Mixed Race Studies

Bringing together our collective stories

The African Courier: The International Magazine Published in Germany
October/November 2012

Gyavira Lasana

The second annual convention of the Black German Cultural Society of New Jersey took place at Barnard College in New York City recently. Our New York-based contributing editor Gyavira Lasana reports on the convention, which focused on the theme of “What Is the Black German Experience?”

“Black German studies did not come from academia,” insisted Peggy Piesche, “but from young people who wanted to know their own history.” Professor Piesche, who was born and raised in the former East Germany and who now teaches at Hamilton College in New York, asserted her observation during an early-morning panel discussion on “Teaching the Black German Experience” at the second conference of the Black German Cultural Society (BGCS) held recently at Barnard College in New York City.

Piesche’s words echoed a decided difference between Black Americans and Black Germans on the study and teaching of the Black German experience, a difference that would reverberate throughout the conference. The panel also included Noah Sow, the German poet/writer and music performer who was the keynote speaker at the first BGCS conference last year in Washington DC. Sow suggested that the term Afro-German be replaced by Afro-Deutsch, which is surely more German. All in all, the panel noted that Afro-Deutsch studies continue to fascinate students in the US, and are thriving and growing. That is questionable.

Here in America, Black professors of German are reaching retirement age, and they are not being replaced. Black American students are following the global trend and pursuing Asian studies – Chinese, Japanese and Korean. German lies quite low on the list of options for study. Still, the Black professors of German maintain a high degree of enthusiasm, fuelled mostly by the emerging focus on the history and culture of Blacks in Germany…

…These highly personal stories reflect the heartache, confusion and repeated dysfunction of many (but not all) biracial children growing up in the American milieu. Their quest is often identity: Am I Black or White (in this case German)? Or something in between? Is a mixed-race identity desirable/acceptable?

There is a growing discourse and body of literature on these topics in the US, but they tend to be marginalised by the journey of Blacks born and raised in Germany who more often cite systemic and day-to-day racism. For example, during an earlier panel discussion on “Claiming the Black German Experience”, Lara-Sophie Milagro, a Black German actress and founder of Label Noir, a Berlin-based Black theatre company, stated that “what I had considered to be my personal struggle is really the struggle of all people of colour in Germany, and what I had regarded as my personal problem and failure – not to be a real German and full-value human being – was really the problem and failure of a privileged and ignorant White majority.”…

Read the entire article here.

The Mischling Experience in Oral History

The Oral History Review
Volume 35, Issue 2 (2008)
pages 139-158
DOI: 10.1093/ohr/ohn025

Peter Monteath, Associate Professor of History
Flinders University, Adelaide, Australia

This paper examines the usefulness of oral history in dealing with the fate of the so-called Mischlinge in Nazi Germany; that is, people categorized by the authorities as being of “mixed race.” It argues that oral history provides an invaluable supplement to the written, official record. The latter is by its nature a view “from above” and from the perpetrators; it generally excludes the perspective of the victims of Nazi racial policy. Moreover, as an overview of the treatment of Mischlinge demonstrates, there were stark discrepancies between policy and practice which are difficult to comprehend on the basis of the written record alone, but which are well exemplified through a study of individual experiences. The paper uses several examples of such experiences collected from three separate video testimony repositories to analyze the nature of those experiences, detecting discrepancies between official policy and practice and observing the considerable variations in the nature and harshness of those experiences. Finally, the oral history record is found to be invaluable in tracing some of the longer-term consequences of the Third Reich for surviving Mischlinge, especially in terms of their constructions of identity and the ways in which, for the period after the Second World War, they dealt with the ascribed identities which had so heavily impacted them in their early years.

Read or purchase the article here.

Germans Loving Others: Narrating Interracial Romance in Kenya, North America, and Guatemala

127th Annual Meeting of the American Historical Association
New Orleans, Louisiana
2013-01-03 through 2013-01-06

AHA Session 70: Central European History Society 3
Friday, 2013-01-04: 08:30-10:00 CST (Local Time)
Chamber Ballroom II (Roosevelt New Orleans)

Chair: Andrew Zimmerman, George Washington University

Papers:

• “Seeking Winnetou: German Women and the Appeal of American Indian Masculinity” / H. Glenn Penny, University of Iowa
• “Romantic Dimensions of the Second Scramble for Africa: ‘A White Lady Is Like Gold for Us’” / Nina Berman, Ohio State University, Columbus
• “Between Twin Souls: German-Maya Children and Politics of Interracial Romance in Guatemala, 1930–45” / Julie A. Gibbings, University of Manitoba

Comment: Lora Wildenthal, Rice University

The German fascination with the non-European world and its native populations, as documented and imagined in various forms of the German cultural archive, presents intriguing questions for scholars of race, sex, and empire. The German love affair with natives, including North American Indians, Bedouin nomads, and Masai warriors, dates back to the early days of colonial expansion, and gave rise to romanticized representations and staged performances of native nobility and ethnic pride. These cultural representations produced sentiments and desires that shaped contact and conduct as Germans sought out and stumbled upon native peoples abroad. While scholarship of the past two decades has explored a wide range of political, economic, and cultural aspects of the colonial and postcolonial encounter, interracial contact has received less attention. Scholars have given short shrift to the stunning array of unofficial, personal, and often quite intimate interconnections between Germans and non-Europeans during the modern era.

The proposed panel addresses this lacuna in scholarship, and focuses on the question of whether interracial love subverts or replicates the colonial and postcolonial histories that produced socio-economic inequalities, gendered norms, and racial hierarchies. The papers in this panel explore these questions through the lives, narratives, and memories of Germans, native peoples, and mixed-race children in three vastly different places: postcolonial Kenya, North America, and Guatemala. They collectively challenge and problematize assumptions of colonial and postcolonial scholars about the regulatory norms of interracial sex that shielded white female sexuality from dark, colonized men and often made interracial children the subject of state scrutiny and care. The papers demonstrate how German romance with natives could, in practice, vary widely across historical and geographical contexts, particularly with regard to cultural, economic, and political dimensions of these relationships. Finally, the papers consider the agency of the non-German partners in these interracial and binational relationships. The panels intends to shed new light on interracial and binational romance by probing questions of power and inequality in a comparative and transnational framework.

From Kongo to Othello to Tango to Museum Shows

ARTnews
2012-10-25

Robin Cembalest

Jacopo da Pontormo (Jacopo Carucci), Portrait of Maria Salviati de’ Medici and Giulia de’ Medici, ca. 1539, oil on panel. THE WALTERS ART MUSEUM, BALTIMORE, ACQUIRED BY HENRY WALTERS WITH THE MASSARENTI COLLECTION, 1902 (37.596).

Artists and scholars are taking increasingly nuanced approaches to tracking the image—and influence—of Africans in Western art

In 1902 the Walters Art Museum acquired a Pontormo painting of an Italian noblewoman, Maria Salviati, dated ca. 1539. Back then it was considered a portrait of a woman whose hands were “in funny places,” as Gary Vikan, the museum’s director, puts it. Then in 1937, restorers removed some over-painting—and discovered a child was there. That child was assumed to be a portrait of Maria’s son, Cosimo de’ Medici.

And Then He Was a She
 
Now curators say the boy was a girl–Giulia de’ Medici. The daughter of Duke Alessandro de’ Medici, who was believed to be the son of a black female servant, Giulia is thought to have been the most prominent European woman of African descent at that time.

Darkness Visible
 
This discovery helped inspire “Revealing the African Presence in Renaissance Europe,” an inventive show at the Walters that enlists familiar faces of art history to spotlight lesser-known ones in social history. Focusing on the period between 1480 to 1610, an era of increased contact as trade routes expanded, diplomats traveled more widely, and Africans were imported to Europe en masse to serve as slaves, the show includes works by Dürer, Rubens, Pontormo, and Veronese, among many others, depicting Africans living in or visiting Europe. The museum describes the show as an effort to restore an identity to individuals who have been invisible–in various senses of the word.
 
The show uses representations of slaves in Europe to find out who they were, how they lived, and what their depictions say about Renaissance society. A Caracci portrait of a slave woman is a fragment of a double portrait of her owner, of whom a bit of veil remains. She is holding a clock, meant to announce her mistress’s Christian concern for the quick passage of time…

Read the entire article here.

A Spectrum From Slaves to Saints (Art Review)

The New York Times
2012-11-08

Holland Carter, Staff Art Critic

“The Three Mulattoes of Esmereldas” (1599) is one of the works in “Revealing the African Presence in Renaissance Europe,” at the Walters Art Museum in Baltimore. More Photos

‘African Presence in Renaissance Europe,’ at Walters Museum

BALTIMORE — In a fall art season distinguished, so far, largely by a bland, no-brainer diet served up by Manhattan’s major museums, you have to hit the road for grittier fare. And the Walters Art Museum here is not too far to go to find it in a high-fiber, convention-rattling show with the unglamorous title of “Revealing the African Presence in Renaissance Europe.”

Visually the exhibition is a gift, with marvelous things by artists familiar and revered — Dürer, Rubens, Veronese — along with images most of us never knew existed. Together they map a history of art, politics and race that scholars have begun to pay attention to — notably through “The Image of the Black in Western Art,” a multivolume book project edited by David Bindman and Henry Louis Gates Jr. — but that few museums have addressed in full-dress style.

Like the best scholarship, the Walters show, organized by Joaneath Spicer, the museum’s curator of Renaissance and Baroque art, is as much about questions as answers, and makes no bones about that. Many wall labels begin with an interrogative, suggesting that a museum visitor’s reading of a particular image carries as much weight as the curator’s…

…Being a domestic slave in urban Europe was not necessarily a lifelong condition. (The situation was very different on New World plantations.) Slaves could be freed by owners and take up independent professions. The two black men, one young, one older, in a pair of fleet chalk drawings from around 1580 by Paolo Veronese might have worked as his assistants or apprentices, much as the former slave and mixed-race painter Juan de Pareja did in Velázquez’s studio in Madrid.

De Pareja went on to have a painting career of his own, though he is largely remembered as the subject of one of Velázquez’s most magnificent portraits. But in general the names of black sitters in Renaissance paintings — and, no doubt, of black artists — are lost.

Who is, or was, the slightly stunned-looking man wearing drop earrings, a gold chain and pearl-encrusted cap in “Portrait of a Wealthy African,” by an unknown 16th-century German or Flemish artist? Or the regal-looking personage, head swathed in a milk-white turban, in an oil sketch whipped up on a sheet of repurposed accounting paper by Peter Paul Rubens?

Rubens’s sitter is so attractive, we’d love to know his story. And we’d especially love to know the story — the true, gossip-free story — behind the sitter in an Agnolo Bronzino portrait whose name has survived. He’s Alessandro de’ Medici, who ruled Florence for seven years before being assassinated in 1537, and who is thought by historians to have been the illegitimate child of a pope-to-be, Clement VII, and a black or biracial woman.

Alessandro’s dark skin was remarked on by contemporaries, who nicknamed him Il Moro (the Moor), a generic term for African in 16th-century Italy. In Bronzino’s painting the subject’s complexion is inconclusively ruddy. But another portrait, this one of the ruler’s young daughter Giulia, has been cited by some scholars, who point to the child’s black facial features, as confirmation of Alessandro’s ethnic heritage.

Together these portraits probably attest to the reality of African DNA flowing through Medici blood, and through the very center of the European High Renaissance. But they are at least as interesting for the reactions they have provoked. Until recently art history has ignored, denied or at best tiptoed around their racial content, just as it has skimmed over the black presence in Europe as a whole. The Walters exhibition not only asserts that presence, but positions it as a contributing factor to a crucial moment in the forming of European cultural identity…

Read the entire article here.  View the slide show here.

Exhibition brings black Germans’ stories to light

DW
2012-11-09

Helen Whittle

An exhibit gives voice to the histories of Africans, African-Americans and Afro-Germans from the past 300 years of German history. It presents a differentiated perspective on the lives and histories of blacks in Germany.

Asked what comes to mind when they think about Germany, many foreigners conjure up stereotypical images of Oktoberfest, the Holocaust and the Berlin Wall.

But these images of Teutonic culture and society do little to reflect the diversity of the contemporary, multiethnic Federal Republic of Germany where one fifth of the population has an ethnic minority background, according to an exhibition that opened Saturday (3.11.2012) at Cologne’s Alte Feuerwache.

Jonas Behre, director at the Initiative for Black People in Germany (ISD), helped organize the exhibit titled “Homestory Deutschland: Black Biographies from History and the Present” and which provides a collective self-portrait, giving voice to the complex and varied histories of Africans, African-Americans and Afro-Germans from the past three centuries of German history.

“Even though black people have lived in Germany for hundreds of years, it is not viewed as a reality of everyday life,” said Behre, who was born in Eritrea but has lived for virtually all of his life in Germany. “And that can be seen in the discrimination and exclusion in daily life, and that’s what we hope to tackle with this exhibition.”…

…Another of the biographies illuminated in the exhibition is that of Afro-German actor, journalist and activist Theodor Wonja Michael. Born in Hamburg in 1925, Michael is Germany’s oldest living Afro-German. His father moved from Cameroon—then a German colony—to Germany in 1904.

Denied access to higher education on the basis of skin color, he would have liked to have become an archeologist or an ethnologist. But as a young man, one of the few possibilities he had to earn a living wage was as an actor in colonial films or “Völkerschauen”—the ethnological expositions or “human zoos” popular in Germany in the 19th and early 20th centuries.

After the end of the Second World War, Michael found it hard to get work he managed to get work as an actor of the theater stage.

Michael remembers how his father always felt it was his natural right to live in Germany and how this attitude remains integral to own perspective on life as an Afro-German today.

“Afro-German means that one has two backgrounds, namely an African one and a German one,” Michael said. “I think it’s an advantage having an insight into two cultures. I see it as a very positive thing.”…

Read the entire article here.

Viva Obama! – How Spain Views The US Elections

International Business Times
2012-11-06

Palash R. Ghosh

Spain, reeling from a paralyzing economic crisis that has thrown one-quarter of the workforce onto the streets and crippling budget cuts, may not have its full attention upon Tuesday’s presidential elections.

However, given the widespread approval of Barack Obama across much of western Europe, some Spaniards may indeed be cast a glance across the Atlantic.
 
The financial collapse in Spain ended the tenure of the Socialist government of former Prime Minister José Luis Rodríguez Zapatero, supplanted by the conservative administration of Mariano Rajoy of the People’s Party.

International Business Times spoke to an expert on Spain to discuss how the beleaguered Spaniards view the U.S. Presidential election,
 
Laura Gonzalez-Alana is Assistant Professor of Finance and Business Economics at Fordham University in New York City.

IB TIMES: Do you sense a great deal of interest in the 2012 U.S. presidential election among the Spanish public? Or has it waned since 2008?

GONZALEZ-ALANA: The Spanish press has been widely covering the campaign. I could actually read summaries and opinions about the outcomes of the debates earlier in Spain than on CNN. Clearly the European press prefers Barack Obama, despite the disappointment regarding the expectations raised by his 2008 victory..
 
Spaniards, like other Europeans, are worried about how foreign policy and diplomatic relations with the United States could change if Mitt Romney becomes president. They do not trust the current moderate tones in Romney’s speeches after the very conservative stances he took during the primaries to appeal to the far-right Tea Party.

In general, the majority of Europeans believe Obama could be a more efficient negotiator with them and with the Middle East nations.

Another armed conflict [in the Mideast] would be particularly difficult to support given the economic crisis in Europe.

Also, Europeans, and Spaniards in general do not believe that open confrontation with China over trade issues would be the most effective manner to handle such abuses. And Europeans still resent having been dragged into the armed conflicts waged by George W. Bush…

…IB TIMES: Does Spanish media describe Obama as “black” or “mixed race” (given that his mother was white). Is this distinction important to Spaniards?
 
GONZALEZ-ALANA: People in Spain are aware of his being half-white and half-black, but not much is said about his racial profile, other than it makes extremist groups more nervous about him, given that in the European mind, the U.S. is still quite uncomfortable with racial diversity.
 
Europeans have some racial issues, too, but they see Obama as an “American” leader, and as a person to admire, like other famous black or half-black famous US people, like singers, actors, sports figures and so on.

If you asked Spaniards to pick a word to describe Obama, they would say “black”—in a sense, not being ‘fully white’ means ‘black.’

Now, the word ‘negro’ in Spain is not politically incorrect, but it all depends on the context and intonation…

Read the entire interview here.

Against Black-Face Roles in German Theatre

Avaaz: Community Petitions
2012-10-14

Gyavira Lasana

Last January Schlosspark Theatre in Berlin opened “I’m Not Rappaport” by Herb Gardner. The production featured a white actor in black-face in the role of Midge Carter, portrayed in New York by Ossie Davis. When concerned theatre professionals complained on the website of Schlosspark, they were blocked; yet neo-Nazis, who charged that the “niggers should go back to Africa,” were allowed access. Schlosspark insisted the production was not “racist,” that they cast a white actor because they could not find a “qualified black actor.” The widow of Herb Gardner has deflected inquiries about the rights to “Rapport” to the agent in Germany. And she points to a 1986 conversation in which Gardner agreed to black-face “if a suitable black actor could not be found.” That time and circumstance have passed. I am asking Actors Equity and the Dramatists Guild to decline participation in productions featuring black-face and condemn its use in Germany.

Why this is important

The German theatre use of “black-faced” white actors in roles written and designed for blacks subverts the intentions of the dramatists and denies work to black actors. On a broader scale, black-face demeans black Germans and reinforces racist societal and political positions of power.

For more information, click here.

Family Portrait in Black and White [Tanasse Review]

Educational Media Review Online
2012-09-24

Distributed by Interfilm Productions Inc., 304-1515 West Hastings St., Vancouver, BC V6G 3G6, Canada; 604-638-8920
Produced by Boris Ivanov
Directed by Julia Ivanova
DVD, color, 85 min. and 52 min. versions
Sr. High-General Adult
Adoption, Adolescence, Children, Child Development, Parenting, Area Studies, European Studies, Ethnic Studies, Social Work, African Studies

Gisèle Tanasse, Operations Supervisor Moffitt Library
University of California, Berkeley

Family Portrait in Black and White presents an intimate look into the daily challenges facing Ukranian Olga Nenya, half Stalanist dictator, half motherly saint. Olga cares for her brood of 16 foster children, mostly children of mixed-race abandoned by their white mothers, with an iron hand in a very modest home without a toilet or running water. Ever the task master, the children’s free time is filled with various domestic and agricultural chores, tending the vegetable garden, feeding goats, cleaning house, cooking and doing schoolwork. We are also privy, though, to very tender moments, including Olga comforting and caressing her children, a sister happily sharing her modest bowl of berries with 11 of her siblings and Olga’s anger and fear of losing her children when a herd of government inspectors come, giving her a truly bizarre verbal lashing over the use of plastic plates. This home-life stands in stark contrast with the racist, xenophobic remarks we hear from locals and neighbors, who at best, feel a superior pity towards the children, but more typically would seem driven to intimidate and possibly cause them physical harm. Even Olga’s adopted children look down on African students they pass in the street, using racial epithets and making horrific comments that the students merely wish to seduce white Ukrainian women. It seems, however, that any pride or air of superiority that Olga instills in the children is less a commentary on the shortcomings of the fathers, and more of a reflection of the value that Olga places on her children as assets to their country—the Ukraine—cannot afford, according to Olga, to lose such jewels as her children…

Read the entire review here.

Family Portrait in Black and White: A Talk With Julia Ivanova

The Huffington Post
The Blog
2012-07-12

E. Nina Rothe, Global Culture Explorer

The upcoming documentary by Julia Ivanova, titled Family Portrait in Black and White features a Ukrainian foster mother, Olga, and her brood of 27 foster kids. Ranging in ages between grade schoolers and legal adults, Olga’s children are for the most part the beautifully unique result of relationships between African students—attending the affordable universities of the former Soviet country — and Ukrainian women. In a national environment that presently leans more on the side of intolerance and bigotry, where neo-Nazi demonstrations can be the found on any given day in Kiev, Olga should be called a heroine.

Yet the beauty of Ivanova’s insightful film lies in her cinematic portrayal of the woman behind the mother. Olga turns out to be a flawed, overbearing, opinionated result of the former Soviet regime, who loves by the rules and teaches by the book: her book. In other words, perfectly human.

I caught up with Ivanova about her touching film and she shared her insightful views on the film’s imperfect heroine, as well as the future of these biracial children in a world that is increasingly partial to what is standard and un-unique.

Your film tells the story of a woman who is human, not just a heroine. How did you become aware of this particular story?

This particular story was very dear to me because for a number of years I wanted to make a film about biracial citizens of Eastern Europe and especially children who were born in Eastern Europe and don’t have a second identity other than the identity of the nation they feel they belong to. But the society sees them as different, so I was looking for a story that would allow me to explore this topic in its whole complexity. I was filming in Moscow in 2004 when I saw an article in the local newspaper of this woman in Ukraine with photos. Immediately I thought it was an excellent, excellent story and I got in touch with her a year or two later and then came to meet her…

Read the entire interview here.