Mixed Race Studies

Dear Mister Shakespeare – inspired by Othello

British Council
2016-10-07

Multimedia visual artist Phoebe Boswell has written an original piece, ‘Dear Mister Shakespeare’, in which she questions Shakespeare on the inherent racial tensions within his writing of Othello in the 1600s, and how these tensions continue to resonate today.

The film, directed by Shola Amoo, is a collage of modern black British experience, and follows Othello’s (Ashley Thomas aka Bashy) journey as a ‘man through time’.

‘I had to sneak around trying not to be seen’ – What growing up in Ireland was like for three mixed race Irish people

The Irish Post
2016-10-15

Erica Doyle Higgins, Digital Reporter

(Pictures: Tracey Anderson/Getty)

FOR the first time during Black History Month, an exhibition celebrating mixed race Irish has gone on display in the London Irish Centre.

The #IAmIrish Project celebrates diversity, while opening the dialogue on being mixed race and Irish.

As part of the Project and Black History Month, three people told The Irish Post their experiences of growing up mixed race in Ireland…

Read the entire article here.

One Drop of Love is Headed to Broadway!

Theater Row
410 West 42nd Street (between 9th and 10th Avenues)
New York, New York 10036
Thursday, 2016-10-13, 19:30 EDT (Local Time) Sold Out!
Sunday, 2016-10-16, 14:00 EDT (Local Time)

How does our belief in ‘race’ affect our most intimate relationships? One Drop of Love travels near and far, in the past and present to explore family, race, love and pain – and a path towards reconciliation. It is produced by Fanshen Cox DiGiovanni, Ben Affleck and Matt Damon.

One Drop of Love is headed to Broadway as part of the 7th Annual United Solo Theatre Festival on Thursday, October 16th. Show starts promptly at 2:00 pm. No late seating. General admission $23.25.

When purchasing tickets from the Telecharge website, be certain you’ve chosen Sunday, October 16th at 2:00PM. See you there – bring friends!

Ticketholders are invited to a celebration and discussion with Fanshen at nearby Chez Josephine following the performance.

Purchase tickets here.

The Dilemma of Interracial Marriage: The Boston NAACP and the National Equal Rights League, 1912–1927

Historical Journal of Massachusetts
Volume 44, Number 1, Winter 2016

Zebulon Miletsky, Professor of Africana Studies
Stony Brook University, State University of New York

On a wintry evening on February 1, 1843, a group of Boston’s African American citizens gathered in the vestry of the African Baptist Church nestled in the heart of Boston’s black community on the north slope of Beacon Hill. The measure they were there to discuss was a resolution to repeal the 1705 Massachusetts ban on interracial marriage.  Led largely by white abolitionists, the group cautiously endorsed a campaign to lift the ban. Their somewhat reluctant support for this campaign acknowledged the complexity that the issue of interracial marriage posed to African American communities. In contrast, during the early twentieth century, black Bostonians attended mass meetings at which they vigorously campaigned against the resurgence of antimiscegenation laws led by the Boston branch of the National Association for the Advancement of Colored People (NAACP) and William Monroe Trotter’s National Equal Rights League (NERL). This change is indicative of both the evolution of thinking about the issue of interracial marriage and the dilemma that it had frequently represented for black Bostonians and their leaders.

Laws against interracial marriage were a national concern. In both 1913 and 1915 the U.S. House of Representatives passed laws to prohibit interracial marriage in Washington DC; however, each died in Senate subcommittees. In 1915 a Georgia Congressman introduced an inflammatory bill to amend the U.S. Constitution to prohibit interracial marriage. These efforts in the U.S. Congress to ban interracial marriage reflected widespread movements at the state level.

The 1913 bill (HR 5948) would have prohibited the “intermarriage of whites with negroes or Mongolians” in the District of Columbia and made intermarriage a felony with penalties up to $500 and/or two years in prison. The bill passed “in less than five minutes” with almost no debate, by a vote of 92–12. However, it was referred to a Senate committee and never reported out before the session expired. In 1915 an even more draconian bill was introduced (HR 1710). It increased penalties for intermarriage to $5,000 and/or five years in prison. The bill was first debated on January 11 and passed in the House of Representatives by a vote of 238–60. However, it too was referred to a Senate committee and never reported out. African Americans and their allies throughout the nation closely followed the passage of both bills and organized strong opposition, particularly to the 1915 bill. Most likely, their protests were key to the bill’s defeat in the Senate. As several authors have pointed out: Although a symbolic victory [the 1913 and 1915 passage by the U.S. House of Representatives], a federal antimiscegenation policy was not produced. The District of Columbia would continue to be a haven for interracial couples from the South who wished to marry. Indeed, Richard and Mildred Loving, the interracial couple who would be at the center of the Loving v. Virginia (1967) Supreme Court case that struck down state-level anti-miscegenation laws, were married in the District of Columbia in 1958. Although the bill to ban interracial marriage in Washington, DC, was successfully defeated, by 1920 thirty states had anti-miscegenation laws on their books. (The term “miscegenation” was coined in 1863 and was derived from the Latin word miscere, meaning “to mix.”) As late as 1967, when the Supreme Court declared anti-miscegenation laws unconstitutional in the aptly named Loving v. Virginia decision, sixteen states still enforced them.

This article examines the political struggle over the issue of interracial marriage and the dilemma it posed for the Boston branch of the NAACP, as well as the national organization. The NAACP and its Boston chapter constituted the principal opposition to these efforts. The author examines the struggle to defeat similar bills that would have criminalized intermarriage in Massachusetts in 1913 and a second attempt in 1927.

VIFF honours B.C. filmmakers Ann Marie Fleming, Kevan Funk, Julia Hutchings, Jessica Parsons, and Jennifer Chiu

The Georgia Straight
Vancouver, British Columbia, Canada
2016-10-11

Charlie Smith

Ann Marie Fleming’s Window Horses won the prize for Best Canadian Film as well as the B.C. Film Award at this year’s Vancouver International Film Festival.

The Vancouver International Film Festival continues until Friday (October 14), but it has already handed out some major awards to Canadian filmmakers.

One of the big winners at a weekend gala was B.C. director Ann Marie Fleming for Window Horses. She took home the B.C. Film Award, which came with a $10,000 bursary from the Harold Greenburg Fund and a $15,000 credit in postproduction services from Encore.

Fleming was also honoured for Best Canadian Film, which was accompanied by a $10,000 award. It was presented by the Directors Guild of Canada…

Read the entire article here.

Why Self-Identifying As Multiracial Is Still New And Not Automatic For Me

Swirl Nation Blog
2016-10-12

Sarah Ratliff

I grew up in New York City during the 1960s and 70s. Although I grew up in a very racially, ethnically and culturally diverse area—which included several interracial families—it wasn’t the norm to raise kids in that time period to self-identify as more than one race.

Although nobody specifically said so, all of us multiracial / Biracial kids were living according to the one-drop rule. For many of us, my family included, this had to do with which parent’s race was more discriminated against.

In my particular case, and I know I am hardly unique, my father’s father disowned my father for marrying my mother. I never met my grandmother or my father’s father. I saw my father’s brother and his family no more than a dozen times while I was growing up. My mother was an only child whose parents died before I was born and so the tragedy is that while I had grandparents living, one of them refused to meet his grandchildren and the other was too scared to try and have a relationship with her grandchildren.

This compounded my parents’ decision to raise us to self-identify as Black…

Read the entire article here.

Black History Month: Lorraine Maher

Camden Review: Camden’s take on the London arts scene
2016-10-13

Angela Cobbinah

Lorraine Maher

WHEN she was growing up in County Tipperary in the 1960s, Lorraine Maher (pictured) met no other black people and on the few occasions they came into her midst she would avoid them.

“I didn’t want to draw attention to myself in any way,” she says.

“I grew up in a beautiful town full of beautiful people but there was racism all around me. This was the age of the golliwog and the ‘Black Baby Box’ to collect money for starving African babies.

“I knew I was different but my blackness was never spoken about and I spent my childhood just wanting to hide away and not be noticed.”…

…It is this often painful journey to self-realisation that laid the seeds of the #iamirish exhibition she has curated for the London Irish Centre, tellingly its first ever contribution to Black History Month. Opened last week by Ruaidri Dowling on behalf of the Irish Embassy, it is a display of stunning portraits by photographer Tracey Anderson that aims to question the concept of what it looks like to be Irish…

Read the entire article here.

One man’s quest to preserve the haunting black history of Pocahontas Island

The Washington Post
2016-09-26

Gregory S. Schneider

POCAHONTAS ISLAND, Va. — He roams from house to house along the quiet streets of this little neighborhood, giving voice to its history and spirits. The collection of modest homes, tucked between an empty lumber factory and an abandoned rail yard, doesn’t look like a rare and haunted place.

But in Richard Stewart’s eyes, Pocahontas Island is alive with an unexpectedly dramatic past. Using a black magic marker, Stewart scrawls the words of 12 generations of ancestors on old porch rails, doorways and window frames.

“Ain’t no looking back master I’m at the promised land.”…

…Outside, Stewart has bought the small house next door, which he said was built in the early 1800s by a mixed-race man whose white mother sold him into slavery as a child because she couldn’t be seen with him. Stewart painted it pink and yellow and covered it with words and pictures related to Nat Turner.

At least one man who helped Turner’s bloody slave rebellion in 1831 in nearby Southampton County hid, for a time, in the woods on Pocahontas Island, Stewart said…

…Stewart talks about slavery in an offhand way that can seem jarring. He credits his stature and strong build to what many regard as the myth of selective breeding. In colorful terms, he tells how mixed-race children were sent to live on the island: “We had a lot of out-of-wedlock mulattos over here. You might have seen a child walking along over here white as snow, and [the] mama walking along dark as a bag of coal.”…

Read the entire article here.

Tracing Your “Routes”

TEDx Talks: TEDxSBUWomen
Stony Brook University, State University of New York
2015-07-10

Zebulon Miletsky, Professor of Africana Studies
Stony Brook University, State University of New York

“He’s gonna have a hard time proving he’s a brother.”

Dr. Zebulon Miletsky discusses his journey through the multiple worlds of race and identity as he shares his experiences with researching his own family genealogy, the various “routes” this process led him to and how “tracing your routes” can lead to more than just knowledge about your background–it’s about how we treat one another along those “routes”.

Dr. Zebulon Miletsky teaches African-American History at Stony Brook University where he is an Assistant Professor of Africana Studies. He is the author of numerous articles, essays and most recently a book chapter that appeared in the anthology “Obama and the Biracial Factor: The Battle for a New American Majority” which traces the contested meanings throughout history of terminology for multiracial people and the role that this historical legacy of “naming” plays into how President Obama is read as African American, but still asserts a strategic biracial identity through the use of language, symbols, and interactions with the media. Miletsky who is half-Jewish (white) and African-American/Afro-Caribbean, has done a great deal of genealogical research for a book manuscript in progress and is in the process of researching his own family tree. He lives in Brooklyn.

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.