Mixed Race Studies

Family Portrait in Black and White: Documentary by Julia Ivanova

Interfilm Productions
Vancouver, British Columbia, Canada
2011
Institutional Use: Double DVD (includes 85 and 52 minute versions)
Private Use: 85 minute DVD

Julia Ivanova, Director

Olga Nenya has 27 children. Four of them, now adults, are her biological children; the other 23 are adopted or foster children. Of those 23, 16 are biracial.

She calls them “my chocolates,” and is raising them to be patriotic Ukrainians. Some residents of Sumy, Ukraine, consider Olga a saint, but many believe she is simply crazy. An inheritance from the Soviet era, a stigma persists here against interracial relationships, and against children born as the result of romantic encounters between Ukrainian girls and exchange students from Africa. For more than a decade, Olga has been picking up the black babies left in Ukrainian orphanages and raising them together so that they may support and protect one another.

The filmmakers interview Neo-Nazis in Ukraine reveals the real dangers for a dark-skinned individual in the street. These white supremacist youth joke about their evening raids and how police seem to let them do it. Prosecutors are not particularly determined to give strict sentences to racially motivated crimes, and young thugs can get away with probation for beating someone nearly to death.

Olga sends her foster children to stay with host families in France and Italy in the summers and over Christmas, where they are cared for by charitable families who have committed to helping disadvantaged Ukrainian youth since the Chernobyl disaster. Olga’s kids now speak different languages, and the older girls chat in fluent Italian with each other even while cooking a vat of borscht. But Olga doesn’t believe in international adoption and has refused to sign adoption papers from host families that wanted to adopt her kids.

“At least when the kids grow up, they’ll have a mother to blame for all the failures that will happen in their lives,” she says.

AWARDS:

• 32nd GENIE AWARDS (Canada) (aka Canadian Oscars) “NOMINEE: Best Feature Documentary”
• 18th HOT DOCS FILM FESTIVAL (Canada) “Grand Prize: Best Canadian Film Award”
• 56TH VALLADOLID INTERNATIONAL FILM FESTIVAL (Spain) “Cultural Diversity Award” and “Time of History Third Prize”
• 6TH MIRADASDOC –DOCUMENTARY FILM FESTIVAL (Spain) “Audience Award”
• 6TH ADDIS INTERNATIONAL FILM FESTIVAL (Ethiopia) “Jury Award – Best Documentary”

SCREENINGS:

• Sundance Film Festival (USA)
• International Documentary Film Festival (Amsterdam)
• Los Angeles Film Festival (USA)
• Mumbai Film Festival (India)
• Haifa International Film Festival (Israel)
• Hamptons International Film Festival (USA)
• Cleveland International Film Festival (USA)
• Glasgow International Film Festival (UK)
• Thessaloniki Film Festival (Greece)
• Message To Man Documentary Festival (Russia)
• Bergen International Film Festival (Norway)
• Vancouver International Film Festival (Canada)
• New Zealand International Film Festival
• Seattle International Film Festival (USA)
• One World Film Festival (Romania, Czechoslovakia)
• Human Watch Film Festival (UK)
• Watchdocs (Poland)

What are the areas of interest? The major areas of interest covered by the film include:

• human rights
• critical mixed-race studies
• ideology
• institutionalization
• identity politics
• transitional economy
• international adoption
• foster homes

Who can benefit from the film? Family Portrait in Black and White is valuable for anyone with research interest in the following:

• African Studies
• Slavic Studies
• Child and Family Studies
• Sociology
• Women’s Studies
• Film and Media Studies
• Mixed-Race Studies

Revealing the African Presence in Renaissance Europe

Walters Art Museum
600 N. Charles Street
Baltimore, Maryland
2012-10-14 through 2013-01-21
Open Wednesday-Sunday, 10:00-17:00 ET (Local Time)
Telephone: 410-547-9000

Revealing the African Presence in Renaissance Europe, an unprecedented exhibition, explores the world of Renaissance art in Europe to bring to life the hidden African presence in its midst. During the first half of the 1500s, Africa became a focus of European attention as it had not been since the time of the Roman Empire. The European thirst for new markets already in the mid 1400s drove the Portuguese (and subsequently the English and Dutch) to explore the establishment of new trading routes down the west coast of Africa and, by the turn of the new century, into the Indian Ocean. At the same time, the expansion of the Ottoman Empire in North Africa brought the Turks into military and political conflict with European interests. These elements, along with the importation of captured Africans as slaves, primarily from West Africa, increasingly supplanting the trade of slaves of Slavic origin, resulted in a growing African presence in Europe.

1. Annibale Carracci (attributed). Portrait of a Black Servant (Fragment of larger portrait), ca. 1580s, oil on canvas, 24 x 12 in. (60.96 x 30.48cm). Leeds, private collection. 2. Jacopo da Pontormo. Portrait of Maria Salviati de Medici and Giulia de Medici, ca. 1539, oil on panel, 34 5/8 x 28 1/16 in. (88 x 71 cm). The Walters Art Museum, Baltimore. 3. German or Flemish. Portrait of a Wealthy Black Man, ca. 1540, oil on panel, diameter 11.7 in. (29.7 cm). Private Collection, Antwerp.

The first half of the exhibition of approximately 75 works explores the historical circumstances as well as the conventions of exoticism that constituted the prism of “Africa” through which individuals were inevitably perceived.

11. Cristovao de Morais. Portrait of Juana of Austria with her Black Slave Girl,1555, oil on canvas, 39 x 31 7/8 in. (99 x 81 cm). Musées Royaux des Beaux Arts de Belgique, Brussels. 12. Paolo Veronese. Study of a Black Boy Eating, ca. 1570s, black and white chalk on paper, 6 x 7 in. (15.5 x 20 cm). Mia Weiner, Norfolk, Connecticut. 13. Bronzino (workshop replica). Portrait of Duke Alessandro de Medici, ca 1553, oil on tin, 5 7/8 x 4 in. (15 x 12 cm). Uffizi, Florence. 14. Joannes and Lucas van Doetecum after Pieter Bruegel the Elder. Two Flemish Peasants (Africans), ca.1564-5, etching, ca. 5 x 7 3/8 in. (13/3 x 18.7 cm). Rijksmuseum, Amsterdam.

In the second half, attention shifts to individuals, focusing on portraits. These often very sensitive images underscore the role of art in bringing people from the past to life. While some Africans played respected, public roles, the names of most slaves and freed men and women are lost. Recognizing the traces of their existence is a way of restoring their identity…

For more information, click here.

Jazz, Race Collide With War In 1930s Europe

Tell Me More
National Public Radio
2012-03-26

Jacki Lyden, Host

The novel Half Blood Blues explores an often overlooked slice of history: black jazz musicians in Germany on the eve of World War II. The book moves from 1992 to 1939, from Baltimore to Berlin to Paris. It’s told by an elderly black jazz musician and his friend who survived the war. Guest host Jacki Lyden speaks with author Esi Edugyan.

Transcript:

This is TELL ME MORE from NPR News. I’m Jacki Lyden. Michel Martin is away this week. Now we’re going to take a trip back in time with the help of a prize-winning novelist.

The novel, “Half Blood Blues,” considers a slice of history that often gets overlooked: black jazz musicians and their fate in Germany just before World War II. The novel moves back and forth from 1992 to 1939, from Baltimore to Berlin, Berlin to Paris and it’s told through the eyes of an elderly Baltimore black jazz musician, Sid Griffiths, and his lifelong friend, Chippewa Jones, all in invented period slang.

The novel was short-listed for the Booker Prize this year and won the Giller Prize in Canada and its author, Esi Edugyan, joins us now from member station KUOW in Seattle. Welcome.

ESI EDUGYAN: Thank you.

LYDEN: Esi, just to establish, you are a Canadian author.

EDUGYAN: I am.

LYDEN: And you live in…

EDUGYAN: I was born and raised in Calgary.

LYDEN: Born and raised in Calgary, of Ghanaian parents and you live in Victoria?

EDUGYAN: Yes.

LYDEN: Well, please tell us about this novel, which has had so much success. Tell us about the men at the center of your story. They’re jazz musicians from a group called the Hot Time Swingers. We meet them in Paris. They already have escaped from Berlin. They’ve met Duke Ellington and at the center of the group is this really intriguing character you’ve invented called Hieronymus Falk. And he is eventually picked up by the Gestapo in June of 1940. Tell us about these fellows and Hieronymus.

EDUGYAN: Well, essentially, the novel is told in two parts and the first part centers around the Hot Time Swingers who, you know, are a jazz band who’s had quite a bit of success playing in Berlin. And, you know, now the Third Reich has been ushered in and they’re trying to decide exactly how to proceed now that they’ve been prohibited from playing in public.

And so the band consists of two African-American players, Sid and Chip from Baltimore, as well as the German players, Paul, who’s a pianist who has a Jewish background, and Ernst. And then Hieronymus Falk, who is an Afro-German, the child of a French colonial soldier and a German mother, and he’s the trumpet prodigy.

LYDEN: Hieronymus Falk really intrigued me, Esi Edugyan. He is, you say in the novel, the German word was mischling. He is of mixed race and there really were such Afro-Germans prior to the Nazis taking power…

Read the entire transcript here. Listen to the interview here. Download the interview here.

“The Ineffaceable Curse of Cain”: Race, Miscegenation, and the Victorian Staging of Irishness

Victorian Literature and Culture
Volume 29, Number 2 (September 2001)
pages 383–396

Scott Boltwood, Associate Professor of English
Emory & Henry College, Emory, Virginia

THROUGHOUT THE NINETEENTH CENTURY both the English popular and scientific communities increasingly argued for a distinct racial difference between the Irish Celt and the English Saxon, which conceptually undermined the Victorian attempt to form a single kingdom from the two peoples. The ethnological discourse concerning Irish identity was dominated by English theorists who reflect their empire’s ideological necessity; thus, the Celt and Saxon were often described as racial siblings early in the nineteenth century when union seemed possible, while later descriptions of the Irish as members of a distant or degenerate race reflect the erosion of public sympathy caused by the era of violence following the failed revolt of 1848. Amid this deluge of scientific discourse, the Irish were treated as mute objects of analysis, lacking any opportunity for formal rejoinder; nonetheless, these essentially English discussions of racial identity and Irishness also entered into the Irish popular culture.

This paper will examine the dynamic resonance of English ethnography within Irish culture by using Victorian theories of Celtic racial character to inform a reading of a seminal dramatic portrayal of the Irish. The focus of my analysis will be the romantic melodrama The Colleen Bawn, written by the Irish dramatist Dion Boucicault in 1860. This work is the first of Boucicault’s several “Irish” melodramas: plays that celebrated Irish identity, enjoyed the fanatical devotion of Irish audiences well into the next century, and inspired a school of Boucicauldian nationalists at Belfast’s Queen’s Theatre at the turn of the century. Ultimately, though, the artistic impetus for The Colleen Bawn underscores Boucicault’s deep ambivalence over his homeland. Early in 1860, he began working on The Colleen Bawn following his completion of The Octoroon, a play in which he performed each night throughout the period of the Irish play’s composition and rehearsal. Both plays focus on a young landowner who is torn between his love for a poor, local beauty and his financial necessity to marry his wealthy neighbor. Moreover, in both plays the heroes inherit estates teetering on the brink of financial ruin, both intended brides are faithful and wealthy cousins, and both heroines are celebrated for their innocence and purity. Tellingly though, the first heroine is the mulatto freed-slave Zoe, while the second is the Irish peasant Eily O’Connor.

Although avowedly not intended to be an “Irish Octoroon,” The Colleen Bawn anticipates the racial conflation of Irish and African that the English ethnological imagination scientifically argued for beginning in the 1880s. Indeed, the creative genesis of this Irish romance in a melodrama of slavery and miscegenation aptly reveals the status of the Irish within the United Kingdom in spite of the promised equality supposedly conferred on the Irish by the Act of Union in 1800. Whereas the modern reader may argue that the play’s tension arises from the social, religious, and economic disparities between Hardress Cregan and Eily O’Connor, the widespread popularity of Victorian theories of racial identity would have predisposed the play’s audience to recognize the racial difference between Hardress and Eily as the fundamental impediment to their happiness…

Read the entire article here.

Blackface, Whiteness and the Power of Definition in German Contemporary Theatre

The International Research Center “Interweaving Performance Cultures” invites Bühnenwatch
Studio 1 Kunstquartier Bethanien
Mariannenplatz 2 / 10 997 Berlin
2012-10-16, 11:00-16:30 CEST (Local Time)

With presentations by Sharon Otoo, Sandrine Micossé-Aikins, Dr. Daniele Daude, Dr. Azadeh Sharifi and Julia Lemmle

Moderated by Oliver Kontny

Program

11.00 Introduction by Oliver Kontny
11.30 “Reclaiming Innocence: Unmasking Representations of Whiteness in German Theatre,” Sharon Otoo
12.00 “Not just a Blackened Face: The Back Stage of a Stereotyp,” Sandrine Micossé-Aikins
12.30 “The (Un)Chosen Bodies of Myths. Performing Race on Opera Stage,” Dr. Daniele Daude
13.00-13.30 Discussion
Lunch
15.00 “Black artists in German theatre,” Dr. Azadeh Sharifi
15.30 ““Ich bin kein Nazi!” The blackface debate in the German mainstream media,” Julia Lemmle
16.00-16.30 Discussion…

For more information, click here.

Afro-German Literature and Films

Gerlind Institute for Cultural Studies, Oakland, California
4 two-hour classes

Marion Gerlind, Founder and Executive Director

This seminar will familiarize students with the history of a minority population in Germany who has gained significant visibility in German media since the 1980s. Having confronted racist stereotyping and media (mis)representations, Black Germans have formed empowering social and historical identities around the self-label “Afro-German.” Using the classic book Farbe bekennen (Showing Our Colors), autobiographical essays, excerpts from novels and films, including later work by May Ayim and Ika Hügel-Marshall, students will study pre-colonial representations of Africa in Germany, Afro-Germans in the Weimar Republic and under National Socialism, as well as after 1945 to the present.

This seminar will be conducted in German and/or English. Students are asked to read assigned texts prior to each session and be prepared to contribute to email discussions.

Invisible Woman: Growing up Black in Germany

University of California, Berkeley
Center for Race & Gender
Multicultural Community Center, Hearst Field Annex-D
2012-09-25, 12:40-14:00 PDT (Local Time)

A reading by Ika Hügel-Marshall

Ika Hügel-Marshall was the child of an African-American serviceman and a white German woman. Born and raised in post-Hitler Germany, she tells about her experience of anti-Black racism and how she came to terms with her identity as an Afro-German. Only at the age of 39 she met other Afro-Germans and was involved in setting up the “Initiative of Black Germans” (ISD). In 1993, she found her father in Chicago and met him and his family—a most profound experience.

For more infomation, click here.

Review of Mazón, Patricia M.; Steingröver, Reinhild, eds., Not So Plain as Black and White: Afro-German Culture and History, 1890-2000

H-German, H-Net Reviews
June 2009

Lynn Kutch, Assistant Professor of German
Kutztown University of Pennsylvania

Patricia M. Mazón, Reinhild Steingröver, eds. Not So Plain as Black and White: Afro-German Culture and History, 1890-2000. Rochester: University of Rochester Press, 2005. xvii + 247 pp. cloth ISBN 978-1-58046-183-2.

A Defiant “We” Announces Its Birth: Understanding the Complexity of Black German Identity

Given the long and varied history of cultural interactions between Africans and Germans–from the 1400s, when Africans populated Europe as slaves and court servants, to the pinnacle of German colonization in Africa in the late 1800s, to the post-World War I Rhineland occupation–the dominant German culture, perhaps understandably, has always viewed Africans as foreigners. This multifaceted collection interrogates the difficulty of categorizing the experience of Afro-Germans, a new organizing term in its own right. In each essay, the authors seek to expand the relatively limited current base of knowledge about the black German experience and to rectify the oftentimes ill-informed German and international reaction to that tradition. As a whole, the collected essays represent, as Sander Gilman puts it, a “major confrontation between the German image of Blackness and the reality of the Black” (p. 83). Gilman’s “confrontation” materializes in each essay’s distinctly articulated challenges to the common notion that racism toward blacks never existed in Germany. The book’s authors and editors not only dispute that comfortable assumption, they also sharpen the markedly German angle of the examination by claiming that attention paid to Vergangenheitsbewältigung, or coming to terms with the National Socialist past, has consistently overshadowed the German colonial legacy and historical attitude about Africans. A vital reading given its multicultural approach to German studies, the book demonstrates that, despite the widespread cultural eclipse of this theme, historians, writers, and filmmakers have successfully exploited their talent to display a new self-confidence while educating others on overt acts of prejudice and racism in Germany.

Building upon previous research in the field and combining disciplines and methodologies, the editors have organized the volume into two thematic sections that will appeal to Afro-German readers as well as scholars with varying degrees of interest in and knowledge about the subject. The first subdivision, “Afro-Germans in Historical Perspective,” traces African intersections with German history from the colonial period through 1945. The second portion, “Cultural Representations and Self-Representations of Afro-Germans,” offers specific examples from various disciplines of the ever-changing perceived image over time and how the community of Afro-Germans seeks to define itself as a reaction to those general perceptions…

Read the entire review here.

The Biopolitics of Mixing: Thai Multiracialities and Haunted Ascendancies

Ashgate Publishing
October 2012
198 pages
234 x 156 mm
Hardback ISBN: 978-0-7546-7680-5
ebook ISBN 978-1-4094-2502-1

Jinthana Haritaworn, Assistant Professor in Gender, Race and Environment at the Faculty of Environmental Studies
York University, Canada

Debates over who belongs in Europe and who doesn’t increasingly speak the language of mixing, but how are the figures commonly described as ‘mixed’ actually embodied? The Biopolitics of Mixing invites us to reckon with the spectres of pathologization past and present, placing the celebration of mixing beside moral panics over terrorism and trafficking and a post-race multiculturalism that elevates some as privileged members of the neoliberal community, whilst ghosting others from it. Drawing on a broad archive including rich qualitative interviews conducted in Britain and Germany, media and policy debates, popular culture, race-based research and queer-of-colour theories, this book imagines into being communities in which people and places normally kept separate can coexist in the same reality.

As such, it will appeal to scholars across a range of sociological and cultural studies, including critical race, ethnic and migration studies, transnational gender and queer studies, German and European studies, Thai and Southeast Asian studies, and studies of affect, performativity, biopolitics and necropolitics. It should be read by all those interested in thinking critically on the intersections of race, class, gender, sexuality and disability.

Contents

• Introduction: haunted origins
• Where are you from?
• From monster to fashion model: regenerating racialized bodies
• Is it better to be mixed race?
• Hybrid nations, mixed feelings: from marginal man to Obama
• Exceptional cities, exceptional citizens: metronormativity and mimeticism
• Reckoning with prostitutes: performing Thai femininity
• Conclusion: where do we want to go?
• Bibliography
• Index

French MP Harlem Désir set to become first black man to lead a major European political party

The Independent
London, England
2012-09-12

John Lichfield

The French Euro MP Harlem Désir appears certain next month to become the first black man to lead a major European political party.

After weeks of wrangling, Mr Désir, 52, was today named as the official choice of the hierarchy of the French Socialist party to replace Martine Aubry as its “first secretary” or national leader. The ruling party’s annual conference, set to take place between 26 and 28 October, is expected to endorse the choice overwhelmingly, giving Mr Désir a position once held by the late President François Mitterrand, the former Prime Minister Lionel Jospin and the current President, François Hollande.

Mr Désir is seen as a safe pair of hands and competent administrator rather than a man likely to emerge as Mr Hollande’s successor as a “French Obama” or the Next Big thing on the Left. His choice is, nonetheless, a significant event in a country in which racial minorities have only recently started to play leading political roles.

Born “Jean-Philippe” in Paris in 1959, with a West Indian father and a Jewish mother, Mr Désir emerged in the 1980s as a Trotskyist, student and anti-racist activist. He changed his first name to “Harlem” in homage to African-American political leaders…

Read the entire article here.