen In the book, she doesn’t say anything. I had a conversation with John Ridley, and I said: “Look, we need a scene with this woman. I want her to have tea.” It was very simple. Give her a voice.

Walker It’s not that it was that uncommon. That planter would be sort of the crazy one, the eccentric one, and she’s getting by.

Ejiofor It was against the law to marry, but it did happen.

Foner There were four million slaves in the U.S. in 1860 and several hundred thousand slave owners. It wasn’t just a homogeneous system. It had every kind of human variation you can imagine. There were black plantation owners in Louisiana, black slave owners…

…Solomon has a wife beforehand. In the film it seems as if he lived with Eliza [a fellow slave]. Then obviously [he has] some kind of relationship with Patsey, a friendship. But I wondered about Solomon’s own sexual expression. 

Ejiofor  His sexuality felt slightly more of a tangent. I think the real story is where sex is in terms of power.

Foner Remember, this book is one of the most remarkable first-person accounts of slavery. But it’s also a piece of propaganda. It’s written to persuade people that slavery needs to be abolished. He doesn’t say anything about sexual relations he may have had as a slave. There’s no place for such a discussion because of the purpose of the book.

Walker But in “Incidents in the Life of a Slave Girl” [by Harriet Ann Jacobs] and other slave narratives written by women, that’s always kind of the subtext, because there are children that are produced, relationships that are formed or allegiances that are formed with white men in order to have freedom.

Foner  Harriet Jacobs was condemned by many people for revealing this, even antislavery people.

Walker Yes, but it’s always the subtext. Even “Uncle Tom’s Cabin.” It’s like, there’s little mulatto children, and that’s the evidence…

Read the entire interview here.

Playwright Sarah Rutherford: ‘Middle-class, mixed-race families are invisible on our stages’

What’s on Stage
London
2013-10-10

Editorial Staff

As her new play Adult Supervision premieres at the Park Theatre, playwright Sarah Rutherford discusses multiculturalism in modern Britain

What’s Adult Supervision about?

It’s set in 2008 and it’s about a white ex-lawyer, Natasha, who’s adopted two children from Ethiopia. As a parent who likes to do things by the book, she’s decided that it’s important for the kids to get to know the handful of other ‘children of colour’ at their very smart private school. Natasha seizes on the opportunity of the US election to invite the mothers of these children to a drinks party, but things start to go awry as the Obamatinis flow and inhibitions are shed.

Why did you set it on the night of Obama’s election?

I have such vivid memories of that night, and although it was historic for everyone, I think many communities—‘parents of children of colour’ being one—took it as a kind of personal victory. It was an incredibly heady moment—suddenly anything seemed possible—and it’s an interesting time to look back on from the perspective of today, when the US seems to be going into meltdown and November 2008 looks like an almost innocent time.

Would you describe it as a comedy?

Yes—a comedy drama. But the laughs in it come mostly from character, from truth (truths you may not have heard spoken out loud before) and from discomfort, rather than from gags.

How has your personal experience influenced and shaped the play?

Hugely. I’m married to a man of Jamaican origin and am the mother of two amazing mixed-race children, although they go to a much more diverse school than the one in the play. Some of the more jaw-dropping dialogue in the play is actually pretty much verbatim stuff that has been said to me over the years; other material has come from things that I’ve thought or sensed but that have gone unsaid…

Read the entire interview here.

“The United States of the United Races” w/ Dr. Greg Carter

Mixed Race Radio
Blog Talk Radio
2013-09-25, 16:00Z (12:00 EDT)

Tiffany Rae Reid, Host

Greg Carter, Associate Professor of History
University of Wisconsin, Milwaukee

On Today’s episode of Mixed Race Radio we will meet Professor Greg Carter, author of The United States of the United Races: A Utopian History of Racial Mixing. Professor Carter currently serves as the Associate Professor, Department of History at the University of Wisconsin at Milwaukee. He studied at the University of Texas at Austin where he received his Ph.D. in 2007.

Besides receiving several prestigious awards including, the Graduate School Research Council Award (University of Wisconsin-Milwaukee 2009) and the Campus Reading Seminar Award (University of Wisconsin System Institute for Race and Ethnicity 2008), Professor Carter is teaching some of the coolest courses in a college setting. He continues to present some very intriguing discussions that explore the mixed race experience in media and he does this while remaining involved in the History Caucus, Minority Scholars Committee and several other committees which he actually chairs.

“Each of the seven chapters in The United States of the United Races explores how tensions in our history have revised themselves in every period since the early republic. This book presents the career of an idea through time more so than the biographies of particular writers, orators, or activists. This unified approach shows that in every period, an optimistic stance has been as central to the American conversation on race as the pessimist. Because antipathy towards mixture is so established, and because they have no formal connection to predecessors, each critic of the dominant position must re-create the position in new ways.”

Today, we will discuss Professor’s Carter’s book,  The United States of the United Races: A Utopian History of Racial Mixing and engage our listeners in a discussion centered on the history of positive ideas about racial mixing in the U.S. as well as Critical Mixed Race Studies as a field.

Quadroons for Beginners: Discussing the Suppressed and Sexualized History of Free Women of Color with Author Emily Clark

The Huffington Post
2013-09-04

Stacy Parker Le Melle

“As a historian, I knew that mixed race women and interracial families were everywhere in America from its earliest days. And I knew that most of the free women of color in antebellum New Orleans bore no resemblance to the quadroons of myth.” —Dr. Emily Clark

As an American, I follow my roots like trails across the globe. My mother is from Kansas and is of German descent, and my deceased father was black with roots in North Carolina, and before then, Africa. Arguably you can trace all of us back to Africa. But my parents’ union created me: a black American woman, a woman of color, a mixed kid, a mulatta, maybe an Oreo, definitely a myriad of identities and categories to embrace or resist.

Living in Harlem, I see so many mixed marriages, mixed kids everyday all the time. Traveling the South, I see so many kids with the telltale curly locks. Growing up in Metro Detroit in the 80s, I knew there were other black & white mixes like me. I just didn’t know them. Only at college in Washington, DC, did I meet mixed girls and have them as friends. And not until my English, women’s studies, and African-American history courses did I learn any American history about women like me.

Before college, maybe I’d encounter a definition of “miscegenation” – that very special crime of racemixing in segregated America. And maybe an explanation of the “one drop rule” that went on to create the classifications of “mulatto” and “quadroon” and “octaroon“—your label dependent upon which fraction of African was in your genealogy. But that was it. In my high school American History texts, I don’t remember any acknowledgement of centuries of rape and consensual relationships between whites and blacks. None of my suburban history teachers lingered on the taboo. Maybe I didn’t either. When I think of the mania around racemixing, and of the cultural trope of the “tragic mulatta“—the woman doomed because she is too white for the blacks, too black for the whites—it was easy to assume that the history of mixed-race women in America was simple in its sadness and injustice.

Yet there is nothing simple about the American Quadroon. Once she was the picture of irresistible beauty, the symbol of a city thought of as irredeemably “other”, an earthbound goddess who conjured so much desire that white men made her concubines, and slavetraders scoured the states for enslaved girls that fit her description to fulfill buyer demand. That was the myth, the dominant story. But as Tulane historian Emily Clark writes in her richly-researched and compelling The Strange History of the American Quadroon: Free Women of Color in the Revolutionary Atlantic World (UNC Press), she was also a family-woman, marrying men of color, living the propriety dream in her New Orleans society. If her myth was simple in its power, her reality was rich and complicated—by no means a single story…

…How do you define an “American Quadroon”?

Dr. Clark: There are really two versions. One is the virtually unknown historical reality, the married free women of color of New Orleans who were paragons of piety and respectability. The other is the more familiar mythic figure who took shape in the antebellum American imagination. If you asked a white nineteenth-century American what a quadroon was, they would answer that she was a light-skinned free woman of color who preferred being the mistress of a white man to marriage with a man who shared her racial ancestry. In order to ensnare white lovers who would provide for them, quadroons were supposedly schooled from girlhood by their mothers to be virtuosos in the erotic arts. When they came of age, their mothers put them on display at quadroon balls and negotiated a contract with a white lover to set the young woman up in a house and provide enough money to support her and any children born of the liaison. The arrangement usually ended in heartbreak for the quadroon when the lover left her to marry a white woman. If this sounds like a white male rape fantasy, that is exactly what it was. There is one other key characteristic of the mythic American Quadroon: she was to be found only in New Orleans…

Read the entire interview here.