Mixed Race Studies

MIXED Art Conference

Mixed in Canada
YMCA Central Toronto
20 Grosvenor Street
Toronto, Ontario M4Y 2V5 Canada
Saturday, 2015-05-02, 09:00-18:00 EDT (Local Time)

M.I.X.E.D.: Multidisciplinary.Intersections.Xchanging.Empowering.Dialogue

The aim of this multidisciplinary art conference is to co-create an inclusive dialogue about racialized mixed identities and lived realities through an intersectional lens. “Un-Conference” attendees and facilitators will be able to engage with one another in dynamic group discussions filled with peer-to-peer sharing and learning. The contributions of all racialized participants are encouraged to be represented, acknowledged and honoured.

• Multidisciplinary the event promises to deliver something for everyone. There will be a curated art exhibit, live artistic performances and opportunities for attendees to co-animate the space.
• Keynote Speakers M.I.X.E.D. is proud to have community activist and educator Kim Katrin Milan and professor Dr. Minelle Mahtani to deliver opening and closing remarks at our inaugural event.
• Community Building Meet the phenomenal facilitators and amazing artists representing decades of working within intersecting communities. The mixed race experience and its intersections will be featured in our breakout group discussions and the day’s performances.
• Self Care Throughout the day, information and resources will be available to assist with possible triggering. We will also be featuring a wellness group exercise lead by Zainab Amadahy for some self-care debriefing at the end of the event.
• Accessibility We would like to have as many individuals participate in the event by reducing boundaries where possible. Gender neutral bathrooms will be available and the space is wheelchair accessible. Light refreshments and lunch will be served and the event is Pay What You Can but no one will be turned away at the door. We ask all attendees to come scent-free.
• M.I.X.E.D. is meant to be as safe a space as possible for all attendees which means no forms of racism, sexism, ableism, homophobia, discrimination based on age, class, weight, creed, immigration status, xenophobia, transphobia, transmisogyny, cissexism, etc. will be tolerated.

For more information, click here.

Once Upon a Time in Minneapolis: 20 Years of Rhymesayers

Consequence of Sound
2015-03-12

Killian Young, Contributing Writer

Two decades later, the Midwestern independent hip-hop label is still going strong.

On an unseasonably warm January night in Minneapolis, as a wintry mix falls innocuously to the ground, Atmosphere heats up First Avenue with a blistering, career-spanning set. Now comprising producer Ant, MC Slug, and DJ Plain Ole Bill, the iconic Twin Cities hip-hop crew commands the attention of the room, as they’ve done countless nights before.

“As far as the history of First Avenue,” says Nate Kranz, the downtown venue’s general manager, “they’re right at the top of the legendary Minneapolis groups.”

Founded in Minneapolis in 1995, Atmosphere’s independent hip-hop label, Rhymesayers Entertainment, celebrates its 20th anniversary this year. Tonight, Atmosphere headlines the House That Prince Built to honor another major milestone for Minneapolis music: The Current, the area’s alternative radio station, is celebrating its 10th anniversary.

The first track the station played? Atmosphere’s “Say Shh”, which “has really become an anthem locally,” according to Jim McGuinn, The Current’s program director who booked the show.

Atmosphere kicks off the set with “Say Shh”, and the crowd goes wild as Slug meanders through the opening bars: “I wanted to make a song about where I’m from, you know?/ Big up my hometown, my territory, my state.”.

Minneapolis probably isn’t the first city that comes to mind when you think about rap. Slug remembers hearing Sugarhill Gang’s “Rapper’s Delight” in his dad’s car, and the first record he bought was Run-D.M.C.’s “30 Days”. The go-to local radio program for Slug and his friends was the “Hip-Hop Shop” hosted by Travitron, aka Travis Lee. The next year, I.R.M. Crew released the city’s first single that was available nationwide, according to Justin Schell in Hip Hop in America: A Regional Guide….

…A 2004 SPIN feature dubbed Atmosphere’s brand of vulnerable lyricism “emo rap,” a term that Slug says doesn’t really bother him anymore. As far as being considered a “white rapper,” he says he’s recently started to reconsider the role of his multiracial identity — which includes black, white, and Native American roots — and his music.

“If you’re passing due to white privilege, then you’re white in a societal way,” Slug says. “Now, does that build a different set of issues inside somebody who knows they’re not white, but they know that they’re passing as white? Yeah, sure. Who the fuck am I to sit here and act like I can speak for black people? I can’t even speak for white people. I can’t speak for nobody. And I felt weird about that. So I took my racial makeup and just stuck it in the back corner for a long time.”…

Read the entire article here.

Diversity Week Keynote Speaker 2015: “One Drop of Love” perfomed by Fanshen DiGiovanni Cox

Miami University
Oxford-Armstrong Student Center
Harry T. Wilks Theater
550 E. Spring Street
Oxford, Ohio
Thursday, 2015-03-12, 19:00-21:00 EDT (Local Time)

One Drop of Love produced by Ben Affleck and Matt Damon, performed by Fanshen Cox Digiovanni is a multimedia solo show that tells the story of how the notion of ‘race’ came to be in the United States. In addition, Fanshen whom is of mixed race shares personal accounts of how it affected the relationship with her father.

Every spring, specifically in the month of March, the Diversity Affairs Council (DAC) plans and coordinates a week-long program known as “Diversity Week.” This week serves as a campaign that seeks to raise awareness of social differences, promote an appreciation for such differences, and encourage open dialogue about topics involving diversity.

The Diversity Keynote Address provides an opportunity for open dialogue about various diversity topics with students and the speaker.

For more information, click here.

First Look at Matthew McConaughey in The Free State of Jones

ComingSoon.net
2015-03-09

Max Evry

Motion picture and television studio STX Entertainment has begun principal photography on the theatrical feature The Free State of Jones in and around New Orleans, Louisiana, it was announced by Adam Fogelson, Chairman of STX Entertainment’s Motion Picture Group.

The epic action-drama is written and directed by four-time Oscar nominee Gary Ross (The Hunger Games, Seabiscuit, Pleasantville), and stars Oscar-winner Matthew McConaughey (Interstellar, Dallas Buyers Club), Gugu Mbatha-Raw (Beyond the Lights), Keri Russell (Dawn of the Planet of the Apes) and Mahershala Ali (The Hunger Games: Mockingjay Part 1, “House of Cards”)…

…Set during the Civil War, The Free State of Jones tells the story of defiant Southern farmer Newt Knight, and his extraordinary armed rebellion against the Confederacy. Banding together with other small farmers, and with the assistance of local slaves, Knight launched an uprising that led Jones County, Mississippi to secede from the Confederacy, creating a Free State of Jones.

His marriage to a former slave, Rachel, and his subsequent establishment of a mixed race community was unique in the post-war South. Knight continued his struggle into Reconstruction, which distinguished him as a compelling, if controversial, figure of defiance long beyond the War.

Read the entire article here.

Mr. Spock, Mixed-Race Pioneer

Code Switch: Frontiers of Race, Culture and Ethnicity
National Public Radio
2015-03-01

Steve Haruch

At a time when the mere sight of Petula Clark touching Harry Belafonte’s arm held the potential to upset delicate sensibilities, the half-human, half-Vulcan character Mr. Spock embodied an identity rarely acknowledged, much less seen, on television: a mixed-race person.

Sure, the mixing of races was allegorical in Spock’s case, as was the brilliantly subversive mode for social commentary on Star Trek. But that doesn’t mean it didn’t resonate.

In 1968 — the year Clark made contact with Belafonte, and the same year the Star Trek episode “Plato’s Stepchildren” caused much consternation for network executives who feared backlash against the interracial kiss between Captain Kirk and Lieutenant Uhura — a young girl wrote a letter to Spock, care of FaVE magazine. In the letter, she makes the connection between Spock’s fictional identity and her own very real situation:

“I know that you are half Vulcan and half human and you have suffered because of this. My mother is Negro and my father is white and I am told this makes me a half-breed. In some ways I am persecuted even more than the Negro. The Negroes don’t like me because I don’t look like them. The white kids don’t like me because I don’t exactly look like one of them either.”

Leonard Nimoy, who played Spock, wrote a long and thoughtful response that reads, in part:

“Spock learned he could save himself from letting prejudice get him down. He could do this by really understanding himself and knowing his own value as a person. He found he was equal to anyone who might try to put him down — equal in his own unique way.

You can do this too, if you realize the difference between popularity and true greatness.”

Spock certainly knew what “true greatness” was all about. You didn’t have to be mixed-race to feel this kind of connection to Spock, though…

Read the entire article here.

A Student Traveling Through Costa Chica Picked Up A Camera to Let Afro-Mexicans Tell Their Story

Remezcla
2015-02-25

Andrew S. Vargas

It’s Black History Month once again, and while it seems like every other day of the calendar year has been dedicated to some cause or another, the concept of Black history is particularly relevant to us as Latinos. With historically documented African populations from Buenos Aires up to Veracruz, including just about every country along the way, a new generation is starting to realize that our African heritage has been systematically erased from our national narratives over the centuries…

…One young filmmaker and anthropology student of Afro-Salvadoran descent, feeling sympathy for the plight of invisible Afro-Mexicans, took it upon himself to make a very independent documentary exploring Afro-Mexican identity in the coastal communities of La Costa Chica — a region spanning the states of Guerrero and Oaxaca that has the highest concentration of Afro-descendants in Mexico. Titled Así Somos: Afro Identities in the Coast, the short doc admittedly features an extremely raw and unpolished style, but director Andy Amaya does a fairly good job of letting his subjects speak for themselves as they reflect on experiences with discrimination, their Afro-linguistic heritage and labels like ‘negro’ vs. ‘afromexicano’…

Read the entire article here.

One Drop of Love at Iowa State University

Great Hall, Memorial Union
Iowa State University
Ames, Iowa
2015-03-01, 19:00 CST (Local Time), Doors open at 18:30

One Drop of Love produced by Ben Affleck and Matt Damon, performed by Fanshen Cox Digiovanni is a multimedia solo show that tells the story of how the notion of ‘race’ came to be in the United States. In addition, Fanshen whom is of mixed race shares personal accounts of how it affected the relationship with her father.

Admission is free.

For more information, click here.

Metis actress Tantoo Cardinal to receive lifetime achievement award

CTV News
2015-02-05

The Canadian Press

TORONTO — As Metis actress Tantoo Cardinal prepares to receive a lifetime achievement award, she remembers what originally inspired her to begin acting more than 40 years ago: anger.

“It wasn’t about a career at all — it was about having a voice,” the Edmonton-raised 64-year-old said in a telephone interview this week.

“I don’t know if people really can appreciate what that experience is — of attempted genocide, generations and generations and generations where your language is outlawed, your creativity is outlawed, anything you think or say or do is actually outlawed…

Read the entire interview here.

One Playwright’s ‘Obligation’ To Confront Race And Identity In The U.S.

Code Switch: Frontiers of Race, Culture and Ethnicity
All Things Considered
National Public Radio
2015-02-16

Jeff Lunden

Playwright Branden Jacobs-Jenkins may be only 30 years old, but he’s already compiled an impressive resume. His theatrical works, which look at race and identity in America, have been performed in New York and around the country. Last year, Jacobs-Jenkins won the best new American play Obie Award for two of his works, Appropriate and An Octoroon.

An Octoroon is currently playing at Theater for a New Audience in New York…

…Over the past five years, the young playwright has written a trilogy of highly provocative and fantastical explorations of race in America. In Neighbors, a family of minstrels in blackface moves in next to a contemporary mixed-race family. In Appropriate, a white family discovers their dead father belonged to the KKK. His latest, An Octoroon, is a loose adaptation of a play written more than 150 years ago that deals with identity and race.

“They are all kind of like me dealing with something very specific, which has to do with the history of theater and blackness in America and form,” he says. “And also, my obligation, as a human being with regards to any of these themes.”

It is Jacob-Jenkins’ self-examination that drove Ben Brantley, the chief drama critic for The New York Times, to rank An Octoroon on the top of his best pays list last year. He saw it at Soho Rep, a tiny off-Broadway theater.

“[Jacobs-Jenkins] starts off from self-consciousness, which you would think would be a crippling place for a playwright to begin,” Brantley says.”But his self-consciousness isn’t just particular; it’s national, it’s universal. And it’s the self-consciousness of realizing that we don’t have the vocabulary, the tools to discuss race.”

The play, based on a 1859 melodrama by the Irish-Anglo playwright Dion Boucicault, tells the story of a young man who’s about to inherit a plantation and falls in love with a woman who is an octoroon — seven-eighths white, one-eighth black.

Director Sarah Benson points out that, in the original, all the parts had to be played by white actors…

Read the entire article here. Listen to the story here. Download the audio here. Read the transcript here.

Laura Kina: Blue Hawai’i

Harold B. Lemmerman Gallery
New Jersey City University
Hepburn Hall, Room 323
2039 Kennedy Boulevard
Jersey City, New Jersey

2015-01-27 through 2015-03-03
Artist Reception: 2015-01-29, 16:30-19:30 EST (Local Time)
Artist Talk: 2015-03-02, 17:30-18:30 EST (Local Time)

Laura Kina, Canefield Workers, 2013, oil on canvas, 30 x 45 inches.

“You won’t find Elvis or surfboards or funny umbrella-topped cocktails in my dystopic Blue Hawai’i.” The Chicago-based artist Laura Kina speaks of her latest series of paintings which are featured in this exhibition. Drawn from her family albums, oral history and community archives, Kina’s ghostly oil paintings employ distilled memories to investigate themes of distance, longing, and belonging. The setting of these paintings is her father’s Okinawan sugarcane field plantation community, Piʻihonua, on the Big Island of Hawaiʻi near Hilo. The predominant blue color of the series was inspired by the indigo-dyed kasuri kimonos repurposed by the Issei (first generation) “picture bride” immigrants for canefield work clothes. Blue Hawaiʻi echoes the spirits of Kina’s ancestors and shared histories of labor migration.

In 2009, Kina accompanied her father back to his hometown community in Hawaiʻi to interview him along with other Nisei (second generation) and Sansei (third generation) about their memories of plantation life. In 2012, she traveled to Okinawa with her father, collecting stories of heritage and history. She learned of her grandmother and great aunts having been Kibei Nisei, i.e., sent to Japan for their education and that in the devastation of WWII and the Battle of Okinawa, four family members were killed–two by forced suicide.

As U.S. relatives ceased to use the Okinawan dialect of Uchinaguchi or standard Japanese, stories like these were lost. In Blue Hawaiʻi, Kina seeks to reclaim these histories via reanimated traces from old photographs and present-day vestiges visible in paintings such as “Okinawa—All American Food” and “Black Market,” which capture the remnants of war and a continued American military presence in contemporary Okinawa. Risking distortion, misreading, nostalgia and erasure, the artist fully engages in, what she calls, “the messy business” of memory, collapsing time and space into one Blue Hawaiʻi.

Laura Kina is Vincent de Paul professor of Art, Media, & Design at DePaul University. She is the coeditor, along with Wei Ming Dariotis, of War Baby/Love Child: Mixed Race Asian American Art (University of Washington Press, 2013); cofounder of the DePaul biennial Critical Mixed Race Studies conference; and cofounder and consulting editor of the Journal of Critical Mixed Race Studies and reviews editor for the Asian Diasporic Visual Cultures and the Americas.

Her solo exhibitions include Blue Hawaii (2014), Sugar (2010), A Many-Splendored Thing (2010), Aloha Dreams (2007), Loving (2006), and Hapa Soap Operas (2003). She has exhibited at the Chicago Cultural Center, India Habitat Centre, Nehuru Art Centre, Okinawa Prefectural Art Museum, the Rose Art Museum, the Spertus Museum, the University of Memphis, and the Wing Luke Museum of the Asian Pacific American Experience.

For more about the exhibition, view an on-line catalog here.