Mixed Race Studies

Blackness and Transatlantic Irish Identity: Celtic Soul Brothers

Routledge
2012-07-11
234 pages
Paperback ISBN: 978-0-415-65367-1
Hardback ISBN: 978-0-415-80189-8
eBook ISBN: 978-0-203-85989-6

Lauren Onkey, Vice President of Education and Public Programs
Rock and Roll Hall of Fame and Museum
Cleveland, Ohio

Blackness and Transatlantic Irish Identity analyzes the long history of imagined and real relationships between the Irish and African-Americans since the mid-nineteenth century in popular culture and literature. Irish writers and political activists have often claimed—and thereby created—a “black” identity to explain their experience with colonialism in Ireland and revere African-Americans as a source of spiritual and sexual vitality. Irish-Americans often resisted this identification so as to make a place for themselves in the U.S. However, their representation of an Irish-American identity pivots on a distinction between Irish-Americans and African-Americans. Lauren Onkey argues that one of the most consistent tropes in the assertion of Irish and Irish-American identity is constructed through or against African-Americans, and she maps that trope in the work of writers Roddy Doyle, James Farrell, Bernard MacLaverty, John Boyle O’Reilly, and Jimmy Breslin; playwright Ned Harrigan; political activists Bernadette Devlin and Tom Hayden; and musicians Van Morrison, U2, and Black 47.

Contents

• 1. Introduction: “Aren’t We a Little White for That Kind of Thing?”
• 2. “A Representative Americanized Irishman”: John Boyle O’Reilly
• 3. Melees
• 4. Bernadette’s Legacy
• 5. Ray Charles on Hyndford Street: Van Morrison’s Caledonian Soul
• 6. Born Under a Bad Sign
• Conclusion: Micks for O’Bamagh

For minorities in France, Obama still casts a spell

France 24: International News
2012-08-09

Jon Frosch

Though his reputation among blacks and Arabs in France is showing ever-so-slight signs of wear and tear, US President Barack Obama remains a powerful symbol for French citizens of colour. France24.com takes a closer look.

When Barack Obama was elected in 2008, Anthony Borval, a black Frenchman of Caribbean descent, was elated.

“It was intense, I felt almost American,” the 29-year-old office manager confided. “Obama indirectly sent us a message that anything was possible, a message of hope for minorities in France, where it’s difficult for us to succeed.”

Four years later, as Obama spends the end of his tumultuous first term fighting a tough re-election battle against Republican challenger Mitt Romney, the US president is still a hero for Borval. “His victory taught French people of colour to believe in ourselves,” he said. “Today, I still feel great pride that an African-American is running the world’s superpower.”…

…Perhaps more common than that bluntly pragmatic view is a sense among some French minorities that Obama is an admirable figure who has not fully lived up to his promise. Aziz Senni, 36, is a Moroccan-born Frenchman who founded an investment fund specialising in economic development in the “banlieue”. Like many people of colour in France, Senni says he was captivated by Obama’s rise and impressed with Americans for voting a black man into the White House just decades after the civil rights movement.

But Senni also noted that “like all new things, time goes by, the shine fades, and there are disappointments”. He cited Obama’s failure to advance the Mideast peace process, something that has tarnished the US president’s image among Arabs around the world. “We had a lot of hope after his Cairo speech, but he’s mainly been the same as his predecessors on the Israeli-Palestinian conflict,” Senni assessed. “That’s the reality of being an American president.”…

…French mistrust of multiculturalism has deep roots: since the French Revolution, the country has clung to the notion that a common French identity could override differences in race and creed. The problem, according to Ndiaye, is that “Frenchness” has not always been as inclusive in practice as it is in principle. “After France’s colonies became independent, France thought of itself as essentially white,” the historian stated. “And many French people feared that immigration from former colonies would cause the republic to be fractured.”

The result is a theoretically colour-blind country in which close-knit ethnic and religious groups are often viewed warily, politicians avoid referring to specific communities of voters, and disdain for affirmative action (known here as “positive discrimination”) is common on both sides of the political aisle.

According to Ndiaye, however, it is affirmative action that could eventually help France create conditions from which a French Obama might one day emerge. “Obama didn’t come out of nowhere,” he explained. “There is a critical mass of 10,000 elected black officials in America, from sheriffs to mayors to Congressmen to the president. Affirmative action helped. We need that in France.”…

Read the entire article here.

‘The Black Count,’ A Hero On The Field, And The Page

Weekend Edition Saturday
National Public Radio
2012-09-15

Scott Simon, Host

Tom Reiss, Author

The Black Count: Glory, Revolution, Betrayal,and the Real Count of Monte Cristo. By Tom Reiss, 432 pp. Crown Publishers. Hardback ISBN: 978-0-307-38246-7.

Gen. Thomas-Alexandre Dumas was one of the heroes of the French Revolution — but you won’t find a statue of him in Paris today.

He led armies of thousands in triumph through treacherous territory, from the snows of the Alps to the sands of Egypt, and his true life stories inspired his son, Alexandre Dumas, to write The Count of Monte Cristo and The Three Musketeers.

How did the son of a Haitian slave and a French nobleman become Napoleon’s leading swordsman of the Revolution, then a prisoner, and finally almost forgotten — except in the stories of a son who was not even 4 years old when his father died?

“I like to think of him as history’s ultimate underdog,” says author Tom Reiss. His new book, The Black Count: Glory, Revolution, Betrayal and the Real Count of Monte Cristo, uncovers the real life that inspired so many fictional heroes.

“He’s a black man, born into slavery, and then he rises higher than any black man rose in a white society before our own time,” Reiss tells NPR’s Scott Simon. “He became a four-star general and challenges Napoleon, and he did it all 200 years ago, at the height of slavery.”…

Read the entire article here. Listen to the interview (00:06:56) here.

The Fate of the Afro-Turks: Nothing Left But the Colour

Qantara.de
Bonn, Germany
2012-08-27

Ekrem Eddy Güzeldere (Translated from the German by Michael Lawton)

The Afro-Turks, whose ancestors came to the Ottoman Empire as slaves in the nineteenth century, are still struggling for recognition. Now, though, their desire to assimilate into the wider society has become greater than their desire to maintain their own identity.

A banner with the text “Sixth Spring Festival” hangs across the street near the park in Cirpi, a small village about 20 kilometres away from Bayindir, a regional centre south-east of Izmir. Such festivals have become common in Anatolia, with hundreds of them occurring between March and May every year.

But in Cirpi, it’s something special. The Sixth Spring Festival is really the Sixth Festival of the Calf, the traditional celebration of the Afro-Turks, which they’ve been celebrating since the nineteenth century in and around Izmir, formerly known as Smyrna.
 
In 1924, the Turkish republic banned the celebration, and it was not until 2007 that the event could be re-established by the Association of Afro-Turks. The first five annual festivals were modest affairs, but the sixth turned into a big event with 400 participants. They’ve not yet slaughtered a calf though…

…Alev Karakartal, is an Afro-Turk woman who now lives in Istanbul. Speaking at a conference there in early June 2012, she described the strategy with which many Afro-Turks confront discrimination. “By entering into mixed marriages,” she said, “Afro-Turks try to have lighter-skinned children, so that eventually their colour will disappear altogether.” But Olpak responds, “We have nothing else left aside from the colour. There’s nothing left culturally any more.”
 
When Karakartal, who is herself of mixed descent, asked her parents about her origins, the answer was always, “We are Turks and Muslims,” and that roots weren’t important…

Read the entire article here.

The black experience in postwar Germany

University of Connecticut
Honors Scholar Program
2012-05-06
36 pages

Jamie Christopher Morris

This paper endeavors to find the extent of anti-black racism in various sectors of German society following World War Two through an examination of primary sources and secondary scholarship. While some Germans, often women, tolerated and even loved African-American soldiers, many German men actively sought to keep black GIs out of their communities, encouraged by white GIs. Afro-German children were viewed as a huge and shameful problem to be dealt with en masse by the government. The development of German anti-black racism is interesting to track how the German people shifted from Nazi attitudes towards Americanized ones.

Introduction

In the late 1940s a young and frightened German girl believed that the African-American soldiers marching through her town had tails hidden in their trousers, a rumor that had been told to her by a passing white soldier. A decade later that girl was dating one of those same black GIs, and had in fact approached him first to get his attention. She may have been recalling the fact that it was the black soldiers who had treated her the best as a child, giving her gifts and making sure she was clean, or she may have simply desired an American boyfriend in the hopes that he would lavish her with his comparatively rich lifestyle. The girl’s attitude reflects that of many Germans towards blacks in the late 1940s and 1950s. Public opinion of black soldiers grew locally in the towns that hosted them, driven in no small part by their generosity and kindness compared to that of white GIs, but their exotic appearance and unique American outlook also attracted attention and praise.

Of course there was also some strong resistance to the stationing of black American soldiers in occupied Germany. Vestiges of the National Socialist ideology of racial purity remained in many Germans’ thoughts, if not always in their speech and actions, as well as the traditional prejudice against anything different from themselves that clung still to most Europeans. But because of the intense Nazi focus on race and cleansing, and the uncovering of the Nazi atrocities, Germany was forced into a unique position of having to prove its mended ways; as historian Heide Fehrenbach notes, “The postwar logic of race that emerged in Germany was beholden to an internationally enforced injunction that Germans differentiate their polity and policies from the Nazi predecessor.” Thus over the 1950s the language of “race” all but disappeared in Germany, although prejudices were often just as strong as previously. These hatreds, however, were turned towards the new and highly visible group of racial “others”: blacks.3 Germans maintained a unique outlook towards this new racial group, convincing themselves that they were not racist but proving hostile towards blacks and those who associated with them. An overwhelmingly conservative system of values warred with the Germans’ vehement denial of the feelings of the past to create a uniquely hostile yet also inviting environment for African-Americans…

Read the entire thesis here.

A Lesson from Philadelphia’s Little Film Festival that Could

Colorlines: News for Action
2012-08-10

Akiba Solomon, Columnist, Gender Matters

For a four-day event that began as a small assortment of screenings, there were plenty of major moments at Philadelphia’s inaugural BlackStar Film Festival last week. Curated in less than a year by producer and filmmaker Maori Karmael Holmes, this new celebration of film by and about people of the African diaspora featured more than 40 works from four continents including the Philadelphia premiere of Byron Hurt’s Kickstarter-assisted Soul Food Junkies; the U.S. debut of Berlin filmmaker Oliver Hardt’s The United States of Hoodoo, a sold-out screening of Nelson George’s Brooklyn Boheme, and a candid talk about African American filmmaking outside of the Hollywood system by Sundance-prize winning director and organizer Ava DuVernay…

…While the biggest crowds filled Philadelphia’s International House for screenings of nationally publicized works such as Brooklyn Boheme and Soul Food Junkies, lesser known films also attracted audiences. For me, the highlight was a German import, Audre Lorde: The Berlin Years 1984 to 1992.

Written, directed and produced by German feminist publisher and professor Dagmar Schultz, the documentary provides an intimate portrait of the poet, professor, activist and cultural organizer who died of cancer in 1992 at age 58. Through never-released video, photographs and (sometimes hilarious) interviews with Lorde, her partner, Gloria Joseph, and a tight-knit group of Afro-German activists and writers, The Berlin Years tells the story of Lorde the genius facilitator.

When Harlem-born Lorde arrived in Berlin in 1984 as a visiting professor, she immediately sought out Afro-Germans—who were then known only by pejoratives like “cross-breed,” “mulatto” and “brown babies”—and taught them how to see themselves outside of what she observed as “the pain of living a difference that has no name.”

The anecdotes are rich. For instance, at the end of a 1984 poetry reading, Lorde asked the white women to leave the room and the black women to remain until they had spoken to at least one other black woman. “Her intention was to make us feel: No matter what you do, you are not alone,” recalls one Afro-German activist who was in that room. “You must work together! Make yourself visible and raise your voice, each of you in her own way.”…

Read the entire article here.

Strangers in Blood: Relocating Race in the Renaissance

University of Toronto Press
October 2010
272 pages
Cloth ISBN: 9781442641402
eBook ISBN: ISBN 9781442660083

Jean E. Feerick, Assistant Professor of English
Brown University

Strangers in Blood explores, in a range of early modern literature, the association between migration to foreign lands and the moral and physical degeneration of individuals. Arguing that, in early modern discourse, the concept of race was primarily linked with notions of bloodline, lineage, and genealogy rather than with skin colour and ethnicity, Jean E. Feerick establishes that the characterization of settler communities as subject to degenerative decline constituted a massive challenge to the fixed system of blood that had hitherto underpinned the English social hierarchy.

Considering contexts as diverse as Ireland, Virginia, and the West Indies, Strangers in Blood tracks the widespread cultural concern that moving out of England would adversely affect the temper and complexion of the displaced individual, changes that could be fought only through willed acts of self-discipline. In emphasizing the decline of blood as found at the centre of colonial narratives, Feerick illustrates the unwitting disassembling of one racial system and the creation of another.

Table of Contents

• Introduction: Bloodwork
• 1. Blemished Bloodlines and The Faerie Queene, Book 2
• 2. Uncouth Milk and the Irish Wet Nurse
• 3. Cymbeline and Virginia’s British Climate
• 4. Passion and Degeneracy in Tragicomic Island Plays
• 5. High Spirits, Nature’s Ranks, and Ligon’s Ladies
• Coda: Beyond the Renaissance

A British Ireland, or the limits of race and hybridity in Maria Edgeworth’s novels

Georgetown University, Washington, D.C.
2009-09-21
73 pages

Kimberly Philomen Clarke

A Thesis submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Master of Arts in English

Ireland was united with Wales, Scotland, and England in 1801. However, separated by distance, religion, British prejudice, and Ireland’s colonial status, Ireland was excluded from identifying with the British. Anglo-Irish author Maria Edgeworth actively works against this image of Irish subjection as she displaces Irish colonial otherness on to Creole, West Indian, and Africanist character associated with black imagery. Instead of making Ireland a metaphor for Anglo-colonial relations, Edgeworth positions the Creole and black characters as a colonial figures who cannot satisfactorily become British.

Table of Contents

• INTRODUCTION
• CHAPTER ONE
  • HYBRIDITY AND EXTERNAL DIFFERENCES IN BRITAIN: THE MONSTEROUS HYBRIDISM OF THE EAST AND WEST
  • RACIAL HYBRIDITY AND INTERNAL DIFFERENCES
  • MARIA EDGEWORTH’S APPROACH TO IRISH IDENTITY AND BRITISH HYBRIDITY
  • MULTIPLICITY IN THE ABSENTEE, ORMOND, AND ENNUI
  • LIMITATIONS OF EDGEWORTH’S BRITISH HYBRIDITY
• CHAPTER TWO
  • RACIAL AND AFRICANIST ATTITUDES TOWARD THE IRISH
  • AFRICANISM AND IRISH LITERARY BLACKNESS IN EDGEWORTH’S ENNUI
  • BELINDA AND THE EXCLUSION OF BLACK HYBRIDITY
• CONCLUSION
• BIBLIOGRAPHY

INTRODUCTION

Hybridity, a blending or cross-breeding of cultures, elements or race, defines the twenty-first century, and not simply through hybrid technology in the types of cars we drive. Most notably, in November 2008, the United States elected its first biracial president who has become a conspicuous symbol of America’s growing multicultural and multiracial society. This prevalence of racial and cultural hybridity in Western society symbolizes a desire for this diversity even while it catalyzes existing fears of such multiracial mingling. These are not new fears, nor are they present only in American society. This uneasy relationship with racial hybridity appears in the nineteenth-century literature of Anglo-Irish author Maria Edgeworth in her exploration and analysis of whiteness and Irish cultural and racial identity in Britain.

The similarities between twenty-first century and nineteenth-century attitudes about hybridity elucidate Edgeworth’s racial politics and the continued relevancy of racial identity – both its fixity and fluidity – in the construction of a national identity. Her novels reflect her desire to legitimize and resolve her Anglo-Irish identity (her loyalty to England and her emotional ties to Ireland) as well as her struggle to define British racial and cultural makeup at a time when Britain’s literary voice and national complexion became more diverse from within and from influences beyond its own borders.

My understanding of Edgeworth’s novels and her approach to race in Britain has been influenced by my understanding of the relationship between the Irish-American and African-American communities in the United States in the nineteenth century. As Noel Ignatiev explains in his 1995 How the Irish Became White, Irish immigrants and African-Americans were grouped together as part of America’s working and poverty classes during the nineteenth and early twentieth centuries as they competed against each other for employment and fought the political system and each other in order to gain citizenship and acceptance in the States. Edgeworth depicts the relationship between the Irish and Afro-Caribbean community in a similar way, even if it existed on smaller scale in Britain. Historically, these groups were seen as racial outsiders who threatened hegemonic white identity in America and Great Britain. While the popularity of such modern-day figures as Tiger Woods or Barack Obama show Western society’s willingness to embrace multiracial identity, Edgeworth’s attempts to integrate Ireland into Great Britain’s social, religious, and racial consciousness reveal nineteenth-century efforts and shortcomings in tackling issues of racial hybridity that existed two centuries ago and still survive today.

Being Irish in nineteenth-century Britain was an othered cultural and racial identity that destabilized the illusion of British whiteness. The negative stereotypes of poverty-stricken, uneducated, rebellious Irish Catholic outsiders conjured fears that an Irish presence would muddy the image of pure-blooded whiteness. Despite her gestures in embracing the singularity of Irish culture as part of Britain’s diverse society, Edgeworth exhibits her ambivalence toward hybridity by limiting Irish identity and implicitly policing British racial identity…

Read the entire dissertation here.

Hopes Spring Eternal: ‘Three Strong Women,’ by Marie NDiaye

The New York Times
2012-08-10

Fernanda Eberstadt

Americans have a curiously limited vision of France. We may be wild about Chanel sunglasses, Vuitton handbags, Champagne or Paris in the spring, but when it comes to the kinds of contemporary French culture that can’t be bought in a duty-free shop, most of us draw a blank. Luckily, this veil of benign ignorance is being lifted as publishers in the United States introduce American readers to a new generation of hugely gifted French writers who are reworking the boundaries of fiction, memoir and history (Emmanuel Carrère, Laurent Binet, the American-born Jonathan Littell) or of high art and snuff lit (Michel Houelle­becq). Among the recent crop of writers just reaching the top of their game, Marie NDiaye, born in 1967 and now living in Berlin, is pre-eminent.

NDiaye’s career has been stellar. When she was 18, the legendary editor Jérôme Lindon (best known as Samuel Beckett’s champion) published her first novel to high critical acclaim. Her subsequent fiction and plays have won numerous prizes and distinctions. (NDiaye’s “Papa Doit Manger,” or “Daddy’s Got to Eat,” produced in 2003, is the only play by a living woman to have entered the repertory of the ­Comédie-Française.) “Three Strong Women” — NDiaye’s most recent novel — won the Prix Goncourt when it appeared in 2009 and made her, according to a survey by L’Express-RTL, the most widely read French author of the year…

…The expectation — whether menacing or well meaning — that NDiaye should “represent” multiracial France, or be considered a voice of the French African diaspora, has often dogged her. In fact, as NDiaye is at pains to make clear, she scarcely knew her Senegalese father, who came to France as a student in the 1960s and returned to Africa when she was a baby. Raised by her French mother — a secondary school science teacher — in a housing project in suburban Paris, with vacations in the countryside where her maternal grandparents were farmers, NDiaye describes herself as a purely French product, with no claim to biculturalism but her surname and the color of her skin. Nonetheless, the absent father — charismatic, casually cruel, voraciously selfish — haunts NDiaye’s fiction and drama, as does the shadow of a dreamlike Africa in which demons and evil portents abound, where the unscrupulous can make overnight fortunes and, with another turn of the wheel, find themselves rotting in a jail cell…

Read the entire review here.

afro look: Die Geschichte einer Zeitschrift von schwarzen Deutschen

University of Massachusetts, Amherst
May 2000
245 pages
Publication Number: AAT 9978512
ISBN: 9780599844605

Francine Jobatey

Submitted to the Graduate School of the University  Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY, Department of Germanic Languages and Literatures

Purchase the dissertation here.