Mixed Race Studies

Being Mestiza

Enchantment Learning & Living Blog
2020-09-22

Dr. Maria DeBlassie, Professor, Writer, Bruja
Albuquerque, New Mexico

I’ve been getting a lot of questions from readers about what I mean when I say I’m mestiza. That fact is always one of the first pieces of information in all my author bio and that’s intentional. Although the term has been around for a long time, I specifically use the definition from Gloria Anzaldua’s Borderlands/La Frontera: The New Mestiza (1987), which focuses on developing a new mestiza consciousness. For those that aren’t familiar with the term, mestiza or mestizaje means a person of mix-raced decent.

Being mestiza is different for everyone—everyone’s mix is a little different and, in many cases, few of us know everything about the mix that is our cultural background. This is because we are, in one way or another, products of colonization. And as a result of colonization, histories of the colonized sometimes get lost, erased, or suppressed. So it is important to remember that, like the wider Hispanic and Latinx communities, the mestizaje community is not a monolith. Our mixed heritage and our relationship to it are as complex and diverse as our backgrounds…

Read the entire article here.

MIXED MESSAGES episode five – Steve

Mixed Messages
2022-03-20

Sarah Doneghy, Host

Steve [Majors] discusses his book, “High Yella.” He tells what it was like growing up in a Black family and being told he was Black, to being white assumed as an adult while raising two Black daughters. In his search for identity, Steve discovers being Black is not only skin deep.

A Daughter’s Quest: On Anne Liu Kellor’s “Heart Radical”

Los Angeles Review of Books
2021-11-12

Amy Reardon

GROWING UP ASIAN AMERICAN in Seattle, Anne Liu Kellor struggled to understand the ache she carried inside. Her debut memoir, Heart Radical, tracks the author’s journeys to China and back home again in the late ’90s and early 2000s in search of her true self.

We meet Kellor after college, having become consumed with the need to learn the Chinese language and live in China. What she can’t seem to get her hands around is why. “All I knew was — I was filled with an intense longing and sorrow. Sorrow for the magnitude of suffering in the world, in China and Tibet, and within myself. Sorrow which I felt so clearly, but couldn’t understand why I felt so deep.”

There are clues. First among them, a general sense of opacity in her relationship with her mother, who immigrated from China as a girl, married a white man, and had two daughters. Also, there is this: “[N]or had anyone ever talked to me about what it was like to grow up multiracial — neither white nor fully Chinese, nor yet invited into a wider inclusivity as a person of color. Instead, everywhere I went, even at family reunions, I was simply reminded of my difference.”…

Read the entire review here.

Beyond Visible: Gina Prince-Bythewood on the Necessity of Black Women’s Cinema

The Criterion Collection
2021-10-15

Rebecca Carroll

There is a gloriously unaffected vibe about Gina Prince-Bythewood. Cerebral and sublime, casually beautiful and laser-focused, she has written and directed impressive television and film for the past twenty-plus years with equal parts rigor and joy. And she has achieved all this without losing her sense of self as a Black woman in America, and while continuing to fight to get personal projects made in Hollywood.

Prince-Bythewood has recently reached new heights by becoming the first Black woman to direct a major comic-book movie. That film—The Old Guard, starring KiKi Layne and Charlize Theron—premiered on Netflix in the summer of 2020, at the peak of the pandemic, to widely favorable reviews. Prince-Bythewood, though, is still best known for writing and directing her 2001 feature debut, Love & Basketball, which tells the indelibly original story of a young Black woman ballplayer. The film is not just a love letter to basketball but a paean to the complexity, ambition, and perseverance of Black womanhood. After writing for shows like A Different World and Felicity, Prince-Bythewood went on to direct for TV, including episodes of Girlfriends and Everybody Hates Chris. She returned to the big screen in 2008 with The Secret Life of Bees, and again in 2014 with Beyond the Lights, which is when we first met.

I had known and admired Gina’s work; I don’t know a single Black woman who did not obsess over the love scene in Love & Basketball set to Maxwell’s “This Woman’s Work.” But Beyond the Lights, from the opening scene, hit different. Here was the story of a young Black girl with a white mother who couldn’t see her daughter outside of her own white gaze. It echoed my own experience. I reviewed the film for an online blog and then requested an interview with Gina, which very quickly turned into a conversation that felt uncannily familiar. We were born within a month of each other, in 1969, and were both adopted into white families three weeks after being born. We had both spent our youth navigating all-white environments, desperately in search of a reflection of ourselves. We both turned to storytelling as a career path and a way to make sense of that experience.

Gina has written herself into the narrative—in the movies she’s brought to the screen, the family she’s made, and the world she’s created around her. In celebration of the new Criterion edition of Love & Basketball, we got together to catch up, reflect, and get into it…

Read the entire interview here.

Growing up, as a mixed race child, with survivor grandparents

Forward
2022-03-08

Kyla Kupferstein
Oakland, California

As a child growing up in the 1970s and 80s, my younger brother David and I did everything in Manhattan: it was where we lived, went to school and played with our friends.

Except for the weekends when my parents would take us to visit my grandparents in the Kingsbridge section of the Bronx. Buba Fela and Zayda Hershl lived in the Amalgamated Houses on Sedgwick Avenue – a cooperative apartment complex that functioned like a reassembled shtetl, a Yiddish-speaking community of Jews from Eastern Europe who had somehow escaped or survived the Nazi genocide and lived to tell the tale.

As my brother and I (known at our grandparents’ home as Kylashi and Davittle) sat at our grandparents’ kitchen table, we were fed a steady diet of Holocaust talk. “The war,” they called it, when they spoke English, which they did only for us. Hitler, Stalin, the camps – all these were a part of their normal vocabulary. And their neighbors, some who had been my grandparents’ friends back in Warsaw, most of them Bundists ranging from agnostic to atheist, were the closest thing to an extended family that we had.

Unlike many other survivors who kept silent because they couldn’t bear to revisit the atrocities, everyone in this community told their stories openly; we waited for those stories, just as we waited for Buba’s misshapen cookies and trips to the sprinklers in Van Cortlandt Park. Countless times we heard the story of how they left: when young men were urged to leave Warsaw because of Hitler’s imminent arrival, my Zayda, Herschel, decided he couldn’t leave without his love, Fela. Her grandfather quickly married them, and they fled to Russia, innocently believing it would be safe for them as socialists. But they were arrested at the Russian border, and then jailed separately in Stalin’s prisons in Siberia…

Read the entire article here.

Notes On ‘Passing’

Essence
2021-10-27

Rebecca Carroll

The upcoming drama, based on the 1929 novel, looks at the cultural self-alienation a black woman experiences when she attempts to gain the privileges that come with assuming a white identity.

When my light-skinned Black and mixed-race teenage son was little, I worried aloud to my best girlfriend about whether people would recognize him as Black—or whether, God forbid, he himself would decide to identify as even partially white. My girlfriend, who is also Black, would counter with, “Why would he want to be on that team? Seriously, have you seen that team?” Yes, I would say, all too much, for far too long. And we’d laugh, because it was funny-ish.

I was adopted by a white family and raised in a primarily white rural New England town. I then spent my life, well into adulthood, seeking out Blackness and trying to arrive at a place where I could feel unambiguous in my identity as a Black woman. My son opting to identify as white would have been the opposite of my journey. But as he grew older, I actually stopped worrying that he’d be taken as white—and became more worried that he’d be profiled by the police as Black. The irony…

Read the entire review here.

Your Attention Please: Initiative 29 – Tao Leigh Goffe • Hulu

Hulu
2021-05-29

Tao Leigh Goffe, Assistant Professor of Literary Theory and Cultural History
Cornell University, Ithaca, New York

Journey through time with professor and DJ Tao Leigh Goffe as she uncovers her story at the intersection of Black and Chinese culture in this month’s #Initiative29 episode.

A Canadian’s Perspective On The American Multiracial Experience

The Oberlin Review
Oberlin, Ohio
2022-03-04

Zach Bayfield

Before coming to Oberlin [College], my racial identity was something I rarely reflected on. My mother is a fifth-generation Canadian with entirely European ancestry. My father was born in Jamaica to an English father and a Jamaican mother. The Afro-Caribbean side of my ancestry was discussed comfortably in my family, and I felt no pressure to identify with one race over the other. Regardless of who I surrounded myself with or what activities I was engaging in, I felt like my identity was understood.

When I first came to Oberlin, my identity suddenly became more contentious. I remember my freshman year, I was eating lunch in Stevenson Dining Hall when one of my Black teammates asked me, “What are you?” I explained my genealogy in an abbreviated version of the previous paragraph, and his response was, “So you’re Black, right?” I was confused and taken aback by this statement. How could I identify as Black when I’ve never experienced racism directly? Why do I have to identify as a particular race? Why can’t I just be me?…

Read the entire article here.

Belonging is Everything: Talking with Georgina Lawton

The Rumpus
2021-03-01

Donna Hemans

“My teacher’s methods were most definitely trash, but that day she taught me a valuable lesson about race,” Georgina Lawton writes in her memoir Raceless: In Search of Family, Identity, and the Truth about Where I Belong. “She let me know that whiteness is a wholly exclusive racial category based around notions of racial purity, and as such would never allow admittance to anyone like me.” While Lawton’s teacher had drawn boundaries around whiteness that excluded Lawton, her white, Anglo-Irish parents stubbornly insisted that their darker-skinned daughter was white like they were.

In her memoir, out now from Harper Perennial, Lawton describes her family’s silence around her racial identity, their refusal to acknowledge her difference, her own experience with racial reckoning, and the detrimental effects of growing up in a color-blind household. “As a child I spent a very long time trying to work everything out for myself before eventually becoming invested in upholding the story my parents told me: I was theirs and that’s all that mattered,” Lawton writes.

As her father is dying of cancer, Lawton and he briefly speak for the first time about the potential that their DNA is different. After her father’s death in her early twenties, Lawton embarks on a journey of self-discovery, traveling to and living in predominantly Black communities in the United States, the Caribbean, and Africa, in a bid to understand and claim her own identity. The memoir, though, is not solely about Lawton’s childhood and journey. She talks to sociologists, psychologists, and others who, like her, had a part of their identities obscured, to understand how identity is formed and its relationship with race.

I spoke to Lawton recently about the challenges of writing a memoir about a story her family would rather not confront, the necessity and value of family stories, and the lasting impact of silences…

Read the entire interview here.

A Drop of Midnight: A Memoir

Amazon Crossing
2020-03-01
304 pages
5.5 x 1 x 8.25 inches
Hardcover ISBN-13: 978-1542017077
Paperback ISBN-13: 978-1542016704
Audio CD ISBN: 978-1799726296

Jason Diakité

Rachel Willson-Broyles (Translator)

World-renowned hip-hop artist Jason “Timbuktu” Diakité’s vivid and intimate journey through his own and his family’s history―from South Carolina slavery to twenty-first-century Sweden.

Born to interracial American parents in Sweden, Jason Diakité grew up between worlds―part Swedish, American, black, white, Cherokee, Slovak, and German, riding a delicate cultural and racial divide. It was a no-man’s-land that left him in constant search of self. Even after his hip-hop career took off, Jason fought to unify a complex system of family roots that branched across continents, ethnicities, classes, colors, and eras to find a sense of belonging.

In A Drop of Midnight, Jason draws on conversations with his parents, personal experiences, long-lost letters, and pilgrimages to South Carolina and New York to paint a vivid picture of race, discrimination, family, and ambition. His ancestors’ origins as slaves in the antebellum South, his parents’ struggles as an interracial couple, and his own world-expanding connection to hip-hop helped him fashion a strong black identity in Sweden.

What unfolds in Jason’s remarkable voyage of discovery is a complex and unflinching look at not only his own history but also that of generations affected by the trauma of the African diaspora, then and now.