Mixed Race Studies

The most famous ‘Indian’ on 1950s American TV

The Times of India
2015-10-04

Malini Nair

Korla Pandit was the first African American to have a TV show to himself – by pretending to be an exotic Indian musician

The story is almost unbelievable. In the US of the 1940s, a light-skinned African American youth discovers his prodigious talent at playing the electric organ. The mystical Orient and all its clichés are in vogue at the time and radio shows like Chandu the Magician and films like Midnight Shadow are the rage, featuring fakirs and assorted Indian exotica. The ambitious African American, John Roland Redd, decides to reinvent himself for the TV music market – as Korla Pandit, the mysterious Indian musician.

Deeply kohled eyes fixed in a hypnotic gaze, a bejewelled turban on his head, Pandit would play the Hammond B2 organ and piano with both virtuosity and theatricality on TV shows. Around him, a stagey exotic east played out – smoky haze, play of light and shade, Oriental dancers undulating in shimmery lehengas and short dhotis.

“I was born in New Delhi, India,” he announced silkily in a TV interview with an anchor seeking the backstory to Pandit (pronounced ‘panned-it’). He was, he claimed, the son of a Brahmin priest and a French opera singer who was sent to the US to study. Pandit reached the peak of his popularity with the ’50s TV show ‘Adventures in Music with Korla Pandit’, where he appeared as some kind of Indian musician-maharaja–swami. What he played on the organ and the piano was called exotica music – the closest it comes to contemporary music is trance or lounge. Before long, he came to be known as the Godfather of Exotica…

Read the entire article here.

How art can disrupt our ideas and identities

news@Northeastern
Northeastern University, Boston, Massachusetts
2015-09-23

Thea Singer

Artist Favianna Rodriguez makes bold, sparkling works that light up a room even as they reveal dark cul­tural inequities.

She is known for her activism and political posters addressing issues such as racism, women’s rights, displacement, and climate change. Now, for the first time, her abstract prints—multilayered col­lages of vibrant colors and rever­ber­ating shapes—are on dis­play: 27 of them line the walls in Northeastern’s Gallery 360 in an exhibit called “The Multiverse of Identity” as she begins her week­long stint at North­eastern as artist in res­i­dence. The exhibit opened ealier this month and runs through mid-December.

Rodriguez will be talking about her vision of art as both an agent of social change and individual narrative on Wednesday, Sept. 23, at 6 p.m., in Blackman Auditorium…

…Her process

Rodriguez’s process for making her abstract works—intaglio printing, using an etching plate—is “very, very elaborate.” Each piece takes months. To start, she applies ink to create tex­ture on mul­tiple sheets of Japanese paper, pro­ducing a “library of colors.” “I think of the prac­tice as creating the container in which I’m going to play,” she says. She then cuts the paper into shapes—now spikey, now undulating—and arranges them in a “playful way.” “The arranging—repeating shapes, refining them—is what gives each piece its own char­acter,” she says.

The colors smack you in the face. “For me, color is about possibility,” she says. It characterizes both her art and her com­mit­ment to breaking apart assumptions—for herself, for all of us. “I don’t like when people put me in the woman box or the Latina box or the political artist box,” she says. “That limits who I am as an individual. I want to instead embrace the possibility of who I can be. That’s where ulti­mate freedom is.”…

Read the entire article here.

Chi-chi Nwanoku: ‘I want black musicians to walk on to the stage and know they belong’

The Guardian
2015-06-02

Chi-chi Nwanoku

Chi-chi Nwanoku: ‘I feel sure that bringing a group of people together to play incredible music is a creatively powerful and positive thing.’ Photograph: Christian Sinibaldi

For 30 years, double bassist Chi-chi Nwanoku has enjoyed a successful career and as a classical musician and never felt the colour of her skin has held her back. So why is she now embarking on and ambitious plan to form Europe’s first professional black orchestra? She explains all

Perhaps I was one of the lucky ones? I somehow slipped through the net. I’m a classical musician, an all too rare black face on concert platforms among what are usually all-white orchestras. My Nigerian father and Irish mother brought me up believing that I could do anything I wanted. They never doubted me for a second, and I was surrounded by people who supported and encouraged me.

We were the only black family at my primary and secondary schools, and I didn’t think at all about being the only black student at the Royal Academy of Music…

Read the entire article here.

NEW TO YOUTUBE | Chineke! – Europe’s First Black Orchestra Concert Debut [VIDEO]

The Violin Channel
2015-09-15

Debut concert performance of the Chineke! Orchestra – Europe’s first professional orchestra made up entirely of musicians of colour.

The 60-piece ensemble, founded by British double bassist Chichi Nwanoku, was established with the objective of making a conscious effort to redress the racial balance in classical music.

Programme includes: Beethoven’s 7th Symphony, Brahms ‘Variations on a theme by Haydn’, Samuel Coleridge-Taylor’s ‘Ballade for Orchestra’ and Philip Herbert’s ‘Elegy’ [a memorial to Stephen Lawrence].

Recorded live at London’s Southbank Centre, 13th September 2015 – as part of the ‘Africa Utopia Festival’.

Jesse Williams: ‘Celebrity culture? I am not going to participate in that’

The Guardian
2015-10-01

Jana Kasperkevic

The Grey’s Anatomy star is back on screen as TV pin-up Jackson Avery, but for the former teacher it’s his civil rights work he wants people to talk about

There is a heatwave making its way through Los Angeles. It’s the second week of September yet temperatures remain at 32C (89F). At 8am, most of the city is still asleep or just waking up, while surfers at Venice Beach have already spent hours searching for the perfect wave. About 5,000 of the city’s residents will wake up to no power as demand on the power grid has triggered blackouts.

On South La Brea Avenue, the street seems deserted except for Jesse Williams, who has seemingly appeared out of nowhere – with no car in sight or handlers in view as he casually strolls up the street. It’s a surprisingly low-key entrance into the world of a man millions of viewers watched when Grey’s Anatomy returned to ABC for its 12th season. On average, about 8.22 million viewers tuned in every Thursday night during its 11th season…

..Being biracial – his mom is white and his dad is black – Williams has been able to experience both sides of the spectrum. “I have access to rooms and information. I am white and I am also black. I am invisible man in a lot of these scenarios. I know how white people talk about black people. I know how black people talk about white folks. I know I am there and everyone speaks honestly around me,” he says.

“I remember a mom of a friend of mine in the suburbs made some comment about a black person and – I had to be 12, about 60 pounds – and I said something and she said: ‘Oh no, not you. You are not black. You are great.’ It was real. That fucking happened. And she meant it. And she meant it sincerely and sweetly. She was paying me a compliment.”…

Read the entire article here.

Jesse Williams Discusses Biracial Privileges and Social Justice: ‘Black Americans Are Not Angry. They Are Hurting’

The Root
2015-10-02

Diana Ozemebhoya Eromosele

It has always been a pet peeve of mine when biracial people seem to ignore their white side and act as if the world perceives them as black through and through. I always felt that in their determination to identify solely and sternly as black, they were missing out on an opportunity to share some of the insight they may have about how white people feel and think about race relations. That they might be missing out on an opportunity to act as a conduit between both racial groups.

In an interview with The Guardian, Grey’s Anatomy star Jesse Williams does a fantastic job of articulating the privileges and insights that being biracial affords him, and how he uses that knowledge to inform his work as an activist in working-class black communities. Williams’ mom is white, and his dad is black.

“I have access to rooms and information. I am white and I am also black. I am invisible man in a lot of these scenarios,” Williams said, referring to the Ralph Ellison classic. “I know how white people talk about black people. I know how black people talk about white folks. I know I am there and everyone speaks honestly around me.”…

Read the entire article here.

‘One Drop of Love’

The Sophian: The Independent Newspaper of Smith College
Northampton, Massachusetts
2015-09-24

Eliza Going, Contributing Writer

Fanshen Cox DiGiovanni performed her well-known one-woman play challenging the construct of race, “One Drop of Love,” on Sept. 18 and 19 in the Hallie Flanagan Studio Theatre. In this show, she not only tells the story of her own experiences with race as a multicultural woman, but she also gives a taste of many different incidents experienced by people of varying ages, backgrounds and cultural identities through the ups and downs of their most intimate relationships.

The play is presented in two formats. In one, DiGiovanni plays a variety of different characters talking conversationally about their experience with race; in the other, she jumps through U.S. history as a census taker. A projector lights up a simple white screen with the year and race section of the corresponding census…

Tying the census into the play introduces a political component that connects the stories of racial injustice to a tangible account of the government’s inattention toward racial or cultural identity. Only in 2010 [2000] did it become possible to check more than one box on the census. “I’m glad she connected the personal and the political in this way because, to me, they’re inextricably linked, and one can’t talk about one without the other,” Elizabeth Haas ’17 said…

Read the entire review here.

These are the beautiful, complex Blaxicans of Los Angeles

Fusion
2015-09-24

Jorge Rivas, National Affairs Correspondent

Back when Walter Thompson-Hernandez was in graduate school, his friends and family would give him blank stares as he explained what he was studying.

Finally, in an effort to make his work more accessible, he started an Instagram account dedicated to his research: @BlaxicansOfLA.

Thompson-Hernandez, who grew up in Los Angeles, identifies as Blaxican—his mother is Mexican, and his father is black.

“The term Blaxican is really is an example of the reinvention of language that exist in the U.S,” said Thompson-Hernandez, now a researcher at the University of Southern California who studies the impacts of interracial mixing between African Americans and Latinos in South Los Angeles…

Read the entire article here.

Review: Trevor Noah Keeps ‘Daily Show’ DNA in Debut

The New York Times
2015-09-29

James Poniewozik, Television Critic

The post-Jon Stewart version of “The Daily Show” that Trevor Noah and Comedy Central unveiled on Monday night was a bit like a new iPhone. It was sleeker, fresher and redesigned. There were tweaks here and there — look, even a new font!

But it still does essentially the same thing.

Sure, the 31-year-old, South African-born Mr. Noah is a new face and voice. Likening Mr. Stewart to a comedic father, he joked: “Now it feels like the family has a new stepdad. And he’s black.” Assured, handsome and with a crisp delivery, Mr. Noah was a smoother presenter than Mr. Stewart, who made an art form of sputtering and exasperated facepalming.

But if Mr. Noah’s debut was largely successful, it was also because of the operating system — the show’s writing — running under the surface. That algorithm, capable of processing a day’s media inputs into a satirically argued package, is what makes “The Daily Show” “The Daily Show.” This first outing was about proving that he could run the software without crashing…

Read the entire article here.

The Fabulous World of Harumi Klossowska de Rola

The New York Times Magazine
2015-09-22

Hilary Moss

“Benoît, my partner, took this photo in 2013 in front of the Grand Chalet, which was a hotel until my father bought it. It is still loaded with thousands of books and even old skis from English clients. My mom has her studio there, Benoît has his studio, I have my own studio. It’s almost like apartments in a city — you can hear everyone’s muffled footsteps.” Credit: Benoît Peverelli

Balthus’s jewelry-designing daughter reflects on her ethereal life in a historic Swiss chalet — and on memories of a singular childhood.

HARUMI KLOSSOWSKA DE ROLA’S first home was the massive Renaissance Villa Medici at the edge of the Borghese gardens, residence of the French Academy in Rome, which was run throughout the 1960s and much of the 1970s by her father, the painter Balthazar Klossowski de Rola, known as Balthus. Klossowska, now in her 40s, scoured the grounds for treasures such as pale pink stones and bits of blue-green glass from mosaics to show him. Later, she found that he had kept them all, close, in his bedside top drawer.

Such moments shaped the playful, Zen, otherworldly aesthetic of the designer, who conceives high jewelry pieces for Chopard and Boucheron and for her own line. After Balthus’s stint at the Academy ended when she was 5, the family home became the Grand Chalet in Rossinière, Switzerland, built in the mid-1700s, one of the largest wooden residential structures in Europe. She lives and works there still, with her partner, the photographer Benoît Peverelli, and their two children, as well as her mother, the Japanese-born painter Setsuko Klossowska de Rola, who was 34 years Balthus’s junior. They spend time as well at Castello de Montecalvello, a medieval Italian castle that her father bought in 1967, where a half-brother, Stanislas, lives…

Read the entire article here.