Mixed Race Studies

On Her Second Album, Xenia Rubinos Finds a New Language to Talk About Latinidad

Remezcla
2016-06-01

Isabelia Herrera

At a time when the political utility of the Afro-Latino label is as urgent as ever, it’s easy to forget that the journey to embrace that identity isn’t always immediate. Before recording her sophomore album Black Terry Cat (ANTI- Records), Boricua-Cuban artist Xenia Rubinos did not identify as Afro-Latina. So when she embarked on the recording process this time around, Rubinos envisioned the album as a vehicle to explore her brownness and blackness, to rediscover her place in the African diaspora.

That’s why hip-hop is Black Terry Cat’s lifeblood. “I was listening to a lot of hip-hop at the time. It was a new exploration for me, getting into Slum Village and KRS-One, as well as going back to Erykah Badu, which was starting to become my daily diet,” she explains. Rubinos lays those influences bare on Black Terry Cat; the record vibrates with clanging percussive interludes, stream-of-consciousness lyrics, and deep pocket backbeats. It’s a clattering, experimental triumph that leaps from thick funk basslines to spooky horn sections and then to broken-down hip-hop beats, like a kid playing with Legos. Above it all, Rubinos’ warm, smoky voice flutters about, revealing a vocal dexterity and a slew of alter egos the listener is constantly trying to catch up with…

Read the entire interview here.

An Octoroon

Woolly Mammoth Theater
641 D Street, NW
Washington, D.C. 20004
2016-05-30 through 2016-06-26

By Branden Jacobs-Jenkins
Directed by Nataki Garrett

A plantation on the brink of foreclosure. A young gentleman falling for the part-black daughter of the estate’s owner. An evil swindler plotting to buy her for himself. Meanwhile, the slaves are trying to keep things drama-free, because everybody else is acting crazy.

An Octoroon, Branden Jacobs-Jenkins’ Obie-winning riff on a 19th century melodrama that helped shape the debate around the abolition of slavery, is an incendiary adaptation that the New York Post called “entertainingly demented.” Part period satire, part meta-theatrical middle finger, it’s a provocative challenge to the racial pigeonholing of 1859—and of today.

As part of a special Connectivity initiative around An Octoroon, join DC area changemakers, thought leaders, activists and artists for a provocative series of engagement opportunities around every single performance of An Octoroon. We want to inspire conversation and reflection. We want to galvanize our audiences. That’s why we exist. That’s what we promise our community. Please visit our House Lights Up Events page for more information about these special events.

Social-practice art challenges the status quo

The Winnipeg Free Press
2016-05-30

Alison Gillmor, Writer – Arts and Life

From KC Adams’ Perception series, 2014-15.

Adams’ portraits blend personal, political

Even if you don’t regularly visit art galleries, you probably saw some of KC Adams’ work in the weeks following the notorious Maclean’s magazine article that labelled Winnipeg “Canada’s most racist city.”

Perception, a photographic series the visual artist started in 2014, was all over the place, challenging stereotypes about indigenous people from bus shelters, billboards, and across social media.

Using black-and-white photographic diptychs, Adams shot each of her subjects twice. In the first image, the faces are accompanied with ugly words such as “Squaw,” “Victim” and “Government Mooch.” In the second image, the subjects — usually looking much happier — offer up their own descriptions of themselves (“golfer,” “homeowner,” “taxpayer,” “father,” “mother,” “sundancer”). The two-part images are straight-up, immediate and effective.

Adams, who is of Cree, Ojibway, Scottish, and English descent, was thrilled to see the works on city streets, where average Winnipeggers might view them while waiting for a bus, grabbing some lunch or going to a Jets game. “(Perception) is not geared toward the art world,” Adams explains. “It’s geared toward the public.”…

Read the entire article here.

Dancer, painter, soldier … Tottenham brothers on their way to the top

The Guardian
2016-05-28

Jessica Elgot

From left to right, Solomon, Kidane and Amartey … ‘We are fiercely proud – we didn’t feel like these institutions were worlds away.’ Photograph: Linda Nylind for the Guardian

Maryam Golding’s three oldest sons – an artist, a soldier and a ballet dancer – are all on the way to the top. Much of that, they say, is due to their parents, who brought them up to be fiercely proud of their mixed race heritage

Maryam Golding rarely gets her three eldest sons together round the dinner table at her small west London flat. Her boys have extraordinary reasons to be busy. The last time the whole family was crowded into the living room, her middle son was celebrating winning the Sword of Honour at Sandhurst, his younger brother was between performances with the Royal Ballet and his older brother, an artist, was back from a sell-out residency in Dubai…

Read the entire article here.

Amrita Hepi’s New Dance Collab Explores Authenticity, Race & The Politics Of Passing

Oyster
Paddington, New South Wales, Australia
2016-05-10

Jerico Mandybur

Local hero Amrita Hepi is showcasing her new dance piece ‘Passing’ — with costumes by Honey Long and sound by Laverne of Black Vanilla — alongside Jahra Rager at Next Wave Festival this week. To celebrate, we linked her up with another one of our fave woke ladies, Jerico Mandybur, and they chatted through identity, the WOC diaspora and the politics of passing.

Get to know the story behind the stellar performance piece below (before you make the good life choice to head along to Next Wave and see it IRL).

Jerico Mandybur: Hey! So it’s called ‘Passing’, can you talk to me about what naming it that means, and basically what the concept of “passing” means in relation to the work?

Amrita Hepi: Well, we came up with the idea of naming it ‘Passing’, because the work itself kind of matched bodies under pressure. So the idea of women of colour and their intersections, and what it means to be of many world races and titles, and I guess when you’re “passing” there’s always this kind of fear of inauthenticity, which is something that’s very human that we all feel. But in relation to the work, it was just feeling like we were constantly only just passing, and there was this fear of almost like being discovered as something other than what we were. Does that make sense? [Laughs]…

Read the entire interview here.

See Logic Talk Biracial Identity, Anime Influence

Rolling Stone
2016-04-20

Brittany Spanos, Staff Writer

Rapper discusses prejudice, upcoming albums and ‘The Incredible True Story’ ahead of co-headlining tour with G-Eazy

“When it comes to being black and white, and the things that I’ve experienced, it was just a personal journey to look in the mirror and be happy with who I am,” Logic told Rolling Stone during a visit to the office. The 26-year-old biracial rapper has been hit with criticism during the course of his career given his fair complexion, but he’s using the claims of inauthenticity to speak not only to his own narrative and background but to those of many others, as well. He has two potential albums in the works, including one where he spits rhymes from varying perspectives.

“I feel the Aryan in my blood is scarier than a Blood/Been lookin’ for holy water, now I’m prayin’ for a flood/Feel like time passin’ me by slower than a slug,” he teased from a song he’s recently begun writing from the perspective of a mixed-race person like himself. “But my beautiful black brothers and sisters wanna act like I’m adopted/Go back in time when my ni**a daddy impregnated my cracker momma and stopped it.” Later, Logic says, “My skin fair, but life’s not.”…

Read the entire artcile here.

Pete Souza: photographing the real Barack Obama

The Guardian
2016-05-29

Jonathan Jones

President Barack Obama fist-bumps custodian Lawrence Lipscomb in the Eisenhower Executive Office Building. Photograph: Pete Souza/The White House

Over two historic terms, official White House photographer Pete Souza has chronicled the most intimate, candid and comical moments of Barack Obama’s presidency

It was a tale of two Americas. In Las Vegas the casinos were humming with a hell-yes tide that was about to sweep the manic Donald Trump to his most pumped-up victory yet. In Washington DC, civilisation still existed. In the week Trump’s xenophobic bid to be the Republican presidential candidate began to look unstoppable, the man whose Americanness he has questioned was meeting 106-year-old Virginia McLaurin. In Pete Souza’s official White House photograph of their get-together, President Barack Obama cracks a delicious smile as the first lady dances with McLaurin, who was invited to visit the White House in recognition of community work she has done for decades in the US capital. The meeting was also a celebration of Black History Month – and Souza’s picture manages to be both intimate and historic. Here are three African Americans in the White House. The room they are in – the Blue Room – is opulently decorated with gold stars, Empire-style furniture, and a portrait of some grand national father who holds a white handkerchief in his white hand…

Nov 2009 – Obama jokes with staff before the Summit of the Americas in Singapore Photograph: Pete Sousa/The White House

…What made Souza such an ideal day-to-day chronicler of Obama’s presidency? The answer is surprising. Before he recorded the White House life of America’s first black president, Souza did the same job for the first Hollywood actor to rule from the Oval Office. From 1983 to 1989, he was Ronald Reagan’s official photographer. Perhaps his most famous picture of that era shows Ronald and Nancy Reagan meeting Michael Jackson, who is wearing a spangly military-style jacket. Reagan looks understandably confused – is this the king of pop or the commander of the Star Wars defence programme?…

Read the entire article here.

LA poets document the city in ‘Coiled Serpent’ anthology

Los Angeles Daily News
2016-03-25

Richard Guzman, Arts and Entertainment Reporter
Long Beach Press Telegram

As students take part in a guitar workshop inside his Tia Chucha’s Centro Cultural & Bookstore in Sylmar, Los Angeles Poet Laureate Luis Rodriguez grabs a copy of the latest book published by his nonprofit organization.

He walks outside to a small table and sets down his blue Winnie the Pooh coffee cup, exposing a faded forearm tattoo of a long-haired indigenous woman as he flips through the pages of “Coiled Serpent: Poets Arising from the Cultural Quakes & Shifts of Los Angeles.”

“I love the beauty of it. The poems really stand out, and I think it’s really reflective of the city. The city is beautiful in so many weird ways,” says the poet and novelist, who is perhaps best known for his memoir “Always Running: La Vida Loca, Gang Days in L.A.”

Rodriguez, who was named poet laureate by Mayor Eric Garcetti in 2014, has long been an advocate for the city, its poetry and the power of words to change lives.

And the new book exemplifies those tenets with a collection of poems that capture the experiences, cultures and even the weirdness that intertwine — and at times collide — to create the fabric of the city.

The anthology includes the voices of more than 160 L.A. poets who are part of the sweeping 371-page tome…

Read the entire article here.

Race, revolution and interracial relations: Revisiting rapper Emicida’s video ‘Boa Esperança’, the most courageous video of 2015

Black Women of Brazil
2016-04-25

Note from BW of Brazil: Get ready! Today’s piece is one of those long articles in which you must read every word in order to get the full significance. The rapper known as Emicida is perhaps the most popular rapper in Brazil right now and his star continues to rise. Last year, the rapper released the video for his song “Boa Esperança”, one of the most discussed music videos of last year and for good reason and you will no doubt agree.

The video takes on the realities of race and class in modern day Brazilian society that date back all the way to the colonial era; a colonial era in which masses of Brazilian Indians were massacred and millions of imported Africans were forced to endure unthinkable conditions of cruelty, exploitation and death. As we have seen in numerous posts in the past, many black Brazilians still make references to the Casa Grande (big house/slave master’s home) to describe race relations in modern day Brazil, even as the institution of slavery officially ended in 1888, making Brazil the last country in the Western world to abolish this practice…

Read the entire article here.

Knowledge Session: Who Was Lena Horne?

I Am Hip-Hop
2015-07-07

Rishma Dhaliwal

Lena Horne (June 30, 1917 – May 9, 2010) was born in Brook­lyn, New York, on June 30, 1917. Her father, Edwin “Teddy” Horne, who worked in the gambling trade, left the fam­ily when Lena was three. Her mother, Edna, was an act­ress with an African Amer­ican theater troupe and traveled extens­ively. Horne was mainly raised by her grand­par­ents, Cora Cal­houn and Edwin Horne. Yet, she still moved a great deal in her early years because her mother often took her with her on the road. They lived in vari­ous parts of the South before Horne was returned to her grand­par­ents’ home in 1931. After they died, Horne lived with a friend of her mother’s, Laura Rol­lock. Shortly there­after Edna remar­ried and Horne moved in with her mother and her mother’s new hus­band. The con­stant mov­ing res­ul­ted in Lena hav­ing an edu­ca­tion that was often inter­rup­ted. She atten­ded vari­ous small-town, segreg­ated (sep­ar­ated by race) school’s when in the South with her mother. In Brook­lyn she atten­ded the Eth­ical Cul­tural School, the Girls High School, and a sec­ret­arial school…

Read the entire article here.