Mixed Race Studies

Dr. Maria Root reads Bill of Rights for Mixed Heritage on Loving Day

Multiracial Americans
2021-07-03

For the first time ever, Dr. Maria Root reads her Bill of Rights for People of Mixed Heritage on video. MASC presented an online Loving Day event June 2021. Loving Day celebrates the 1967 US Supreme Court decision that legalized interracial marriage in all 50 states. Since then mixed marriages and the multiracial population has grown. In 1993 Dr. Maria Root created the Bill of Rights to affirm mixed race identity.

Watch the video here.

Eartha Kitt’s daughter reveals what her mother taught her about race

TODAY
2021-04-23

Kitt Shapiro, daughter of the iconic actress and singer Eartha Kitt, discusses her mother’s experience with racism, recounting watching her being turned away at a “whites only” amusement park in South Africa. Shapiro says that as she’s gotten older, she has more understanding of her mother’s suffering and strength.

Watch the interview here.

After a Career of Challenging Racial Myths, Eduardo Bonilla-Silva Isn’t Slowing Down

Duke Today
Duke University
Durham, North Carolina
2021-07-07

Eric Ferreri, Senior Writer
Telephone: 919.681.8055

Eduardo Bonilla-Silva’s body of work has shaped academic and popular discussion of race and inequality.

In 2003, Eduardo Bonilla-Silva published what would prove his seminal work of academic scholarship: Racism Without Racists. In it, the sociologist – then at Texas A&M University – challenged the notion that the United States existed as a color-blind society.

The book made a splash within academia and beyond, setting the table for countless conversations about race, systemic racism and many of the divisions that continue to plague society in the US and elsewhere.

Bonilla-Silva came to Duke in 2005 and since has continued to hammer away at structural racism. Among his most recent publications, a 2020 article – just a few months into COVID-19 – that examined how the pandemic broadened inequities for people in marginalized communities.

A giant in his field, Bonilla-Silva will be honored later this summer with the W.E.B. Du Bois Career of Distinguished Scholarship Award from the American Sociological Association.

“While many agree, and some may disagree, with his work, the truth is that his racism theory has become canon – often required on preliminary/area exams and used as the theoretical scaffolding on countless research papers,” said David Embrick, a professor of sociology and Africana Studies at the University of Connecticut who nominated Bonilla-Silva for the award. “Part of the reason is that Bonilla-Silva doesn’t want people to just cite his research, but also to engage with it critically in ways that allow for new racism theories to emerge, to think deeply about any shortcomings and address them, and to take his theories to the next level. So, he’s always encouraging scholars to do more, think bigger and go beyond.”

Bonilla-Silva will receive the award in August. He recently talked with Duke Today about his career and research. Here are excerpts:…

Read the entire interview here.

White Fright: The Sexual Panic at the Heart of America’s Racist History

Basic Books (and imprint of Hachette Book Group)
2020-11-17
368 pages
Hardcover ISBN-13: 9781541646551
eBook ISBN-13: 9781541646544
Audiobook Downloadable ISBN-13: 9781549157721

Jane Daily, Associate Professor of History
University of Chicago, Chicago, Illinois

A major new history of the fight for racial equality in America, arguing that fear of black sexuality has undergirded white supremacy from the start.

In White Fright, historian Jane Dailey brilliantly reframes our understanding of the long struggle for African American rights. Those fighting against equality were not motivated only by a sense of innate superiority, as is often supposed, but also by an intense fear of black sexuality.

In this urgent investigation, Dailey examines how white anxiety about interracial sex and marriage found expression in some of the most contentious episodes of American history since Reconstruction: in battles over lynching, in the policing of black troops’ behavior overseas during World War II, in the violent outbursts following the Supreme Court’s decision in Brown v. Board of Education, and in the tragic story of Emmett Till. The question was finally settled — as a legal matter — with the Court’s definitive 1967 decision in Loving v. Virginia, which declared interracial marriage a “fundamental freedom.” Placing sex at the center of our civil rights history, White Fright offers a bold new take on one of the most confounding threads running through American history.

To Escape Jim Crow–Era Discrimination and Violence, Some Black Men Passed as White. But How Many?

Kellogg Insight
Kellogg School of Management at Northwestern University
Evanston, Illinois
2021-04-01

Based on the Research of:

Ricardo Dahis, Ph.D. Candidate in Economics
Northwestern University, Evanston, Illinois

Emily Nix, Assistant Professor of Finance and Business Economics
University of Southern California, Los Angeles

Nancy Qian, James J. O’Connor Professor of Managerial Economics & Decision Sciences
Kellogg School of Management at Northwestern University, Evanston, Illinois

Lisa Röper

Hundreds of thousands, according to a new study of Census data. Doing so provided some economic benefits but came at a great personal cost.

In the 1920s, a doctor named Albert Johnston had trouble finding a medical residency. Johnston was biracial, with Black ancestry, and hospitals at the time often did not permit Black physicians to treat white patients. But when a Maine hospital allowed him to apply without specifying his race, Johnston finally secured a position. He and his wife Thyra, who was one-eighth Black, started a new life as a white couple.

Johnston’s decision was an example of “passing”: identifying as a different race. During the Jim Crow era, when Black people were systematically denied opportunities and lived under the threat of lynching, some who were able to pass chose to do so in order to avoid the economic, physical, and social injustices of the time. And while historians and biographers have documented many instances of passing, researchers have not had a clear idea of how common this behavior was.

“The big question is, can we quantify this?” says Ricardo Dahis, a PhD student in economics at Northwestern University, who coauthored a study on this topic with Nancy Qian, a professor of managerial economics and decision sciences at Kellogg, and Emily Nix at the University of Southern California’s Marshall School of Business.

To come up with numbers, the researchers searched detailed U.S. census records taken from 1880 to 1940. They were able to thus track specific people through time and note if their race changed from one census to the next. (Women were too difficult to track because they usually changed their last names after marriage.) The team estimated that, on average, at least 1.4 percent of Black men under age 55 started passing as white per decade, adding up to more than 300,000 men over the study period. However, the estimate is very conservative, and the actual rate could be as high as 7–10 percent, the researchers say.

Men who passed often moved to other counties or states. Census records suggest that in some cases, the men passed without their Black wives or children; in others, the entire family may have passed as white.

“Racial discrimination was so extreme that in order to escape it, people redefined themselves,” Qian says. “They changed their own identity.”…

Read the entire article here.

Policing Cardi B’s Blackness: A Critical Analysis of “Commonsense” Notions of Race

Black Latinx Studies
2019-06-15

Shantee Rosado, Assistant Professor of Afro-Latinx Studies
Rutgers, The State University of New Jersey, New Brunswick.

When Cardi B entered the Hip Hop landscape during Love & Hip Hop: New York, the world seemed more entertained by her loud, humorous persona than her music. So, it didn’t surprise me that her emergence as a Hip Hop tour de force was met with some skepticism. Cardi B, born Belcalis Marlenis Almanzar, is a Bronx-born and raised Hip Hop phenom. If you haven’t heard of her by now, I’d like an escape to the deserted island you’ve been living on, por favor. Cardi is known for many things these days: for her tenuous relationship with fellow hip hop artist Offset, from Migos, for her very public pregnancy and recent birth of baby girl Kulture; and for her awkward, yet hilarious, interviews with late night figures like Jimmy Fallon.

Despite her obvious appeal to listeners, Cardi’s rise to fame was also met with some ridicule and suspicion, as critics took to Twitter to debate her legitimacy as an artist and her appearance as a “racially ambiguous” woman. Public concerns over Cardi’s Blackness are obvious from just a quick Google search. Existing articles include a blog post on Blavity, published last fall, titled “People want to know if Cardi B is Black, but for Afro-Caribbeans, things are not Black and White.” Another article, published on fuse early last year, is titled “Yes, Cardi B is Black and proud of it: Why the rapper’s Afro-Latina heritage shouldn’t be erased.” Tapping into similar concerns, a YouTube video published by The Talko and titled “20 things you didn’t know about Cardi B,” uses the first item on their list to “clear up” rumors regarding Cardi’s ethnic background. The video “clarifies” that her parents are Dominican and Trinidadian, but that Cardi was born and raised in the Bronx.

Read the entire article here.

Racial Mixture and Musical Mash-ups in the Life and Art of Bruno Mars

Lexington Books (an imprint of Rowman & Littlefield)
November 2020
154 pages
Trim: 6½ x 9
Hardback ISBN: 978-1-7936-1982-2
eBook ISBN: 978-1-7936-1983-9

Melinda A. Mills, Visiting Instructor
Department of Women’s and Gender Studies
University of South Florida, Tampa, Florida

This book argues that Bruno Mars is uniquely positioned to borrow from his heritage and experiential knowledge as well as his musical talent, performative expertise, and hybrid identities (culturally, ethnically, and racially) to remix music that can create “new music nostalgia.” Melinda Mills attends to the ways that Mars is precariously positioned in relation to all of the racial and ethnic groups that constitute his known background and argues that this complexity serves him well in the contemporary moment. Engaging in the performative politics of blackness allows Mars to advocate for social justice by employing his artistic agency. Through his entertainment and the everyday practice of joy, Mars models a way of moving through the world that counters its harsh realities. Through his music and perfomance, Mars provides a way for a reconceptualization of race and a reimagining of the future.

Table of Contents

• Introduction: Introducing Bruno Mars
• Chapter 1: New Music Nostalgia, Or, Is What’s Old New Again?
• Chapter 2: Blurred Boundaries, or Reading Between the Lines
• Chapter 3: The Performative Politics of Blackness
• Chapter 4: The Sonic Politics of Pleasure, Or Love and Joy in a Time of Trauma and Tragedy
• Chapter 5: (Re)fashioning Race and Music

Rediscovered Ancestry: a Family Learns the Story of Their Remarkable Ancestor, Senator Lawrence Cain

Walter Edgar’s Journal
South Carolina Public Radio
2021-04-12

Walter Edgar, Host

“Radical members of the first legislature after the war, South Carolina” – Photomontage of members of the first South Carolina legislature following the Civil War, mounted on card with each member identified. (Lawrence Cain, center, third from left)

In his book, The Virtue of Cain: From Slave to Senator (2021, Rocky Pond Press), Kevin Cherry focuses on the short but extraordinary life of Reconstruction era Senator Lawrence Cain of Edgefield, South Carolina. Cherry, Cain’s great great-grandson, also tells the contemporaty story of a family with Southern roots, long identified as having some American indian ancestry, re-discovering their true heritage.

Kevin Cherry’s book, The Virtue of Cain: From Slave to Senator (2021, Rocky Pond Press) focuses on the short but extraordinary life of Reconstruction era Senator Lawrence Cain of Edgefield, South Carolina. He was considered an honorable and virtuous man and helped shape South Carolina politics between 1865 and 1877 as one of the leaders of the Radical Republican movement. He rose above numerous obstacles to go from slave to state senator

The facts of his life had been forgotten by his descendants, like much of African American history during Reconstruction. But they were re-discovered Lawrence Cain’s great great-grandson, Kevin M. Cherry, with the help of family, genealogy research, archived papers and genetic DNA results. Cherry is joined in conversation with Walter Edgar and Dr. Vernon Burton, professor emeritus of history at Clemson University, recounting Lawrence Cain’s remarkable life and the social and political upheaval of Reconstruction in South Carolina.

Listen to the story (00:51:59) here.

‘In the Heights’ and Colorism: What Is Lost When Afro-Latinos Are Erased

The New York Times
2021-06-21

By Maira Garcia, Sandra E. Garcia, Isabelia Herrera, Concepción de León, Maya Phillips and A.O. Scott

The “In the Heights” cast includes Daphne Rubin-Vega, left, Stephanie Beatriz, Melissa Barrera (rear), Olga Merediz, Gregory Diaz IV, Dascha Polanco and Jimmy Smits. Warner Bros.

The film, set in a New York neighborhood known as the Little Dominican Republic, didn’t cast dark-skinned Latinos in lead roles. Our writers discuss how that absence reverberates.

“In the Heights,” the long-delayed Hollywood adaptation of the Broadway musical, has been heralded as a step for more Latino representation in Hollywood, but a conversation has emerged about colorism and the casting of the film.

The New York neighborhood at the center of the story, Washington Heights, is predominantly Afro-Dominican. In an interview, Felice León, a video producer for The Root, asked Jon M. Chu, the director, and some of the stars about the lack of dark-skinned leads in the film: “As a Black woman of Cuban descent specifically from New York City,” she told him, “it would be remiss of me to not acknowledge the fact that most of your principal actors were light-skinned or white-passing Latinx people.” Chu said it was a conversation and something he needed to be educated about. In the end, he said, they “tried to get the people who were best for those roles.”

Lin-Manuel Miranda, who is a part of the film’s creative team, which includes the writer Quiara Alegría Hudes, addressed the criticism last week in a statement on Twitter. He apologized for falling short in “trying to paint a mosaic of this community.” Several prominent Latinos came to Miranda’s defense, including the pioneering Latina actress Rita Moreno, who later backtracked her comments. It’s not the first time Chu has had to contend with questions of identity. His box office hit “Crazy Rich Asians” also had to address similar issues when it came to the casting of Asians and Asian-Americans in the film. (The lead actor in that film, Henry Golding, is biracial.)

I asked five critics and reporters at The Times to weigh in on the criticism and what it means for representation in the arts. These are edited excerpts from the conversation. MAIRA GARCIA…

Read the entire article here.

Opinion: ‘In the Heights’ is just more of the same whitewashed Hollywood

The Washington Post
2021-06-21

Julissa Contreras and Dash Harris Machado

Producer Lin-Manuel Miranda attends the 2021 Tribeca Film Festival opening-night premiere of “In the Heights” on June 9 in New York. (Evan Agostini/Invision/AP)

Julissa Contreras is a Dominican writer, poet, actor and creator of the “Ladies Who Bronché” podcast. Dash Harris Machado is co-founder of AfroLatino Travel, producer and facilitator of the “Radio Caña Negra” podcast and producer of “NEGRO: A Docu-series About Latinx Identity.”

The recent controversy surrounding “In the Heights,” the big-budget film based on the musical created by Lin-Manuel Miranda, came as no surprise for Black Latin American and Caribbean people. With its White and light-skinned leading roles, the film became part of a long tradition in the Americas of Black erasure.

When moviegoers and journalists, including the Root’s Felice León, started highlighting the lack of Black leading cast members in the film, many prominent figures rushed to defend it. “We shouldn’t burden Lin-Manuel with the responsibility of representing every Latino,” commentator Ana Navarro said. “You can never do right, it seems,” actress Rita Moreno said in defense of Miranda. “This is the man who literally has brought Latino-ness and Puerto Rican-ness to America.” Both accounts are inaccurate.

Read the entire article here.