Mixed Race Studies

Is There an Identity Beyond Race? Four Case Studies

Michigan Quarterly Review
Volume XLI, Issue 3, Summer 2002

Paula Marantz Cohen, Distinguished Professor of English
Drexel University, Philadelphia, Pennsylvania

Love on Trial: An American Scandal in Black and White. By Earl Lewis and Heidi Ardizzone. New York: W.W. Norton, 2001. Pp. 301. $26.95.

Black, White and Jewish: Autobiography of a Shifting Self. By Rebecca Walker. New York: Riverhead Books, 2001. Pp. 336. $14.

Pearl’s Secret: A Black Man’s Search for his White Family. By Neil Henry. Berkeley: University of California Press, 2001. Pp. 321. $24.95.

The Color of Water: A Black Man’s Tribute to His White Mother. By James McBride. New York: Riverhead Books, 1996. Pp. 228. $23.95 (hb), $14 (pb).

All four books under review here are concerned with telling dramatic tales about singular, real lives. But they are also books about race. They are driven by the larger goal of making the individual story stand for more than itself.

To write something that is true to the distinctiveness of human experience while also being socially and politically illuminating is hard to achieve. Earl Lewis and Heidi Ardizzone’s Love on Trial: An American Scandal in Black and White seems the most successful, perhaps because it is the only book in the group that is not a memoir. Lewis explains in an Afterword that he first stumbled on the subject while working on his dissertation seventeen years earlier, then returned to it when, as a professor at the University of Michigan, he began directing Ardizzone’s doctoral research on interracial identity in the first half of the twentieth century. They eventually decided to collaborate. The long period of gestation as well as the collaborative approach help to account for the book’s judicious tone in telling a story at once private and public, full of subjective elements yet illuminating of its social moment.

Love on Trial takes as its point of departure a sensational news story from the 1920s. Pursuing the story through careful research into court transcripts and newspaper archives, the authors piece together a fascinating narrative in which the personal intersects the social with tragic consequences.

The story centers on the marriage of Alice Jones, a nanny from Westchester, to Leonard “Kip” Rhinelander, a young scion of one of New York’s oldest and richest society families. It seems that the couple met, courted, and married without apparent difficulty until their relationship became publicized by the New York press, probably through the instigation of Leonard’s disapproving father. A scandal erupted when it was alleged that Alice Jones was black—a fact that Leonard subsequently claimed he did not know and which he made the basis for an annulment suit against his wife…

Read the reviews here.

“Little White Lie: A Film about Dual Identity and Family Secrets” with Lacey Schwartz

Taube Center for Jewish Studies
Stanford University
Center For Educational Research (Room 101)
520 Galvez Mall
Stanford, California
2015-10-28, 19:00 PDT (Local Time)

“Between Race and Religion: Contemporary American Jewish Life” series with the Center for Comparative Studies in Race and Ethnicity.

Lacey Schwartz, an American filmmaker, in conversation with Allyson Hobbs, Assistant Professor of American History at Stanford University

Little White Lie tells Lacey Schwartz’s story of growing up in a typical middle-class Jewish household in Woodstock, NY, with loving parents and a strong sense of her Jewish identity — that is until she discovers that her biological father is actually a black man with whom her mother had an affair. What defines our identity, our family of origin or the family that raises us? Lacey discovers that answering those questions means understanding her parents’ stories as well as her own.

What defines our identity, our family of origin or the family that raises us? How do we come to terms with the sins and mistakes of our parents? Lacey discovers that answering those questions means understanding her parents’ own stories as well as her own. She pieces together her family history and the story of her dual identity using home videos, archival footage, interviews, and episodes from her own life. Little White Lie is a personal documentary about the legacy of family secrets, denial, and redemption.

For more information, click here or here.

The myth of race

The Cripplegate
2015-10-22

Jesse Johnson, Teaching Pastor
Immanuel Bible Church, Springfield, Virginia

One of the most harmful effects of evolutionary theory is the concept of race. Despite having zero scientific validity to it, the idea that human beings can be categorized into general “races” that are supposedly connected to their biology has wormed its way into our world views. It needs to make a quick exit—stage left.

Thabiti Anwaybwile (pastor of Anacostia River Church in [Washington] DC) said it this way: “Believing in race is like believing in unicorns, because neither exist.”

Certainly cultures exist. Certainly ethnicities exist. And certainly racism exists (largely fueled by the whole notion of race to begin with).

But unicorns do not, and neither does race…

Read the entire article here.

Black Magic Woman and Narrative Film: Race, Sex and Afro-Religiosity

Palgrave Macmillan
July 2015
216 pages
Hardcover ISBN: 9781137454171
Ebook (EPUB) ISBN: 9781137454195
Ebook (PDF) ISBN: 9781137454188

Montré Aza Missouri, Associate Professor in Film
Howard University, Washington, D.C.

Contributing to emerging scholarship on representations of race, gender, sexuality and religion in film and media, Black Magic Woman focuses on the ‘tragic mulatto‘ stereotype that is conventionally portrayed as a character tormented by issues of racial and cultural ambiguity. Montré Aza Missouri explores the journey of the ‘mulatto‘ from ‘tragic’ to ’empowered’ through the character’s adherence to Yoruba-Atlantic religions such as Cuban Lucumí, Puerto Rican Santería and American Voodoo. From this religious transformation, the ‘tragic mulatto’ becomes the Black Magic Woman, a signifier of a New World cultural identity.

Table of Contents

• Acknowledgements
• Introduction – From ‘Tragic Mulatto’ to Black Magic Woman: Race, Sex and Religion in Film
• Chapter 1. Womanism and Womanist Gaze
• Chapter 2. Beauty as Power: In/visible Woman and Womanist Film in Daughters of the Dust
• Chapter 3. Passing Strange: Voodoo Queens and Hollywood Fantasy in Eve’s Bayou
• Chapter 4. I’ll Fly Away: Baadasssss Mamas and Third Cinema in Sankofa
• Chapter 5. Not Another West Side Story: Nuyorican Women and New Black Realism in I Like It Like That
• Chapter 6. It Is Easy Being Green: Disney’s Post-Racial Princess and Black Magic Nostalgia in The Princess and the Frog
• Conclusion
• Notes
• Filmography
• Bibliography
• Index

Playing and Praying at Wild Goose — Student Kenji Kuramitsu

The “CURE” for Your Vocation
McCormick Theological Seminary
Chicago, Illinois
2015-08-26

Ryan Kenji Kuramitsu

I had heard of Wild Goose Festival from friends who had braved the woods in years past, but I wasn’t sure it was my kind of thing. I certainly didn’t expect to be a part of the gathering anytime soon. Then my friend Micky asked me to attend. She wanted to know if I would speak on a panel she was moderating, and invited me to present my own workshop as well.

I didn’t know what I would find in Hot Springs, North Carolina other than spending a few days camping out, thinking about God, smiling, and playing music with a bunch of progressive, hippie Christians, many of whom I was only tangentially connected to on social media. I was nervous, but I wanted to see what this festival was all about, and as a lifelong Boy Scout, I felt like I could handle myself in the woods. I told Micky I would come.

I spent the next few weeks trying to think of something productive to contribute to the “Revolutionary Love and Militant Nonviolence” panel that I would speak on with clergy and racial justice advocates Leah Gunning-Francis, Traci Blackmon, and Ethan Vessley-Flad, publically reflecting on our involvement in the Black Lives Matter movement as the one year anniversary of Mike Brown’s death approaches. For my own workshop, I created an hour long presentation exploring how both traditional theological teachings about Christ and contemporary critical mixed race theory can empower multiethnic and mixed race people to live whole, integrated lives…

Read the entire article here.

Hold Fast to Blackness

Medium
2015-07-29

Chanda Prescod-Weinstein, Assistant Professor of Physics and Astronomy; Core Faculty Member in Women’s Studies
University of New Hampshire

Het Nieuwe Instituut, Rotterdam, Nederland

This is not another essay about how hard it is to be light skinned in a dark man’s world. Why? Because the suggestion that this is a dark man’s world is ridiculous. Unless you’ve had your head up your butt, we quite clearly do not live in a version of the universe where overall it is better to be dark. The reality is that 2Pac was speaking in opposition to mainstream logic when he rapped, “the darker the berry, the sweeter the juice. I say the darker the flesh, the deeper the roots.”

I’m sure there are many light skinned people including those with bi- and multiracial/ethnic families who would complain that 2Pac spoke words of erasure. But to make this complaint is to not acknowledge, plainly, that in fact he is speaking against erasure. To be light skinned, in reality, is to have a choice about what role we play in this process, for or against, constructive or destructive.

I have a Black Caribbean momma and a white Jewish father. My mom’s family hails from Barbados, vaguely of “West African Origin.” We don’t really know where or if maybe we come from somewhere else because identity and language are one of the many things European slave traders and slave owners stole from kidnapped Africans and their descendents. My dad’s family was chased out of the Ukraine and Russia by anti-Jewish pogroms and were Yiddish speaking until it became clear that looking like them and being English speaking was better.

When I was born, my parents were scared to introduce me to my dad’s maternal grandfather. It wasn’t clear whether he would accept a “nigger baby.” This is the first story I know of that clearly delineates the difference between my white father and me. My white father lives in the tent of whiteness: he is accepted as white and is treated as such on the street, in airports, by the police, by shop clerks, by everyone who speaks to and everyone who sees him. My dad lives in a version of the world where who he is is the default and where no one ever had to ask whether he would be excluded by members of his family simply because of his skin color.

It is true that my father has a different experience with the tent of whiteness than his father did in his early years. Born in 1917 in Yiddish-speaking Brooklyn, my Grandpa Norman would have been a dirty Jew to many white non-Jews. But when he died in 1988 Los Angeles, my Grandpa was white with the rest of them. The tent of whiteness expands as people sufficiently European-looking become broadly accepted as, “not-Black, not heading toward Black or any of the other darker kinds.” This expansion is predicated somewhat on the fundamental belief that the darker people are, the more dangerous, deficient and less human they are.

I am dark enough to not live within the tent of whiteness, but I am light enough that many people experience significant confusion when trying to class what level of “not-white, maybe heading toward-Black, deficient” I am. Depending on the year and location, I am a “dirty Arab/Muslim,” a fellow Latina, a Mulatto, a Mizrahi Jew, a half-white person who suspiciously may not be down with Black folks…

Read the entire article here.

Hanif Kureishi: ‘We’re all mixed-race now

The Independent
2011-10-23

James Kidd

Immigration, Islamism, multi-culturalism – as his new collected stories attests, the hottest topics of the day have long been the bedrock of Hanif Kureishi’s fiction. Just don’t get him started on the joys of ‘Big Brother’…

Hanif Kureishi is, by some accounts, a hard man to interview. In the days before our meeting, any number of people insist that the author of My Beautiful Laundrette, The Buddha of Suburbia and The Black Album is cantankerous, sarcastic and prone to lengthy lacunae in the middle of conversation. This portrait is corroborated by some of those closest to Kureishi: his sister and more than one ex-partner have complained of literary parasitism, that their lives have been exploited in the service of Kureishi’s art. It is a charge that he doesn’t exactly refute: “If [your writing] doesn’t upset your family, you must be doing it wrong.”

Perhaps the problem is that no one got him on to the subject of Celebrity Big Brother. This not only sparks his enthusiasm, it proves that Kureishi speaks like he writes – an entertaining mix of irreverent humour, personal revelation and social critique. So a relatively grave discussion about “the psychotic exhibitionism of our time” (or “the age of Jordan”) triggers a lengthy dissection of the recent reality series.

“My missus says Jordan chooses really nice men then destroys them. It seems a good way to pass the time. The cage-fighter [Alex Reid] is a nice bloke – thick, but nice. Unlike Vinnie [Jones]. He was quite hardcore – a naughty, tough daddy. I think Vinnie had an evil edge. People were afraid of him.”…

…What he does remember is the urgency to become a writer. Growing up in Bromley in the 1960s, surrounded by racist teachers, skinheads and the National Front, it was his means to self-expression and political empowerment. “Being a writer was a counter-force to people saying I was a half-caste, a Paki, a mongrel. It was a real thing in the world, an identity. I needed to call myself a writer back then because they were calling me a fucking Paki.” He pauses. “We are all mixed-race now – me, Obama, Tiger Woods, Lewis Hamilton.”

Kureishi says he was fortunate that the themes which distinguished his seminal works – race, immigration, Islam and multi-culturalism – have so profoundly defined 21st-century global culture. “You are lucky if you hit it for five years. I suddenly saw that the story of my father, a Muslim man coming to Britain, was not only his story, it was the story of the West. It was gold dust. No one else was writing about it, and people didn’t welcome it. ‘This is very good, Hanif, but do they have to be Indian in a cornershop?'”

Twenty years after The Buddha of Suburbia helped change the landscape of British fiction, and society, Kureishi continues to have plenty to say. He is certainly still politically engaged and enraged. “My dad’s family always thought that power rendered white people unsophisticated. Look at the stupidity of invading Iraq. Every Muslim would think that was hilarious stupidity. It has destroyed American power in the world. They aren’t going to invade anywhere else now. The Iranians aren’t afraid of them. The Koreans aren’t afraid. How stupid was that strategically, let alone morally? They have, as it were, shot their bolt.”…

Read the entire article here.

Something Old, Something New

BBC Radio 4
2015-10-06

Johny Pitts, Host

Peter Meanwell, Producer

Recorded & mixed! Finished @BBCRadio4 (Engineer Steve Hellier with Johny Pitts) Source: Peter Meanwell

From Sheffield to South Carolina, Johny Pitts explores alternative Black British identity.

What happens when your Dad’s an African-American soul star [Richie Pitts] and your Mum’s a music-loving girl from working class Sheffield? Are your roots on the terraces at a Sheffield United match, or in the stylings of a Spike Lee film? For writer and photographer Johny Pitts, whose parents met in the heyday of Northern Soul, on the dance floor of the legendary King Mojo club, how he navigates his black roots has always been an issue. Not being directly connected to the Caribbean or West African diaspora culture, all he was told at school was that his ancestors were slaves, so for BBC Radio 4, he heads off to the USA, to trace his father’s musical migration, and tell an alternative story of Black British identity.

From Pitsmore in Sheffield, to Bedford Stuyvesant in New York, and all the way down to South Carolina, where his grandmother picked cotton, Johny Pitts heads off on a journey of self-discovery. On the way he meets author Caryl Phillips, Kadija, a half sister he never knew, and historian Bernard Powers. He visits the Concorde Baptist Church in Brooklyn, New York, and the Bush River Missionary Baptist Church, in Newberry, South Carolina. He tracks down a whole host of long-lost cousins, and talks to Pulitzer winning writer Isabel Wilkerson. On the way he shines a light on the shadows of his ancestry, and finds stories and culture that deliver him to a new understanding of his own mixed race identity and history.

Listen to the story here.

Dr. Wanda Wyporska on Witchcraft Persecution

WandaWyporskaWitchcraft
2014-09-07

Dr. Wanda Wyporska

A show reel of Dr Wanda Wyporska talking about witchcraft for the BBC BAME expert days – 2014

Every Family Has Its Secrets: Lacey Schwartz Connects with Film Forward Audiences in Taiwan

Sundance Film Forward
2015-09-24

Lacey Schwartz, Director Little White Lie

This Sundance Film Forward trip to Taiwan marked the Asian Premiere of Little White Lie. It also was my first time ever in Asia. The things that people seemed to say I had to experience while there were the food and the shopping – I was told soup dumplings and night markets were mandatory. I learned that their passion fruit is addictive. What I didn’t have a sense of was how the audiences in Taiwan would respond to Little White Lie. I wondered if they would be confused by the racial identity dynamics. Would they think the film was revealing too much in a public manner? Would they relate to the struggle to come to terms with family secrets and denial? I had shown the film previously in countries that had much more diversity in their society such as Trinidad where the story seemed to strongly resonate. I wondered if the homogeneity of the people in Taiwan would make Little White Lie harder for them to connect to. The screenings showed that my concerns were unwarranted…

Read the entire article here.