Mixed Race Studies

Twigs was born Tahliah Debrett Barnett in 1988, in Cheltenham, to an English/Spanish mother and a Jamaican father. She was also raised by a “jazz fanatic” Bajan stepfather. “What’s it like in Leeds?” she asks me with wide eyes. Assuming she’s asking what it’s like to be Black in Leeds, I tell her that, surprisingly, I had a more Black experience up north than I ever did living in London. “I definitely understand what you’re saying,” she says. “As a teenager, I started getting the bus to Gloucester to be around people who were from the same culture as me. I’ve never experienced such an intense West Indian experience as I did in Gloucester.”

Kadish Morris, “FKA twigs: ‘I don’t have secrets. I’m not ashamed of anything’,” The Guardian, March 26, 2022. https://www.theguardian.com/music/2022/mar/26/fka-twigs-i-dont-have-secrets-im-not-ashamed-of-anything.

Sucks that this needs repeating: "Black" "White" "Asian" "African" "European" are not biological groupings/categories or proxies thereof. Thus using such labels in genetic analyses is error laden. Great paper showing (yet again) how and why this is the case soon.

— Agustin Fuentes (@Anthrofuentes) March 29, 2022

After the murder of George Floyd, and a renewed energy around the Black Lives Matter movement in 2020, [Adwoa] Aboah found her conversations on her Gurls Talk podcast getting “a lot deeper. Everyone had so much to say, and everyone was going through such personal experiences, growth and sadness.” It also led to a second Vogue cover, this time alongside Marcus Rashford, shot in the footballer’s garden in Manchester, for an issue spotlighting “faces of hope”. It was a huge moment – and one she almost turned down. At the time, Aboah says, she “didn’t think it was my place to be that person. I think it’s because I hadn’t really delved into race and my feelings around it, and what I had been through. My mum’s white, my dad’s Black, and there had been a lot of confusion personally as to how I felt about it all. And, actually, it was great.” There’s a sense of gratitude in her voice as she describes “championing the Black community … I’m really happy that I did take that opportunity, because I am very much part of that community. I am a Black woman. I have a lot of things to say, which I hadn’t had the confidence to speak about.”

Hannah J. Davies, “Adwoa Aboah on acting, recovery and her racial awakening: ‘I am a Black woman. I have a lot to say’,” The Guardian, March 19, 2022. https://www.theguardian.com/fashion/2022/mar/19/adwoa-aboah-acting-recovery-racial-awakening-black-woman-lot-to-say.

These experiences show that, while we as monoracial Black parents can socialize our mixed-race children to represent themselves to society as being part of the larger African American community, their individual traits, aptitudes, and personality differences as mixed-race children are also influential in the racial identity process. These personal factors may be strongly tied to a mixed-race child’s authentic view of themselves (their identity versus how they are identified by others), making parenting concerns such as understanding African American heritage more difficult. Unfortunately, in an effort to help our multiracial daughters understand their Black heritage, we as parents dismissed their experiences by noting that a “brown” identity is not satisfactory. I will also note here that this feeling towards a brown identity was most deeply expressed by fathers; each of us as stepmothers—without a direct biological tie to our daughters—were more open to the idea of our stepdaughters labeling and developing a self-defined identity. This could be influenced by our location as stepparents, as well as the fact that we all hold advanced degrees in social science fields. Critical race theory (CRT) challenges traditional claims that uphold the status quo (Ladson-Billings, 1998, Yosso et al., 2009). It is a form of oppositional scholarship, with a framework grounded in the experiences of Black Americans, meant to challenge the experiences of White people which are considered normative and standard in the U.S (Taylor, 1998). MultiCrit (Harris, 2016) is an offshoot of CRT that aims to challenge dominant monoracial ideologies by utilizing the experiences of multiracial individuals to deconstruct monoracial ideas about race. Based on the experiences of the case study families, I find that, essentially, during socialization, monoracial parents should be centering the experiences of their mixed-race child in an effort to not perpetuate monoracial ideas about race. Centering “communicates the lived experience of marginalized groups so that the understanding of the problem and its response is more likely to be impactful to the community in the ways the community itself would want” (Doucet, 2019, pg. 3).

Yolanda T. Mitchell, “She’s Biracial, but She’s Still Black: Reflections from Monoracial African American Parents Raising Biracial Children,” Journal of Child and Family Studies, Volume 31, Issue 3 (March 2022) (Special Issue on Multiracial Families). https://dx.doi.org/10.1007/s10826-022-02263-8.

Early in your career you were working on a TV show and pitched an episode about a white family trying to adopt a Black child, and it was rejected. Why did you never pursue adoption as subject matter again?

That was my third show on television. I had written the script and loved it. It was so personal, as you know. And to have the network come back and say, “We’re not shooting this because it’s too controversial”—that was the beginning of the end for me on that show. Imagine writing something that means so much to you, and you’re the only Black writer on this show. Most of my time was spent trying to give agency to the one Black character, and to call out atrocious dialogue and story lines connected to that character—when they decided to write for that character at all. So now I’m going to focus on that character and tell this personal story. Then to have white people tell me that I can’t tell my own story . . . It is traumatizing. That shit hurts. But I have to think that had to have been a part of what pushed me to keep going.

Rebecca Carroll, “Beyond Visible: Gina Prince-Bythewood on the Necessity of Black Women’s Cinema,” The Criterion Collection, October 15, 2021. https://www.criterion.com/current/posts/7567-beyond-visible-gina-prince-bythewood-on-the-necessity-of-black-women-s-cinema.

The history of Afro Latinos is not taught in American schools, and the idea that someone can be Black and Latino still feels novel to some people, according to Tanya K. Hernández, a professor at Fordham University School of Law.

Blanca Torres, “‘We Are Black. We Just Speak Spanish’: Why Some Afro Latinos Want More Visibility During Black History Month,” KQED News, February 18, 2022. https://www.kqed.org/news/11905454/we-are-black-we-just-speak-spanish-why-some-afro-latinos-want-more-visibility-during-black-history-month.

Ever since I started living in the U.S., I’ve felt a constant underlying pressure to choose a side. To be white or to be Black. On every form I’ve ever filled out in Canada, I’ve always had the chance to pick All That Apply — Black, White, etc., when asked about my race. On the first form I filled out for my student visa application, they asked me to Pick One — Black, White, or Other. Though I didn’t give it much thought at the time, the very use of the word “Other” demonstrates how the multiracial experience is far more marginalized in the United States than in Canada. Now, when I look at the words “Pick One” with a pen in my hand, I feel like the Other. I feel alienated and ostracized, thrust into a dilemma that I have no solution for.

Zach Bayfield, “A Canadian’s Perspective On The American Multiracial Experience,” The Oberlin Review, March 4, 2022. https://oberlinreview.org/26143/opinions/a-canadians-perspective-on-the-american-multiracial-experience/.

The past decade has seen a tremendous growth in scholarly inquiry around the subject of racial passing. The context of the current historical moment coupled with viral discussions of cultural appropriation and “blackfishing” brings a sense of urgency to understanding the long history of passing and its function in the U.S. context. Julia S. Charles’s That Middle World: Race, Performance, and the Politics of Passing offers a perspective on this phenomenon that places performance at the heart of the racial passing experience. Charles calls for a rejection of previous scholarly treatments of passing that foreground experiences of loss among those who pass and instead argues for a focus on the opportunities that performing race offered to certain mixed-race African American citizens. Charles presents a book of theory and philosophy on racial passing meant to inform the ways scholars of African American literature and media studies can make sense of mixed-race and passing characters throughout nineteenth- and twentieth-century literature.

Tyler Sperrazza, “That Middle World: Race, Performance, and the Politics of Passing by Julia S. Charles (review),” Journal of Southern History, Volume 88, Number 1, February 2022, 164. https://dx.doi.org/10.1353/soh.2022.0019.

For Mike, the revelation left him with a sense of confusion. “I had literally no idea of my own racial background,” he says. “I obviously had some questions. I occasionally met relatives. But a large part of the passing meant that we did not see relatives very often. So, I really grew up in a white community acting as white with these kinds of questions. … I spent a couple of years in Chicago sort of running after every Black person I could find saying, ‘Hey, me too, me too,’ and they would look at my perfectly white skin, blondish hair, and light brown eyes and say, ‘Yeah right, not in this lifetime.’”

Harvey Long and Ethelene Whitmire, “Running from Race,” On Wisconsin, March 1, 2021. https://onwisconsin.uwalumni.com/features/running-from-race/.

“I discovered I was an Asian American when I arrived in the U.S.,” says Mitski [Miyawaki]. “I didn’t identify as that before I came here. People started calling me that, and I started being treated in a specific way.”

Tom Murphy, “Mitski Doesn’t Bother With Labels. She Prefers Excellence,” Westworld, July 14, 2017. https://www.westword.com/music/mitski-miyawakis-mixed-race-identity-informs-her-music-9246091.