When will Rachel Dolezal stop trying to get in formation?

Posted in Articles, Media Archive, Passing, Social Justice, United States on 2016-11-07 00:36Z by Steven

When will Rachel Dolezal stop trying to get in formation?

gal-dem
2016-06-23

Paula Akpan and Ella Wilks-Harper

When the story of Rachel Dolezal first broke – the NAACP president who has been misrepresenting herself as black – I snorted derisively.

When she was interviewed by VICE’s Broadly and mused over how “it’s so hard to explain this to people: I don’t feel white,” I rolled my eyes.

However, upon discovering that Dolezal had joined the Twittersphere, I had a cursory stalk and came across the following tweet…

Read the entire article here.

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The White and Black Worlds of Loving v. Virginia

Posted in Articles, Biography, History, Media Archive, Native Americans/First Nation, Passing, United States, Virginia on 2016-11-05 01:30Z by Steven

The White and Black Worlds of Loving v. Virginia

TIME
2016-11-04

Arica L. Coleman


AP Photo
Richard and Mildred Loving on this Jan. 26, 1965, prior to filing a suit at Federal Court in Richmond, Va.

Richard and Mildred Loving—the couple who inspired the new film Loving—lived in a world where race was not simply binary

Hollywood interpretations of true events always take some liberties with the truth, but the new film Loving—based on the intriguing story of Richard and Mildred Loving, the plaintiffs of the case Loving v. the Commonwealth of Virginia—adheres relatively closely to the historical account. Writer-director Jeff Nichols’ two-hour film chronicles the nine-year saga of the couple’s courtship, marriage, arrest, banishment and Supreme Court triumph in 1967, which declared state proscriptions against interracial marriage unconstitutional.

The film also, however, sticks close to popular myths that have dogged the case for decades, particularly by contextualizing the story within a black/white racial binary—when in fact Richard and Mildred Loving are prime examples of the way such lines have long been blurred…

Read the entire article here.

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Passing Strange

Posted in Articles, Autobiography, Media Archive, Mississippi, Passing, United States on 2016-11-04 15:44Z by Steven

Passing Strange

The Common
2016-11-04

W. Ralph Eubanks

All thinking Southerners, at some point, find their minds at war with their hearts, a battle that often ends with the heart claiming victory. It is this triumph of the heart that landed me, a black expatriate Mississippian, back in my home state again. Yet returning to Mississippi after nearly forty years, albeit temporarily, as a visiting professor, has left me torn somewhere between acceptance and separateness. In some ways, the longer I am in the South, the less I try to maintain my distance from the place.

One way my divide from the South has been bridged is in the way I speak when I am here. When I left Mississippi I scrubbed away any outward sign that would mark me as a native son, even succeeding at losing my accent as well as the elongated vowels of my youth. But these days a decided twang has begun to creep into my voice. And rather than correcting my linguistic lapses, I’m reclaiming this part of my Southern background.

But there is one thing I have had difficulty accepting: people thinking I am a white man…

Read the entire article here.

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October 29, 1949

Posted in Articles, Communications/Media Studies, Media Archive, Passing, United States on 2016-10-30 20:48Z by Steven

October 29, 1949

Black Quotidian: Everyday History in African-American Newspapers
2016-10-29

Matthew F. Delmont, Professor of History
Arizona State University

On October 29, 1949, the Chicago Defender published Walter White’s review of Elia Kazan’s film Pinky. The film, a drama about racial passing starring Jeanne Crain and Ethel Waters, was the top-grossing film of 1949. White, who led the NAACP from 1931 until his death 1955, wrote, “I have never in all my life wanted so much to like a moving picture as much as I did ‘Pinky.’ As I bought tickets at the Rivoli Theatre in New York I hoped fervently that the praise of most of the New York critics and friends of mine, both colored and white, would be justified…Unhappily for me, I have to say that, as far as my judgement is concerned, [producer Darryl] Zanuck has failed. Some new ground have been broken but they are mere scratches in the vast field of human relationships the picture sought to plow. Southern white police brutality and lechery are vividly and courageously exposed. But one would never know, unless he had other sources of information, that Negroes, even in the most backward areas of Mississippi are not resigned to their ‘place’ and are not only working but making progress against the kind of conditions portrayed in ‘Pinky.'” This review of this film about racial passing is particularly interesting because Walter White was very light skinned, and sometimes passed as white while working as a civil rights investigator in the South…

Read the entire article here.

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How America Bought and Sold Racism, and Why It Still Matters

Posted in Articles, Communications/Media Studies, History, Literary/Artistic Criticism, Media Archive, Passing, Slavery, United States on 2016-10-25 20:06Z by Steven

How America Bought and Sold Racism, and Why It Still Matters

Collectors Weekly
2015-11-10

Lisa Hix, Associated Editor

Today, very few white Americans openly celebrate the horrors of black enslavement—most refuse to recognize the brutal nature of the institution or actively seek to distance themselves from it. “The modern American sees slavery as a regrettable period when blacks worked without wages,” writes Dr. David Pilgrim, the Vice President for Diversity and Inclusion and a sociology professor at Ferris State University and the author of Understanding Jim Crow: Using Racist Memorabilia to Teach Tolerance and Promote Social Justice, who has spent his life studying the artifacts that have perpetuated racist stereotypes.

The urge to forget this stain on our nation’s history is everywhere. In Texas, McGraw-Hill recently distributed a high-school geography textbook that refers to American slaves as immigrant workers. At Southern plantation museums that romanticize the idea of genteel antebellum culture, the bleak and violent reality of enslaved plantation life is whitewashed and glossed over. Discussions about how slavery led to modern-day racism are often met with white defensiveness. How many times have black people heard this line? “Slavery happened a long time ago. You need to get over it.”

The truth is when President Lincoln signed the Emancipation Proclamation in January 1863, the economic subjugation of African Americans, and the terrorism used to maintain it, did not come to a grinding halt. The Jim Crow racial caste system that emerged 12 years after the Civil War ended in 1865 was just as violent and oppressive as slavery—and it lasted nearly a century. Up through Martin Luther King Jr.’s assassination in 1968, black people across the country, in Northern states as well as Southern ones, were routinely humiliated, menaced, tortured and beaten to death, and blocked from participating in business and public life. Thanks to smartphone and social-media technology, we’re seeing how such violence continues in 2015, 50 years after the height of the Civil Rights Movement


Puerto Rican actress Rita Moreno played the “tragic mulatto” in the 1960 film “This Rebel Breed.”(From Understanding Jim Crow)

…Another caricature was inflicted upon mixed-race women: the “tragic mulatto,” which is based on the “one-drop rule” that says any African American blood in your lineage makes you a black person. In this story, the mixed-race woman grows up living as a privileged white person. When her white father dies, her black heritage is revealed, and she’s enslaved and subjected to violence by white men. Rejected by both racial groups, she’s often suicidal and alcoholic, and she in particular loathes her black side.

Reality, of course, tells a different story. In Understanding Jim Crow, Pilgrim says it’s true that in the days of slavery, mixed-race slaves (usually the illegitimate sons and daughters of their owners), sometimes sold for higher prices, and masters saw these women as particularly sexually desirable, claiming their beauty drove them to rape. Enslaved mixed-race women were also frequently sold into prostitution, and freeborn mixed-race women sometimes became the mistresses of white men under the “plaçage system.” Some people with “Negro blood” worked to “pass” as whites, which helped them get better education, pay, and homes. But throughout history, mixed-race people—who had the slur “mongrels” hurled at them by whites—have been well accepted in the black community: Take for example, W.E.B. Du Bois, Booker T. Washington, Mary Church Terrell, Thurgood Marshall, Malcolm X, Louis Farrakhan, Langston Hughes, and Billie Holiday

Read the entire article here.

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DNA tests show fallacy of Jim Crow

Posted in Articles, Health/Medicine/Genetics, History, Media Archive, Passing, United States on 2016-10-20 01:04Z by Steven

DNA tests show fallacy of Jim Crow

The Albuquerque Journal
2014-03-21

Henry Louis Gates Jr., Alphonse Fletcher University Professor and Director of the Hutchins Center for African and African American Research
Harvard University

I am filming guest interviews for Season 2 of the genealogy series “Finding Your Roots,” airing on PBS this September. One of the most intriguing pieces of information shared with our guests is the “admixture” results contained in their DNA – their percentages of European, Native American and sub-Saharan African ancestors over the past 200 years or so.

The record of your ancestral past, in all of its complexity, is hidden in your autosomal DNA.

African-Americans almost always guess that they have much higher percentages of Native American ancestry and much lower percentages of European ancestry than they have. That is not surprising since African-Americans have long embraced the myth that their great-grandmother with “high cheeks and straight black hair” looked that way because of a relationship between an ancestor who was black and another one who was Native American.

But scientific results show that very few African-Americans have a significant amount of Native American ancestry: In fact, according to a study just published by 23andMe researcher Katarzyna “Kasia” Bryc, only about 5 percent of African-Americans have at least 2 percent of Native American ancestry, while the average African-American has only 0.7 percent Native American ancestry…

At the same time, Bryc’s research shows that the average African-American has a whopping 24 percent of European ancestry, which explains why great-grandma had those high cheekbones and that straight black hair.

But what about the presence of recent African ancestors in a “white” person’s family tree?…

Read the entire article here.

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Projections of Passing: Postwar Anxieties and Hollywood Films, 1947-1960

Posted in Books, Communications/Media Studies, Media Archive, Monographs, Passing, United States on 2016-10-13 20:34Z by Steven

Projections of Passing: Postwar Anxieties and Hollywood Films, 1947-1960

University Press of Mississippi
2016-04-04
284 pages
40 b/w illustrations, filmography, bibliography, index
6 x 9 inches
Hardback ISBN: 9781496806277

N. Megan Kelley

How the cinematic act of passing embodied, exacerbated, and sometimes alleviated American fears

A key concern in postwar America was “who’s passing for whom?” Analyzing representations of passing in Hollywood films reveals changing cultural ideas about authenticity and identity in a country reeling from a hot war and moving towards a cold one. After World War II, passing became an important theme in Hollywood movies, one that lasted throughout the long 1950s, as it became a metaphor to express postwar anxiety.

The potent, imagined fear of passing linked the language and anxieties of identity to other postwar concerns, including cultural obsessions about threats from within. Passing created an epistemological conundrum that threatened to destabilize all forms of identity, not just the long-standing American color line separating white and black. In the imaginative fears of postwar America, identity was under siege on all fronts. Not only were there blacks passing as whites, but women were passing as men, gays passing as straight, communists passing as good Americans, Jews passing as gentiles, and even aliens passing as humans (and vice versa).

Fears about communist infiltration, invasion by aliens, collapsing gender and sexual categories, racial ambiguity, and miscegenation made their way into films that featured narratives about passing. N. Megan Kelley shows that these films transcend genre, discussing Gentleman’s Agreement, Home of the Brave, Pinky, Island in the Sun, My Son John, Invasion of the Body-Snatchers, I Married a Monster from Outer Space, Rebel without a Cause, Vertigo, All about Eve, and Johnny Guitar, among others.

Representations of passing enabled Americans to express anxieties about who they were and who they imagined their neighbors to be. By showing how pervasive the anxiety about passing was, and how it extended to virtually every facet of identity, Projections of Passing broadens the literature on passing in a fundamental way. It also opens up important counternarratives about postwar America and how the language of identity developed in this critical period of American history.

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Gentleman Jigger: A Novel of the Harlem Renaissance

Posted in Books, Gay & Lesbian, Media Archive, Novels, Passing, United States on 2016-10-10 00:15Z by Steven

Gentleman Jigger: A Novel of the Harlem Renaissance

Da Capo Press
2008-01-23 (originally written in 1928)
352 pages
5.5 x 0.8 x 8.2 inches
ISBN: 978-0786720637

Richard Bruce Nugent (1906-1987)

An important addition to the literature of the period, Gentleman Jigger is the story of two brothers. Aeon, who passes for white and becomes a famous poet, faces the conundrums of love across the color line. Stuartt, who is openly homosexual-as was the author-joins the younger intellectuals of Harlem in defying authority figures, both black and white, at the notorious “Niggeratti Manor.” After the group disperses, Stuartt moves to Greenwich Village and becomes sexually involved with a young hoodlum. Charming and audacious, Stuartt eventually seduces one of the gangster’s top bosses, Orini, before his friendships with Wayne, a young heiress, and Bebe, Orini’s “moll,” set them all spinning in a whirlwind of jazz-age glamour and celebrity…that ends in an ironic dénouement.

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Who Are We, Really?

Posted in Articles, Media Archive, Passing, United States on 2016-10-08 01:05Z by Steven

Who Are We, Really?

View from Rue Saint-Georges
The American Scholar
2016-09-21

Thomas Chatterton Williams


Detail from The Redemption of Ham by Modesto Brocos y Gómez (1895)

Lately, as I’ve been working on my second book, a meditation on the absurdity of sorting human beings into metaphorical color categories, I’ve been thinking a lot about the concept of passing. In his 1948 autobiography, A Man Called White, the pale-skinned, blond-haired, blue-eyed former NAACP leader, Walter White, observed, “Many Negroes are judged as whites. Every year approximately twelve-thousand white-skinned Negroes disappear—people whose absence cannot be explained by death or emigration.” Or as Henry Louis Gates Jr. has tabulated more recently, “How many ostensibly ‘white’ Americans walking around today would be classified as ‘black’ under the one-drop rule? Judging by the last U.S. Census, 7,872,702. To put that in context, that number is equal to roughly 20 percent, or a fifth, of the total number of people identified as African American in the same census count!”…

Read the entire article here.

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Towne Street Theatre Announces Special Events During the Limited Engagement Run of PassingSOLO

Posted in Articles, Arts, Media Archive, Passing, United States on 2016-09-29 01:04Z by Steven

Towne Street Theatre Announces Special Events During the Limited Engagement Run of PassingSOLO

BroadwayWorld.com
Los Angeles
2016-09-21

Towne Street Theatre, L.A.’s premiere African-American Theatre Company, is proud to announce that there will be a number of special events during the limited engagement run of “PassingSOLO.” The production, which runs for three weeks only from October 8 – 23 at the Stella Adler Theatre, will offer theatre-goers receptions, special presentations, and talkbacks.

Nancy Cheryll Davis’ acclaimed one-woman show is adapted from Nella Larsen’s 1927 novella and the Towne Street Theatre play “Passing.” “PassingSOLO” will be in L.A. for a limited engagement before she takes it to Germany this fall, where it will be presented at the University of Duisburg in Essen, Germany.

It’s the height of the 1920s Harlem Renaissance and like a moth to a flame, Irene Westover Redfield is drawn to childhood friend Clare Kendry Bellew, who’s suddenly reappeared in her life. Both share a secret. Their birth certificates read “Negro” but both can – and do – pass as white. In fact, Clare’s been married to a wealthy, white racist for twenty years. Now she’s sought out Irene as she flirts with her roots. A memory play, “PassingSOLO” explores the conflicting demands of race and friendship; the slippery line between trust and deception – always with the danger of discovery. Nancy Cheryll Davis portrays both Irene and Clare, as their renewed friendship exposes the price we pay in a society where freedom is bought with deceit. Check out this video on Youtube to learn more about PassingSOLO

Read the entire article here.

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