Mixed Race Studies

Crowe’s ‘whitewashing’ sparks criticism from advocates

BBC News
2015-06-07

Elena Boffetta, BBC Washington

Hollywood’s reliance on bankable – and often white – actors has led to another round of sharp criticism of filmmakers for “whitewashing” roles where race and ethnicity play a part.

In Aloha, Cameron Crowe’s latest film, Emma Stone, a American actress with blonde hair and green eyes, was cast as Allison Ng – a junior fighter pilot who was part-Chinese, part-Hawaiian and part-Swedish.

Soon after the release, there was an uproar of criticism from social media against Crowe’s casting choice.

Both Asians and non-Asians asked why they didn’t pick an Asian actress to play a character who is part-Asian.

One advocacy group called Aloha “a whitewashed film” that failed to portray the ethnical diversity of Hawaii.

The Media Action Network for Asian Americans (MANAA) noted 60% of Hawaii’s population is Asian-American Pacific Islanders and 30% Caucasian, a fact not reflected in the film.

Crowe apologised on his website but said he based the Ng character on a real-life redheaded Hawaiian who felt compelled to constantly over-explain her unlikely ethnicity.

“I can understand what Crowe said about his intention that he based his character on someone that didn’t look Asian but identified with the culture but you could have casted someone who was part Hawaiian,” Guy Aoki, the founding president of MANAA, said.

“Whitewashing” casting differs from “colour-blind casting,” where a role is cast when factors of race or ethnicity are irrelevant to the character or plot…

…Hollywood has been accused of whitewashing Asians for decades…

Read the entire article here.

The beauty contest winner making Japan look at itself

BBC News
2015-06-04

Rupert Wingfield-Hayes, Tokyo Correspondent

At first sight even I am a little confused by Ariana Miyamoto. She is tall and strikingly beautiful. But the first thing that pops in to my head when I meet the newly crowned Miss Universe Japan is that she doesn’t look very Japanese.

In just two years here I have clearly absorbed a lot of the local prejudices about what it means to be “Japanese”.

My confusion lasts only until Ariana opens her mouth. Suddenly everything about her shouts out that she is Japanese, from the soft lilting tone of her voice, to her delicate hand gestures and demure expression.

Well of course she is. Ariana was born in Japan and has lived here all her life. She knows little of her father’s home back in Arkansas in the United States. But to many Japanese, and I really do mean many, Ariana Miyamoto is not Japanese. Not fully anyway.

Ariana is what is known in Japan as a “hafu”, taken from the English word “half”. To me the word sounds derogatory. But when I ask her Ariana surprises me by defending the term, even embracing it…

…Many people here genuinely believe Japanese are unique, even genetically separate from the rest of us.

When my (Japanese) wife got pregnant, one of her friends congratulated her with the words: “It’s not easy for us Japanese to get pregnant with a foreigner”. I didn’t know whether to laugh or cry.

Of course this myth is complete nonsense. Japanese are an ethnic hotch-potch, the result of different migrations over thousands of years, from the Korean peninsula, China and South East Asia. But the myth is strong, and that makes being different here hard…

Read the entire article here.

Mystery, and Discovery, on the Trail of a Creole Music Pioneer

The New York Times
2015-05-28

Campbell Robertson, Southern correspondent

PINEVILLE, La. — Somewhere among the thousands beneath a grassy hill here lies the body of Amédé Ardoin.

He was singular in life: one of the greatest accordion players ever to come out of south Louisiana. A Creole prodigy who traveled the countryside playing his bluesy two-steps and waltzes, he changed Cajun music and laid down the roots for zydeco.

At his death at the age of 44 in 1942, he was Case No.13387 in the state psychiatric hospital, destined for an anonymous burial.

Years of attempts to recover the body of Amédé, as he is widely known, have come to nothing. As with Mozart’s grave, Amédé’s is known only by its general vicinity: the area where the blacks were buried. But a desire for some sort of physical commemoration of his life, beyond a few documents and a blurry photograph, has not gone away.

“I started thinking of possible symbolic ways of bringing Amédé home, placing a kind of image of him in the culture, something physical,” said Darrell Bourque, a former state poet laureate, who has been trying to raise funds to have a statue erected, most likely in Eunice, La., where Amédé spent much of his life.

Mr. Bourque described Amédé as bringing the white Cajun and black Creole traditions together in a society that policed racial boundaries so rigidly that it ultimately brought about his death. His music, Mr. Bourque said, represented “a little pocket of possibility that didn’t get replicated in the larger culture.”

It was only after he began looking for Amédé that Mr. Bourque came to learn how complicated those boundaries could be for whites and blacks at that time — and how deeply connected he was to the people who crossed them…

Read the entire article here.

Tony Williams’ “Wilderness” and Mixed-Race Identity through Jazz

Soundscapes and Such: Critical Thoughts on Sonic Subjects
2015-05-27

Shawn M. Higgins
University of Connecticut

Tony Williams (source: Wikipedia)

Why do song writers choose the song titles they do? Perhaps Herbie Hancock’s 1980 track “4 A.M.” was recorded at that exact time – or maybe finished then? The song isn’t sleepy and lethargic as I might connotatively connect with the before-dawn hour, but jazz musicians are infamously night owls, and the song’s rhythm suggests this might be the funkiest, most active hour of the cycle. The title of John Coltrane’s 1967 song “Stellar Regions”, through the frenzied, echoing cymbal work of Rashied Ali and Coltrane’s trilling, screaming saxophone, could serve in a Romantic sense to invoke feelings of a paean to the heavens. The listeners, upon closing their eyes, are sonically shot into space and flung around the cosmos through the combination of music and such a song title. And of course, one of Duke Ellington’s most famous songs, which is in turn an absolute standard of jazz today, was given a title by the composer Billy Strayhorn after Duke gave him directions to his house and told him to “Take the ‘A’ Train.” None of these songs at the time of their composure had any lyrics to support these titles either in a refrain or in any thematic way. Rather, the listener is encouraged to interpret the sounds alongside the title or through the title. What happens in this exchange between artist, product, and consumer is my primary interest, and I would like to point to one artist in particular who used his song titles as a conscious way of addressing his newly discovered mixed-race identity.

Tony Williams, the legendary jazz drummer who is credited with inventing the “blast beat” and who called legends like Miles Davis, Herbie Hancock, and John McLaughlin his musical partners, candidly explained in a 1995 BET interview a recent revelation in his life. Williams had discovered at the age of roughly forty-nine that he was of a racially mixed ancestry – he was phenotypically African American but also of Chinese and Portuguese background…

Read the entire article here.

Black Miss Japan fights for race revolution’

Agence France Presse (via Yahoo)
2015-05-12

Alastair Himmer, Sport and Lifestyle Correspondent

Ariana Miyamoto

Tokyo (AFP) – Ariana Miyamoto entered the Miss Universe Japan beauty contest after a mixed-race friend committed suicide. And she endured abuse after winning the crown because of her skin colour.

Far from being put off by the backlash, Miyamoto resolved to use her new-found fame to help fight racial prejudice — in much the same way British supermodel Naomi Campbell broke down cultural barriers in the fashion industry a generation ago.

“I’m stubborn,” said Miyamoto, the daughter of a Japanese mother and black American father, who turned 21 on Tuesday.

“I was prepared for the criticism. I’d be lying to say it didn’t hurt at all. I’m Japanese — I stand up and bow when I answer the phone. But that criticism did give me extra motivation,” she told AFP in an interview.

“I didn’t feel any added pressure because the reason I took part in the pageant was my friend’s death. My goal was to raise awareness of racial discrimination,” added Miyamoto, who was bullied as a schoolgirl growing up in the port town of Sasebo, near Nagasaki.

“Now I have a great platform to deliver that message as the first black Miss Universe Japan. It’s always hard to be the first, so in that respect what Naomi Campbell did was really amazing.”…

Read the entire article here.

Movie about Va.’s now-defunct ban on interracial marriage to be shot in state

The Washington Post
2014-05-14

Laura Vozzella, Richmond Bureau Reporter

RICHMOND — Virginia has landed a movie project about Richard and Mildred Loving, the real-life Virginia couple arrested in 1958 for violating the state’s interracial marriage ban.

The Lovings filed a lawsuit that eventually made its way to the Supreme Court, which in 1967 struck down bans on interracial marriage. The case is often invoked today amid legal challenges to bans on same-sex marriage.

Gov. Terry McAuliffe (D) announced on Thursday that makers of the movie had chosen to shoot the project in the state. A statement from his office noted that the court case at the center of the story was “a landmark civil rights case in defense of marriage equality that is still relevant today.”

“Loving is a significant American story that should be told, and I am happy to announce it will be filmed in Virginia,” said McAuliffe, who supports same-sex marriage. “Attracting these projects to the Commonwealth helps build the new Virginia economy by generating new revenues, creating good-paying jobs for our citizens and continuing to highlight Virginia’s historical significance.”

The film will star Ruth Negga and Joel Edgerton, and will be directed by acclaimed film director Jeff Nichols. It was inspired by “The Loving Story,” a documentary produced and directed by Nancy Buirski that aired on HBO, the governor’s office said…

Read the entire article here.

‘Typical American Families’ photo exhibit to be unveiled at Emory

Emory News Center
Emory University, Atlanta, Georgia
2015-05-04

Kimber Williams

“Typical American Families” highlights the many configurations that family life can take in America. Photos in the exhibit will be unveiled at a public reception at the Center for Ethics on May 7. Photo by Ross Oscar Knight.

“Typical American Families,” a new photographic exhibit that explores a wider view of American families, will be unveiled Thursday, May 7, from 6:30-8:30 p.m. at the Emory Center for Ethics, 1531 Dickey Drive.

Conceived by Carlton Mackey, director of Emory’s Ethics and the Arts Program, the exhibit offers a photographic glimpse into the lives of 15 Atlanta-area families, celebrating “the vast landscape of manifestations of family” across spectrums of culture, faith and ability, Mackey says.

The event includes a public reception and formal unveiling of the exhibit. Guests will also have a chance to meet families that participated in the community project, which showcases the diversity of the American family through the lens of international photographer/photoculturalist Ross Oscar Knight, Mackey’s creative partner.

The families — who haven’t yet seen their photographs — will share stories and insights into how they bridge faith, culture and difference in Atlanta, Mackey says…

…”Typical American Families” was inspired by Mackey’s ongoing work on “Beautiful in Every Shade,” an empowerment campaign that celebrates the breadth and depth of beauty in every human being.

That campaign grew out of  “50 Shades of Black,” a multi-media art project launched by Mackey in 2013 — and funded in part by a grant from Emory’s Center for Creativity & Arts — that explores the intersection of skin tone and sexuality in the shaping of identity through images and personal narrative…

Read the entire article here.

Sorry Music Journalists, Drake is Black.

Canadaland
2015-04-30

Kyrell Grant

Writers need to stop policing his blackness

It feels ridiculous to have to say this: Drake is black.

Drake, born Aubrey Graham in a city where almost one in ten people are black, is black. Toronto’s greatest civic triumphalist since Jane Jacobs is black.

He is a black man as much as any other black man. And yet Drake’s own identity – his nationality, his mixed race background that includes Jewish heritage and upbringing, the neighbourhood he once lived in, the schools he went to – is often taken to mean that his black experience is somehow inauthentic. While certainly not the first artist to have this kind of analysis imposed on him, Drake’s profile means that his art in particular has been prominently used to deny his black experience when it doesn’t conform to someone else’s narrow vision of race…

Read the entire article here.

Trevor Noah’s World

The Atlantic
2015-04-05

Douglas Foster, Associate Professor of Journalism
Medill School of Journalism
Northwestern University, Evanston, Illinois

What makes The Daily Show’s new host unique—according to South African comics

CAPE TOWN, South Africa—When word circulated on Monday that standup comic Trevor Noah had been chosen to succeed Jon Stewart as host of The Daily Show, South Africans hailed Noah in hyper-caffeinated terms as the country’s “next great export” after Nelson Mandela, Desmond Tutu, and Charlize Theron. On that day, I happened to be in Johannesburg shepherding students through the newsroom of The Star, where the lineup of stories at the morning editorial conference included a series of firefights between gangsters and police on public highways, allegations of corruption at every level of government, and the teetering condition of the state-run utility company, which regularly plunges the country into rolling blackouts. It was no wonder that news of a major U.S. television show hiring a 31-year-old mixed-race South African phenom as anchor had proven so welcome.

By now, the basics about Trevor Noah are well-known. He’s the young, super-cool comedian with the cherubic face and itchy Twitter finger who, beginning in 2012, achieved global recognition by way of Jay Leno, David Letterman, and Jon Stewart. In a series of solo performances around the world over the last three years, he has blown up in ways that cultural figures from South Africa haven’t since the 1960s and 1970s, when musicians like Hugh Masekela and Miriam Makeba packed music halls during the height of racial oppression back home…

…What makes Noah’s comedy unique? “He’s slick as fuck!” Evans replied. “But also super charming,” added the young comic sitting next to him. He was a slight, Afrikaans-speaking man named Schalk Bezuidenhout, who sometimes opens for Noah when he’s performing in town. Only 22 years old—the same age as Noah when he jump-started his career as a comedian—Bezuidenhout had just come off stage after a set about the hazards of dating a flight attendant (“a non-smoking fuck”) and the unintended consequences of imposing a non-racial ideal on young people from South Africa’s 11 different language groups (“There’s nothing more messed up than a bunch of Afrikaans kids singing an African song”).

Both men said Noah distinguished himself from other comics by resisting labels and “genre-based comedy.” Bezuidenhout noted that Noah always identified himself as a mixed-race South African raised in straitened circumstances in Soweto without “using it as a crutch.” Contemporaries who have shared the stage with him say he’s unusually attuned to the audience, shifting direction based on the feel in the room, and Bezuidenhout has seen Noah drop chunks of material based on the city he’s performing in. This was a quality that a number of immigrants in South Africa had already mentioned to me. Omega Chembhere, a waiter, told me that when he had arrived from Zimbabwe 10 years earlier, much of South African pop culture had seemed inaccessible. “Trevor’s different, so good at it,” he said. “His strength is that everything springs from his experience in life, but you understand his reality because he makes an effort to explain.”…

Read the entire article here.

Fast Talking PI: A Reading by Selina Tusitala Marsh

Asian/Pacific/American Institute at NYU
8 Washington Mews
New York, New York 10003
Monday, 2015-04-27, 16:00-18:00 EDT (Local Time)

Auckland-based poet and scholar Selina Tusitala Marsh reads from her award-winning collection, Fast Talking PI. NYU Performance Studies Graduate student and Indigeneous artist, facilitator, and organizer si dåko’ta alcantara-camacho introduces Dr. Marsh and guides the post-reading conversation.

Fast Talking PI and Dark Sparring: Poems, both by Selina Tusitala Marsh, will be available for purchase at a special 20% off discount following the program, courtesy of the NYU Bookstore.

For more information and to RSVP, click here.