Mixed Race Studies

‘Blasian Narratives’ struggles with the question: Black enough? Asian enough?

Kore Asian Media
2016-08-16

Tae Hong

“Blasian Narratives” performs inside Stanford Theatre. (Harrison Troung/Courtesy photo)

Teaching third graders in an underserved area of Brooklyn, Cenisa Gavin often looks out at her mostly black and Latino students and is reminded of the failings of her own teachers when it came to discussions about race and identity.

Gavin, 23, is black on her father’s side, and Korean Eskimo on her mother’s side. She has long, thick hair and, by her own description, slanted eyes. Growing up as a mixed-race child in Anchorage, Alaska, was one thing – she could never, for one, converse with her Korean great-grandmother because of a language barrier, and that was always the way it had been for her family – but coming across the term “Blasian” as a high schooler, and then joining a group of them to talk about her heritage as black and Asian on a theater stage at Spelman College years later, was another.

“I think my teachers did us a disservice by not discussing what it is to be colorblind, and how being colorful is greater than that,” Gavin said. When she told her students about her mixed race last year, she said, and when they saw her black father, the kids were surprised: “They said, ‘Ms. Gavin’s dad is black? You’re black?’”

This is one of the themes carried in the stories told by the seven-member group with which Gavin has now starred in a film project, “Blasian Narratives,” started by Cambodian American director Omnes “Canon” Senmos and looking toward release this fall…

Read the entire article here.

Our Diversity Isn’t Looking Very Diverse

Affinity Magazine
2016-08-20

Etienne Rodriguez
Rutgers, The State University of New Jersey

Look alive, True Believers, if the rumors are to be believed, then Zendaya is playing the role of Mary Jane Watson in the upcoming Spider-Man movie. This is the latest in a series of black women being cast in traditionally white comic book roles. First it was Candice Patton being cast as Iris West in CW’s The Flash, then Tessa Thompson as Valkyrie in Marvel’s Thor: Ragnarok, followed by Kiersey Clemons being cast in Warner Brother’s The Flash, and now Zendaya. While they’re all great actresses and I can’t wait to see them in action, it’s hard not to notice that only a certain type of black girl is being cast.

We all want to celebrate the fact that black women are getting more roles, but we need to address the colorism in these casting. Zendaya, Kiersey, Tessa, and Candice are all lightskin black women. These aren’t coincidences; these are products of our society’s devaluing of darkskin black women, especially those that don’t meet Eurocentric beauty standards. These actresses received/continue to receive a lot of hate, doused in racism no doubt, but nothing in comparison to what Leslie Jones went through just last month.

Leslie is a darkskin black women with Afrocentric features, and the internet sure as hell wanted her to know it. Through comparison to gorillas, various racial slurs, and general bigotry, she was forced to retreat from Twitter and thus interacting with her fans. Women like her are rarely given the chance to shine and when they are, they’re met with harassment and abuse…

Read the entire article here.

Richard Pryor’s Daughter Opens Up About The Racism Her Family Faced In Beverly Hills

The Huffington Post
2016-08-18

Lisa Capretto
The Oprah Winfrey Network

“I’m a product of this thing that everyone was against.”

When Rain Pryor was born in 1969, her father, Richard Pryor, had already begun transitioning from a relatively mild joke-telling comedian to a fearless, outspoken comic whose routines doubled as raw social commentary. As Pryor’s comedy was shifting, so was the country, moving toward more progressive values. But, as his daughter Rain points out, blatant racism still affected countless families, including her own.

Speaking with “Oprah: Where Are They Now?”, the 47-year-old actress opened up about her childhood, setting the scene for what her interracial family faced during that time in their Beverly Hills community.

“My dad’s Richard Pryor. My mother, Shelley, was a poor Jewish woman,” Rain says. “Imagine, if you will, Beverly Hills in the early ‘70s. Here I am, this mixed-race child [with] my golden skin, my big poufy hair ― because Mom knew nothing about a pressing comb ― [and] my mom’s blond-haired, blue-eyed, looking like Cher, wearing dashikis.”…

Read the entire article here.

White People, Stop Saying You’re ‘Black On The Inside’

The Establishment
2016-08-15

Natasha Diaz

White and Wrong

White people are consistent; I’ll give them that. They take Black culture as the blueprint for their fashion, entertainment, music, and new hip terms to enhance their Urban Dictionary posts. They colonize neighborhoods, forcing out people who have lived there for generations, stripping the area of culture, and filling it with ridiculous storefronts that specialize in multiple varieties of a single condiment that could easily be made at home. Just when you thought they couldn’t take any more, they’ll figure out a way to snatch even the intangible away. Take #BlackLivesMatter, a slogan built to anchor a human rights movement, stolen to protect Smurfs. (Presumably that’s what “Blue Lives Matter” is about, since otherwise it makes no goddamn sense.) Usually, white people want everything Black, except to actually be Black. That is, until Friday, June 12th, 2015, when Rachel Dolezal and her circus full of weave and spray tan came marching out into the public eye.

Everyone I knew emailed to tell me about Dolezal. As a woman of mixed race that inadvertently passes as white, I clearly needed to be in the know. A few idiots even reached out to say that they “finally understood now” where I was coming from in explaining my racial background. Let’s have a moment of silence for those poor unfortunate souls, now eternally “unfriended” in all senses of the term—R.I.P. But none of my friends’ and ex-friends’ responses were as offensive as Dolezal’s spurious claim to be Black…

Read the entire article here.

How Tessa Thompson Became A Modern Marvel

BuzzFeed
2016-07-20

Anita Badejo, Associate Features Editor

At a time when Hollywood is finally developing the kinds of projects for actors of color that had traditionally been out of reach, Tessa Thompson’s ascent to the A-list isn’t just welcome — it’s necessary. How can she embody this pivotal cultural moment without being defined by it?

Tessa Thompson has a problem. “I really like to be good at things,” she says, reclining in a rich brown leather chair in the Library bar of Manhattan’s NoMad Hotel. It’s a Sunday afternoon in March, and Thompson is wearing a sheer black blouse with gold-chained collar pins and high-waisted acid-wash jeans. “It’s an impediment sometimes.”

The idea that the 32-year-old could be impeded by anything seems unlikely. In the past two years, she has been touted as Hollywood’s Next Big Thing based on performances in films such as the indie darling Dear White People, the historical drama Selma, and November’s box office hit Creed, and she has parlayed those successes into at least three potentially life-changing upcoming roles. “To be really bad in the beginning and to risk being bad every time and just continually be compelled to want to be good and better?” she says, her Ts aspirated in the manner of a lifelong performer. “Acting is the only thing I was able to push through that.”

And, as Thompson acknowledges, the roles she’s had a particular knack for so far have tackled complicated issues of race and gender — all befitting the multiracial actress, who peppers her musings with references to everyone from bell hooks to Laurence Olivier. “Whatever alchemy it is, those are the kind of parts that I’m going to be better at.”…

Read the entire article here.

Half-Caste Actresses in Colonial Brazilian Opera Houses

Latin American Theatre Review
Volume 45, Number 2, Spring 2012
pages 57-71
DOI: 10.1353/ltr.2012.0016

Rosana Marreco Brescia
Universidade Nova de Lisboa

Operatic and theatrical historians in both Brazil and Portugal frequently mention that around the last quarter of the 18th century, Queen Maria I forbade women to perform on public stages in Portugal. However, it seems that the impresarios and owners of opera houses in colonial Brazil were unaware of this prohibition, since I have found several references to actresses performing in many of the permanent theatres at the end of the 18th century and the first decades of the 19th century. The great majority of these actresses were half-caste women. The most remarkable example is the case of soprano Joaquina Lapinha, prima donna of the Opera Nova in Rio de Janeiro, and probably the only native Luso-American singer to perform in a European theatre in the 18th century. This article considers the employment of actresses in the opera houses of São Paulo, Vila Rica, Rio de Janeiro, and Porto Alegre, showing how the impresarios of these public theatres managed to provide their companies with the necessary human resources.

Taraji P. Henson Is a Math Genius in ‘Hidden Figures’ First Trailer

Variety
2016-08-15

Dave McNary, Film Reporter

Taraji P. Henson, Octavia Spencer, and Janelle Monae break the glass ceiling — among other barriers — in the first trailer for the NASA drama “Hidden Figures,” which debuted Sunday night during the Rio Olympics.

The teaser opens with Henson’s Katherine Johnson character as a young girl, filling up a classroom blackboard with mathematical formulas, prompting her teacher to tell her parents, “I’ve never seen a mind like your daughter has.”…

In addition to Henson, Spencer portrays Dorothy Vaughan and Monae plays Mary Jackson as a trio of brilliant African-American women working at NASA, who served as the brains behind the 1962 launch of astronaut John Glenn into orbit — a stunning achievement that turned around the Space Race…

Read the entire article here.

A Biography Of E. Azalia Smith Hackley (1867-1922), African-american Singer And Social Activist

Edwin Mellen Press
2001
436 pages
ISBN: 978-0-7734-7575-5

Lisa Pertillar Brevard, Core Faculty and Academic Coordinator of Humanities
Walden University

Madame E. Azalia Hackley was an African American classical singer, social worker, writer, philanthropist, and activist who championed the use of African-American spirituals among the African-American people as a tool for social change. Her efforts laid the groundwork for the use of spirituals as freedom songs during the Civil Rights Movement. This work used newspaper accounts and archive studies documenting Madame Hackley’s tours cross-country and abroad to raise funds for African-American classical musicians. It show Hackley’s intense devotion to her African-American roots, as she easily could have passed for white. Nevertheless, she traveled throughout the South in ‘Jim Crow’ railway cars by choice. This work also recovers several of her influential published works, including A Guide to Voice Culture (1909); The Colored Girl Beautiful (1916), an etiquette book for African-American women desiring professional jobs; and “Hints to Young Colored Artists”, a series of articles designed to help young African-American classical musicians succeed. Includes illustrations.

Table of Contents

• Foreword by Richard A. Long
• Introduction
• Part I: Madame Emma Azalia Smith Hackley: The Lady and Her Legacy
  • 1. Azalia’s Early Years (1867-1894)
  • 2. Denver (1894-1900)
  • 3. Philadelphia and The Washington Conservatory of Music (1900-1915)
  • 4. Jim Crow Cars and Beyond – Paris, London, Tokyo (1916-1920)
  • 5. Madame Hackley’s Last Days (1920-1922)
• Part II: The Soul and Grit of a Colored Prima Donna: Madame E. Azalia Hackley as Journalist
  • “Hints to Young Colored Artists” (1914-15) by E. Azalia Hackley
• Part III: Lessons Before Dying: Madame Hackley’s The Colored Girl Beautiful
• Part IV: A Scrapbook of Madame E. Azalia Hackley
  • Photographs
  • “Report on Scholarship for 1908” by E. Azalia Hackley
  • Correspondence Between E. Azalia Hackley and James Weldon Johnson
  • Advertisements
  • The New York Age Salutes Madame Hackley (Obituary by Lucien H. White, 1922)
• Chronology
• Appendix: A Guide in Voice Culture (1909) by E. Azalia Hackley
• Sheet Music: “Carola, A Serenade” (1918) by E. Azalia Hackley
• Bibliography
• Index

Photograph by Julius Taylor

Half-Asian Tattooers Use Art To Confront Mixed Race Stereotypes

Konbini
2016-08-04

Morgan English

Five Asian-Canadian artists (some female, some genderqueer) have joined forces for a new exhibit that explores what it means to be half-Asian in the west.

Of the crew, four are also tattooers: Nomi Chi, Mandy Tsung, Shannon Elliott and Katie So. Their fifth, Lauren Ys, has made a name for herself in street art, among other things. Their tattoo work often serves as an outlet to push back on stereotypes, express individualism, and even heal the wounds of other people of colour…

Read the entire article here.

Where Hip Hop Fits in Cuba’s Anti-Racist Curriculum

The Atlantic
2016-08-01

Erik Gleibermann

The country’s education leaders confront deep-seated discrimination in the classroom through rap.

I was sitting with the Afrocentric rapstress Magia López Cabrera in her modest Havana walk-up in June when Cuba’s prominent black-history scholar Tomás Fernández Robaina showed up for a café con leche. Her tiny living room was filled with African folk art and images of women with 1970s-style Afros. It felt like the Cuban equivalent of Cornel West dropping in on Queen Latifah. Two nights later at an anniversary celebration for López’s rap-duo Obsesión, Fernández Robaina sat discussing racial profiling in the U.S. with Roberto Zurbano Torres, widely known in the U.S. for his writing on Cuban racial issues.

Since arriving in Havana several weeks before to investigate Cuba’s work to eliminate racism, I had discovered a collaborative, tight-knit movement that’s gone largely unpublicized in the U.S., including in its six-time-zone, decentralized academic world. In Havana, community artists like Lopez, academics like Fernández, and members of the National Ministry of Education are collectively exploring how to integrate Afro-Cuban history and related gender concerns into the primary-through-university school system. It’s hard to imagine a U.S. parallel, such as Secretary of Education John King officially asking teachers to teach students a song like “Le Llaman Puta” (They Call Her Whore)—López’s critique of how Afro-Cuban women are driven into prostitution—to fulfill the Common Core standards.

Efforts to combat racism in Cuba—which is widely believed to be majority nonwhite—through education have emerged quietly over the last several years. The National Ministry of Education officially leads the way through the Aponte Commission, where Fernández has served, exploring how to remove traces of racially denigrating language and imagery from, and include more Afro-Cuban history in, school textbooks. But the bold efforts are coming from below. A few semi-independent universities in Havana, and regional centers like Matanzas, Santiago de Cuba, and Camagüey, are taking the initiative, along with grassroots educators and activists involved in a hip-hop movement spearheaded by Obsesión…

Read the entire article here.