Mixed Race Studies
Scholarly perspectives on the mixed race experience.
recent posts
- The Routledge International Handbook of Interracial and Intercultural Relationships and Mental Health
- Loving Across Racial and Cultural Boundaries: Interracial and Intercultural Relationships and Mental Health Conference
- Call for Proposals: 2026 Critical Mixed Race Studies Conference at UCLA
- Participants Needed for a Paid Research Study: Up to $100
- You were either Black or white. To claim whiteness as a mixed child was to deny and hide Blackness. Our families understood that the world we were growing into would seek to denigrate this part of us and we would need a community that was made up, always and already, of all shades of Blackness.
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Category: Native Americans/First Nation
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In Bitterroot Susan Devan Harness traces her journey to understand the complexities and struggles of being an American Indian child adopted by a white couple and living in the rural American West.
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An “Honest Woman” by Jónína Kirton confronts us with beauty and ugliness in the wholesome riot that is sex, love, and marriage. From the perspective of a mixed-race woman, Kirton engages with Simone de Beauvoir and Donald Trump to unravel the norms of femininity and sexuality that continue to adhere today.
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As the largest tribe east of the Mississippi and one of the largest in the country, the Lumbees have survived in their original homelands, maintaining a distinct identity as Indians in a biracial South.
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One tribe’s long struggle for full recognition
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This article will criticize this binary, detailing a theory of race in which colonialism and racism are prior to racial formation, following Patrick Wolfe and Michael Omi and Howard Winant.
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As an artist she transcended constraints, and as a woman of color, she confronted a society that wished to categorize her.
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An artist’s career retrospective, if shaped with care, is more than a look at a life of labor. It’s also a record of contingent lives, cultural changes and a political passage in time. This is true of “Kay WalkingStick: An American Artist,” an era-spanning survey of this 83-year-old painter at the Montclair Art Museum here.
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My theatrical faux pas is a microcosm of the larger issue with this production—indeed any creative work focused on Riel or one of his contemporaries—the seeming disregard of cultural ownership and societal integrity of Indigenous peoples.