Mixed Race Studies

Stories of racial passing, from the pages of Nella Larsen to Detroit’s upper class

Stateside
Michigan Radio
2022-03-25

Elsie Roxborough was born in 1914 in Detroit to one of Michigan’s most prominent Black families. When she died in New York City in 1949, her death certificate listed her race as white. She had lived there as a white woman for over a decade, working for a time as a model while aspiring to acclaim as a playwright.

“She almost immediately goes to New York City after graduation from the University of Michigan,” said Ken Coleman, a journalist who has researched the Roxborough family. Elsie Roxborough “at least professionally changed her name to Pat Rico at one point, and then ultimately, Mona Manet, and her brown, brownish-black hair becomes Lucille Ball auburn.”

Roxborough represents one of the few documented historical instances from Michigan of a Black person choosing to live nearly full-time as a member of white society. This phenomenon, known as racial passing, has received renewed popular attention through recent artistic works like Rebecca Hall’s film adaptation of Nella Larsen’s 1929 novel Passing and Britt Bennett’s novel The Vanishing Half…

Listen to the story (00:19:36) here.

Stateside Podcast: “Passing:” The Story of Elsie Roxborough

Stateside
Michigan Radio
2022-03-24

In 1914, Elsie Roxborough was born into a wealthy, Black family in Detroit. But when she died in 1939, her death certificate listed her as white. Her life was rich, curious and at times, troubled, all while attempting a sort of high-wire-act of living multiple lives, between cities and names and races. Today, we talk about her life, death, and everything in between.

Listen to the story (00:19:36) here. Download the story here.

A brush with… Ellen Gallagher

The Week in Art
2021-06-30

An in-depth conversation on the artist’s big influences, from Keith Haring to Moby Dick

In this episode of A brush with…, Ben Luke talks to the American artist Ellen Gallagher about her life and work by exploring her greatest cultural influences. Born in Providence, Rhode Island in 1965, Gallagher studied at Oberlin College in Ohio, the School of the Museum of Fine Arts in Boston and the Skowhegan School of Painting and Sculpture in Maine. She now lives in Rotterdam in the Netherlands. Much of Gallagher’s parents’ ancestry—in particular her Black father who is from the Cape Verde archipelago off the west coast of Africa—defines the territory of her practice, which relates to the culture and language of the Black diaspora.

Though primarily working in painting and drawing, Gallagher has also worked in sculpture, film and animation. Her early style appears Minimalist and spare from a distance but, up close, one observes intricate drawings of eyes, lips and wigs, which Gallagher has described as “the disembodied ephemera of minstrelsy”—the racist blackface entertainment common in the US from the C19th onwards. In the early 2000s, she used cut-out advertisements from Black culture magazines and transformed them with plasticine, making sculptural reliefs that were often imprinted with witty or incisive symbols and imagery. Many of her paintings refer to the sea and allude to the Afrofuturist myth of Drexciya: a Black Atlantis at the bottom of the Atlantic Ocean, supposedly populated with the children of the mothers of enslaved African women who were thrown—or threw themselves—overboard during their forced journey across the Middle Passage…

Read and/or listen to the interview here.

So What Exactly Is ‘Blood Quantum’?

Code Switch: Race. In Your Face.
National Public Radio
2018-02-09

Kat Chow

If you’re Native American, there’s a good chance that you’ve thought a lot about blood quantum — a highly controversial measurement of the amount of “Indian blood” you have. It can affect your identity, your relationships and whether or not you — or your children — may become a citizen of your tribe.

Blood quantum was initially a system that the federal government placed onto tribes in an effort to limit their citizenship. Many Native nations, including the Navajo Nation and the Turtle Mountain Band of Chippewa Indians, still use it as part of their citizenship requirements.

And how tribes use blood quantum varies from tribe to tribe. The Navajo Nation requires a minimum of 25 percent “Navajo blood,” and Turtle Mountain requires a minimum of 25 percent of any Indian blood, as long as its in combination with some Turtle Mountain.

Blood quantum minimums really restrict who can be a citizen of a tribe. If you’ve got 25 percent of Navajo blood — according to that tribe’s blood quantum standards — and you have children with someone who has a lower blood quantum, those kids won’t be able to enroll.

So why keep a system that’s decreasing your tribe’s rolls and could lead to its demise?

“I use the term ‘Colonial Catch 22’ to say that there is no clear answer, and that one way or another, people are hurt,” says Elizabeth Rule. She’s a doctoral candidate at Brown University who specializes in Native American studies, and also a citizen of the Chickasaw Nation.

“The systems are so complicated,” she explains, “but it’s all part of tribes deciding on their own terms, in their own ways, utilizing their own sovereignty [to decide] what approach is best for them.”

As we explored blood quantum in this week’s episode, we thought a primer of what, exactly, this system is and how it works — or doesn’t — might be useful. Here’s my interview with Elizabeth Rule, edited and condensed for clarity…

Read the entire story here.

Jennifer A. Jones: Afro-Mexicans, Migration, and the Permutations of Race

Dialogues in Afrolatinidad
Season 1, Episode 3
2021-05-31

Michele Reid-Vazquez, Host and Associate Professor
Department of Africana Studies
University of Pittsburgh

Dialogues in Afrolatinidad explores history, culture, and contemporary issues in Afro-Latin America and U.S.-Afro-Latinx communities. The podcast features interviews with scholars, writers, educators, artists, and community leaders who share their passion for Afro-Latin American and Afro-Latinx Studies, the significance of their intellectual, creative, or community engagement, and resources for learning more.

This episode features Dr. Jennifer A. Jones, a native of Chicago and a sociologist specializing in contemporary transnational Afro-Mexican studies. She discusses the way race is made in Latin America through her experiences in both Cuba and Mexico, as well as the broader impact of space, politics, and mobility on racial constructions throughout the U.S. She also highlights her recent book, The Browning of the New South, which explores blackness and anti-blackness in Mexico, the current migration of Afro-Mexicans to North Carolina, and their reformulations of race in the U.S. South.

Listen to the episode (00:34:06) here. Download the episode here.

Genevieve Gaignard’s new exhibit ‘This is America’ on view at Atlanta Contemporary

WABE (WABE 90.1 FM, WABE TV)
Atlanta, Georgia
2022-02-10

Adron McCann

In 2018, Donald Glover, a.k.a. Childish Gambino, released the viral hit song “This is America,” a razor-sharp commentary on contemporary society. In a nod to his incisive work, artist Genevieve Gaignard presents a new exhibition, “This is America: The Unsettling Contradictions in American Identity,” at the Atlanta Contemporary Art Center from Feb. 12 – May 15. It’s the first solo exhibition of the multidisciplinary artist’s photography and installation work, through which she unravels the ongoing issues complicating the identities and representations of Americans. Gaignard joined “City Lights” host Lois Reitzes via Zoom and curator Karen Comer Lowe to talk about the artist’s new contributions to Atlanta Contemporary.

How race informs the artwork of Gaignard, who is biracial:

“Once you look at it, I think it’s everything. I’m really interested in owning both sides of my story, and so I don’t really tiptoe around those things,” said Gaignard…

Read the entire article here.

Which skin color emoji should you use? The answer can be more complex than you think

National Public Radio
2022-02-09

Alejandra Marquez Janse

Asma Khalid, White House Correspondent

Patrick Jarenwattananon, Host of NPR Music’s A Blog Supreme

Heath Racela identifies as three-quarters white and one-quarter Filipino. When texting, he chooses a yellow emoji instead of a skin tone option, because he feels it doesn’t represent any specific ethnicity or color.

He doesn’t want people to view his texts in a particular way. He wants to go with what he sees as the neutral option and focus on the message.

“I present as very pale, very light skinned. And if I use the white emoji, I feel like I’m betraying the part of myself that’s Filipino,” Racela, of Littleton, Mass., said. “But if I use a darker color emoji, which maybe more closely matches what I see when I look at my whole family, it’s not what the world sees, and people tend to judge that.”

In 2015, five skin tone options became available for hand gesture emojis, in addition to the default Simpsons-like yellow. Choosing one can be a simple texting shortcut for some, but for others it opens a complex conversation about race and identity…

Read the entire story here.

Abraham Galloway is the Black figure from the Civil War you should know about

All Things Considered
National Public Radio
2022-02-08

Elizabeth Blair, Senior Producer/Reporter, Arts Desk

He has been compared to James Bond and Malcolm X, though his name has largely been left out of the history books.

Abraham Galloway was an African American who escaped enslavement in North Carolina, became a Union spy during the Civil War and recruited Black soldiers to fight with the North. That’s the short version. The fuller picture would include his work as a revolutionary and being one of the first African Americans elected to the North Carolina Senate.

David Cecelski, author of The Fire of Freedom: Abraham Galloway and the Slaves’ Civil War, calls him a “swashbuckling figure who wouldn’t take sass from Northern or Southern or Black or white, Union or Confederate.”

When Cecelski was doing research for another book about maritime slavery, he kept coming across Galloway’s name. “And the stories were sort of so different than what I had been taught about slavery or the Civil War, or the role of African Americans in the Civil War,” he says…

Read or listen to the story (00:05:07) here.

Taffy Abel medaled in the 1924 Olympics. Few knew of his Indigenous heritage

National Public Radio
2022-02-07

Troy Oppie, Host/Reporter
Boise State Public Radio, Boise, Idaho

At the 1924 Winter Olympics in Chamonix, France, about two dozen American dignitaries and athletes trudged through snowy streets in the opening parade. The American flag – then with just 48 stars – was carried by hockey player Clarence “Taffy” Abel.

What few outside his family and close friends knew at that time: Taffy Abel was Native American – the first Indigenous athlete to carry the flag at the Olympics. Within days he’d become the first Native American to win a medal in winter games history.

“A Native American, carrying our stars and stripes, nearly 100 years ago,” reflects George Jones, Abel’s 73-year-old nephew by marriage. His voice quivered with pride as he spoke of that moment.

Family stories passed down tell how Abel, his sister Gertrude, and his mother Charlotte – a Canadian Chippewa (now called Ojibwe) – all passed themselves off as white, mostly by not talking about it.

“The main thing that they were fearful of,” says Jones, “[was] that Taffy and his sister would be taken away to an Indian residential school.”…

Read the entire story here.

A New Orleans Company Shines A Light On Opera’s Diverse History

Weekend Edition Sunday
National Public Radio
2017-05-28

Malika Gumpangkum and Lulu Garcia-Navarro

For many people, New Orleans is practically synonymous with jazz; it’s the birthplace of both the music and many of its leading lights, from Louis Armstrong to Christian Scott aTunde Adjuah. But now, one organization is working to draw attention to the city’s history of opera music.

OperaCréole, an opera company founded in New Orleans, is resurrecting music written by local composers of color and others who’ve been left out of the overwhelmingly white, male canon. The company’s latest production, La Flamenca, is by the Creole composer Lucien-Léon Guillaume Lambert, whose father was born in New Orleans.

OperaCréole founder and mezzo-soprano Givonna Joseph joined NPR’s Lulu Garcia-Navarro to discuss La Flamenca and her company’s work in general. Hear their full conversation at the audio link…

Listen the entire story here.