Mixed Race Studies

In “The Alexander Litany,” intersectionality collides with campus

North by Northwestern
2016-02-03

Lauren Sonnenberg

Roger Mason as Clarence, Eliott Sagay as Joseph, Grant Lewis as Jackson, Jeff Paschal as Max. Photo by Alexandria Woodson

“Look into my eyes and you’ll see that fear ain’t only skin deep, at least not for me,” implored Max Alexander, protagonist of The Alexander Litany, at an open mic reading on an unnamed college campus in Southern California.

Kori Alston, 20-year-old playwright and Communication sophomore, first spoke these words at a 2014 slam poetry competition. To follow, he wrote them into his new play, creating Max Alexander, a young man who contemplates his racial and sexual identity, as a means to express his frustration. The final product was performed as a staged reading in Shanley Pavilion January 15-16, 2016.

“In every good slam poem there is universal truth, there is personal truth, and then there is a kind of truth for the audience,” Alston said…

…Like Alston, Alexander grew up with a white mother and an absentee Black father. Both struggled with their relationship to a Black world. Both are college students far from home, angry with the racism they face every day. But the boys are different in how they confront their dissatisfaction.

“My relationship with Blackness was with my father. He was such a negative part of my life, and it was easy to associate Blackness with the bad parts of my father. I wanted to be white,” Alston said.

As someone with a white mother and Black father, Alston used to refuse to racially identify, partially because he began to dislike the Black parts of himself, he said. As he got older, Alston said he began to confront racism by a “Fuck you; I’m Black” attitude and growing his hair out to emphasize his Black identity.

He vacillates between wanting to disrupt spaces and make noise every time he hears a Black person was killed, to trying to find a safe space to challenge white audience members’ way of thinking…

Read the entire article here.

One Drop of Love: Presented by Mesa Arts Center as part of the Performing Live Series

Mesa Arts Center
Nesbitt/Elliott Playhouse
One East Main Street
Mesa, Arizona 85201
Telephone: 480.644.6500
Friday, 2016-02-05, 19:30 MST (Local Time)

Fanshen Cox DiGiovanni

How does our belief in ‘race’ affect our most intimate relationships? One Drop of Love travels near and far, in the past and present to explore family, race, love and pain – and a path towards reconciliation. It is produced by Fanshen Cox DiGiovanni, Ben Affleck and Matt Damon.

For more information, click here.

2015 IMPACT25 Influencer: Misty Copeland

ESPN W
2015-12-07

Dimity McDowell Davis, Special to espnW.com

From line sketches to pencils and final color, Marvel captured the essences of our IMPACT25 nominees and turned them into super versions of themselves. Behind Marvel’s IMPACT25 heroes »

“Every time I dance, I’m trying to prove myself to myself.” —Misty Copeland

Ballerina Misty Copeland’s year was, in all aspects, a grand jeté: the powerful ballet leap in which the dancer flies high above the stage in an impressive splits pose. Before this year, Copeland had already disrupted the classical world of ballet — she was the first African American to play the lead role in “Swan Lake” — and challenged millions to rethink their definition of an athlete through her Under Armour campaign. (Tutus and tiaras deserve as much respect as shoulder pads.)

In 2015, she continued to turn heads. Her muscular body landed on the cover of Time, and months later, she landed her biggest role to date. On June 30, the American Ballet Theatre promoted her to the role of principal dancer, making her the first African-American woman in the company’s 75-year history to hold that title…

Read the entire article here.

An Artist Stands Before Her Fun House Mirror

The New York Times
2016-01-06

Amanda Fortini

Genevieve Gaignard, “A Golden State of Mind” installation, 2015. Credit: Eric Minh Swenson, via The Cabin LA and Diane Rosenstein

LOS ANGELES — On a recent Friday afternoon, Genevieve Gaignard, a photographer, collagist and installation artist, was sitting on her bed in the room she rents in the Echo Park neighborhood. For the last year, Ms. Gaignard, who takes self-portraits costumed as various alter egos she imagines, then builds fictional domestic spaces for them, has lived in this nondescript, book-filled and thoroughly carpeted apartment with a professional couple in their late 20s, their chatty lime-green parrot and three cats.

Ms. Gaignard, who is 34, with strawberry-blond hair and long, acrylic nails painted the matte pastel colors of Jordan almonds, had decorated her bedroom with charmingly girlish touches, like a white net canopy befitting a fairy-tale princess and a Felix the Cat clock with a pendulum tail. On every surface were snowdrifts of stuff: piles of clothing, toiletries, plastic sunglasses. On her desk, a bra and a half-eaten granola bar shared space with an assortment of wigs. “This is what happens; this is how involved I get in the artmaking,” she said, waving a manicured hand around at the clutter. “Everything else sort of falls apart.”

A 2014 graduate of Yale’s photography M.F.A. program, Ms. Gaignard does work that reclaims everyday items: hair curlers, curling irons, plastic party favors, costume jewelry, towels. These she finds at thrift shops, dollar and beauty supply stores, or via her mother, who, she says with affection, “is kind of a hoarder.” A forest of Vanillaroma air fresheners dangles from a pair of yellow knee-high boots. A collage made to resemble the faux-wood paneling of a suburban basement is appended with miniature knickknacks. “It’s not like, ‘Hmm, can I make something out of nothing?’” Ms. Gaignard said. “It’s literally like, ‘What do I have access to?’”…

Her recent show, “Us Only,” at Shulamit Nazarian Gallery in the Venice neighborhood, featured a variety of pieces that blurred the lines between highbrow and vernacular, unraveling stereotypes of gender, race and class in the process. Her photos are often likened to those of Cindy Sherman, arguably our most famous costumed self-portraitist. But this comparison takes into account neither the animating impulses of her art — Ms. Gaignard is biracial, and her background forms an essential through line in her work — nor the decades of intervening culture since Ms. Sherman began taking pictures in the late 1970s. Third-wave feminism, online dating, even the ascent of the selfie: All are likely influences on a female artist photographing herself today. (Ms. Gaignard told me that Diane Arbus, not Ms. Sherman, was her seminal artistic inspiration, in part because she feels like “one of the people she photographed.”)…

…Sarah Lewis, a professor of history of art and architecture and African and African-American studies at Harvard, said that Ms. Gaignard’s art explores “the often undiscussed subject of racial indeterminacy.” It is, Professor Lewis notes, a topic well covered by 20th-century writers — Jean Toomer, Nella Larsen, Danzy Senna — but by few contemporary visual artists. Ms. Gaignard’s approach is not narrative, didactic or overtly political; she wittily employs symbols a viewer understands on a visceral level, even as a more explicit meaning remains elusive.

“Her work avoids any easy answers about race or identity,” said Gregory Crewdson, the director of graduate studies in photography at Yale. “I don’t think it’s in any conventional sense a critique. It’s more ambiguous than that. And that’s part of its power.”…

Read the entire article and view the photographs here.

Jeff Chang in conversation with Adam Mansbach

Kepler’s Books
1010 El Camino Real
Menlo Park, California 94025-4349
Tuesday, 2015-01-26, 19:30 PST (Local Time)

It’s hard to express just how cool and important Who We Be is with words alone. Jeff seems to share this sentiment when it comes to a cultural history of the idea of racial progress because Who We Be remixes comic strips and contemporary art, campus protests and corporate marketing campaigns, Martin Luther King, Jr. and Trayvon Martin.

Now you can join the conversation too: How do Americans see race now? How has that changed – and not changed – over the half-century? After eras framed by words like “multicultural” and “post-racial,” do we see each other anymore clearly? Join us for a timely discussion with journalist, music critic, and Executive Director of the Institute for Diversity in the Arts at Stanford University, Jeff Chang. He will be interviewed by the author of Go the F**k to Sleep, Adam Mansbach, to celebrate the paperback release of Who We Be.

Jeff Chang co-founded and ran the indie hip hop label, then known as SoleSides, but now known as Quannum Projects, and helped launch the careers of DJ Shadow, Blackalicious, Lyrics Born, and Lateef the Truth Speaker. The anti-apartheid and the anti-racist movement at UC Berkeley politicized Chang and he worked as a community laborer and student organizer; Chang was an organizer of the inaugural National Hip-Hop Political Convention. In 2007 Chang interviewed Barack Obama, for the cover of Vibe Magazine. He’s the author of Can’t Stop Won’t Stop and has written for The Nation, the New York Times, the San Francisco Chronicle, The Believer, Foreign Policy, Salon, Slate, and Buzzfeed, among others.

Adam Mansbach is the author of Angry Black White Boy, a San Francisco Chronicle Best Book of 2005 and The End of the Jews (for which he won the California Book Award for fiction in 2008). Mansbach was the founding editor of the 1990s hip-hop journal Elementary. He lives in Berkeley and co-hosts a radio show, “Father Figures.”…

For more information and to RSVP, click here.

Artist Phoebe Boswell explores what ‘home’ is, migration, family and Kenya’s troubled past

True Africa
2015-11-05

Phoebe Boswell is one of the most exciting young artists working today. Her moving-image installation, The Matter of Memory, was exhibited at Carroll / Fletcher Gallery in London in 2014 alongside John Akomfrah and Rashaad Newsome. She is involved in Paul Goodwin’s African Diaspora Artists of the 21st Century project and is currently collaborating with Binyavanga Wainaina on a digital literary project called Since Everything Suddens in the Hurricane.

Her work mainly focuses on ‘transient middle points and passages of migration’, hardly surprising given her upbringing. She was born in Kenya, she spent most of her childhood in the Middle East before coming to London where she now lives and works. She took some time to tell us about her exhibition at the Gothenburg Biennale where she recreated her grandmother’s living room and what’s next for her.

Could you tell us about the Gothenburg Biennale and your piece?

The theme of GIBCA this year is A Story Within a Story, a title allows us as artists the opportunity to really play with the construction of storytelling. Elvira Dyangani Ose is at the curatorial helm of GIBCA and has offered us this title with the aim of contesting history, of rewriting it from new and perhaps previously silenced vantage points.

Curatorially, she has brought together works that seek to re-examine and possibly debunk predetermined histories, histories constructed in stuffy seats of power in order to control the collective memory of who we are, where we are, why we are, and how we came to be. The question she and the Biennale are asking the audience is: ‘If you could rewrite history, what would you do?’ It’s a very participatory experience. It’s a Biennale full of works which demand the audience to be active.

The Matter of Memory Courtesy of GIBCA ©Hendrik Zeitler

My piece in it is an immersive installation called The Matter of Memory. Within the Hasselblad Centre of the Gothenburg Art Museum, I have recreated my grandmother’s living room and filled the fabric of it – its wallpaper, teacups, milk pots, lamps, mantelpiece etc – with drawings, props, sculptures, sound and animated projections based on stories my Kikuyu mother and fourth generation British Kenyan father told me of their childhood memories of ‘home’…

Read the entire interview here.

Documenting the UK’s Black and Mixed Race Gingers

Vice
2105-08-24

Natasha Culzac

Francis Johnson by Michelle Marshall

How would you describe a typical redhead? Do you think of Julianne Moore: light skinned and beautiful, with rust-coloured hair and a flush of crimson through her porcelain cheeks? Or do you think of Ed Sheeran?

Either way, it’s likely the redhead in your mind is white. Red hair is mainly considered the preserve of northern Europe, a Celtic-Germanic trait. This is what resulted in London-based photographer Michelle Marshall’s quest to capture as many Afro Caribbean redheads as possible as part of her project, MC1R.

MC1R, or Melanocortin 1 receptor if you’re feeling fancy, is the gene responsible for red hair. Mutations in it can cause various degrees of pigmentation. It’ll either work “properly”, causing your hair to get darker, or it will become dysfunctional, not activate and then fail to turn red pigment to brown, causing a build up of red pigment and thus, red hair…

…Dr George Busby from the Wellcome Trust Centre for Human Genetics agrees. He says that the red hair and freckles is the likely result of the historical interactions between Europeans and Africans in the formation of the Caribbean populations – most notably with Brits, as the Spanish and Portuguese went to South America.

George states: “This might also explain why you occasionally see red hair on a black Caribbean person who has two black parents. By chance alone, it might be that they are both carrying a European mutation which has come together in their child.”

Most of Michelle’s subjects have been in the UK, though she’s had a lot of interest in the US and some in mainland Europe. “I’ve got the whole of London on this,” she laughs, when describing her army of spotters…

Read the entire article here.

‘Daily Show’ host Trevor Noah to be a keynote speaker at Dem retreat

Politico
2016-01-22

Lauren French

“Daily Show” host Trevor Noah will be a keynote speaker at the House Democratic Caucus issues retreat next week, sources familiar with the event said.

Noah will join President Barack Obama, Vice President Joe Biden and environmentalist and Democratic donor Tom Steyer in headlining events throughout the three-day policy retreat in Baltimore.

Read the entire article here.

Passion – Blackwomen’s Creativity: an interview with Maud Sulter

Spare Rib Magazine
Issue 220 (February 1991)
pages 6-8

Ardentia Verba

An Interview with Maud Suiter

In 1977 Maud Suiter stepped on a train from Glasgow to London and began her current journey into the interior of Blackwomen’s Creativity. She didn’t know at the time that some day she would call herself ‘artist’ or ‘writer’ – not many teenage coloured girls from the Gorbals in Glasgow had trailblazed a path in that direct­ion, so it was a real exploration into the unknown for her when at sixteen she set out to go to college to study fashion. Since then she has gone on to create exhibitions, including Zabat – a stunning series of Blackwomen’s portraits which will be exhibited at Camerawork Gallery in London from March 15-April 19, and has now edited Passion: Discourses on Blackwomen’s Creativity, recently published by Urban Fox Press

‘Passion’ features many visual artists including Lubaina Himid, Robyn Kahukiwa, Sutapa Biswas and Janet Caron. However Maud Suiter’s vision of Blackwomen’s Creativity includes activities as diverse as Hairbraiding, Poetry and Performance. The many women included in the book were chosen because of their involvement with the Blackwomen’s Creativity Project, an organisation which Maud Suiter founded in 1982. In creating ‘Passion’, she has not only document­ ed the activities of BWCP but also provided ‘an excellent introduction to the range and intensity of Blackwomen’s Creativity in Britain’

Artists Newsletter

Why did you decide to create ‘Passion’?

In 1982 I was the first Blackwoman to join the Sheba Feminist Publisher’s collective. At that time a variety of the women’s presses were mooting ideas for conventional anthologies of Black writing in the UK. I felt that it was too easy for what were essentially white women’s publishers culling some short stories and poems from Blackwomen and then hailing the fact that they had published x-dozen Blackwomen writers. This especially at a time when they were earning significant incomes from Blackwomen writers such as Alice Walker and Maya Angelou.

As Alice Walker has pointed out, Blackwomen must read history for clues not facts, and it seemed essential to leave clues as to a more holistic range of our artistic pursuits. Obviously no academic course in Britain is geared towards working class Blackwomen’s experience across the board, but so many of us have a vast appetite for knowledge—for a herstory. We must create our own, which is what I set out to achieve with Passion.

There comes a time in many of our lives when we say ‘Girl, get yourself a piece of paper’. Around 1985 I was getting so many requests from students, mainly from Blackwomen, to give interviews to inform their dissertations. Hours and hours of Blackwomen’s work goes—unpaid and unacknow­ledged—into quite literally saving Blackwomen from failing their degrees. So few informed Blackwomen artists are employed in institut­ions, that we are co-erced into helping out, at the very last minute, to save Blackwomen artists, no, let me correct that, Black students across the board, that it was obvious that the wheel could not be eternally re-invented.

Passion offers schools, colleges and commun­ity venues the opportunity to invest in a vast wealth of information about our work during the 80’s and then draw from that information in a more creative and challenging way. All of us face racism and sexism in our explorations, and the wonderful articles and portfolios in Passion signpost a continuum of experiences, our litany of survival, which has created the situation where we can, like the Blackwomen’s Creat­ivity Project, network internationally from a position of equality not imperialism.

And so to recap, my ambition was to look at Blackwomen’s Creativity across a spectrum of activities including fine art, childbearing, opera, theatre etc. It is not possible to create a hierarchy of our artistic fields as we are living as Blackwomen in the aftermath of slavery and imperialism. Therefore we need to recognise our creative practices as survival and press for their development from that position. It is no use to sit back on our laurels and think OK, so we were there. We need to be here now, and we need to ensure that we continue to create in the future…

Read the entire interview here.

Misty Copeland, Brooklyn Mack coming to Columbia

The State
Columbia, South Carolina
2016-01-19

Erin Shaw

Misty Copeland

The principal ballerina and former Columbia dancer to speak at ballet fundraiser

Misty Copeland, one of the most famous ballerinas in the country, will appear in Columbia with professional ballet dancer and South Carolina native Brooklyn Mack for a fundraiser benefitting two of the city’s ballet companies.

Columbia Classical Ballet and Columbia City Ballet are jointly organizing a March 15 luncheon, for which costs and profits will be split evenly among both companies.

Copeland and Mack will speak about the arts at the ticketed event, which will have seating available for the public.

…Copeland has danced for American Ballet Theatre — one of the top companies in the country — since 2000, when she was the only African American woman in a company of 80 dancers.

In June 2015, she was promoted to principal dancer, making her the first African American woman to ever be promoted to the position in the company’s 75-year history…

Read the entire article here.