Mixed Race Studies

11 People in Interracial Relationships on the Intense Experience of Watching Get Out

New York Magazine
2017-03-14

Ana Silman, Culture Writer

Allison Williams and Daniel Kaluuya in Get Out. Photo: Justin Lubin/Universal Studios

Get Out — Jordan Peele’s acclaimed horror-comedy about a black man who finds himself in a nightmare while visiting his white girlfriend’s suburban family — is the kind of film that gets under your skin, using horror-film tropes to illuminate the daily terror of being black in a white world. We talked to seven interracial couples of various backgrounds about how watching the film made them reflect on their own relationships, the enduring stress of “meeting the parents,” and whether they’ll be RSVPing for the next family reunion — “TBD,” as one of our interviewees put it…

Read the entire article here.

Get the Fuck Outta Here: A Dialogue on Jordan Peele’s GET OUT

Medium
2017-02-27

Son of Baldwin (Robert Jones, Jr)

Writer and educator Law Ware had the wonderful idea of he and I having a dialogue on the recently released horror film, Get Out. The film, written and directed by comedian Jordan Peele, stars Daniel Kaluuya as Chris Washington, a photographer dating a white woman named Rose (Allison Williams). Rose takes Chris home to meet her “liberal/progressive” parents in their New England home and that’s when shit, literally and figuratively, goes left.

The film is multilayered and speaks quite deftly to the terror of being black in the United States. Law and I were anxious to get the conversation started. We spoke on Sunday, the same day as the Oscars, where the specter of race hung over everything like a noose on a poplar tree. There was so much to talk about and as much as we unpacked, there was still so much left to cover (like the end scene, for example). We might need a part two.

PLEASE NOTE: This discussion will contain SPOILERS. Proceed at your own risk.]

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Robert Jones, Jr: So about Get Out. Shall we begin? I’m a horror film buff. I like to watch them to better understand the psychology of other human beings. And I’m very critical of them because a lot of them are dishonest garbage. But this one here? Chile, this is one of the greatest, maybe the greatest, horror film I’ve ever seen.

The opening scene. Did you peep how Jordan Peele flips the script on who the actual menace is? How he reverses course on how the black body is always seen as the threat on the streets and in elevators and such. But here, we have an ordinary black person walking in a neighborhood in which he “doesn’t belong” and the menace is the white people seeking to police his presence in very literal and nefarious terms. This was a brilliant metaphor for stop-and-frisk and the so-called “Concerned Neighbor” phenomena, both of which often end with the death of us. Sundown Towns and shit.

Law Ware: Absolutely. And what I found to be utterly brilliant about that scene, and the movie holistically, is that he uses established horror film tropes to critique Whiteness and white fears. He could have put this in the mouth of our protagonist, but he uses the language of film. That’s why I think many don’t see what he is up to. We are accustomed to preachifying in “important films.” Peele is too nuanced for that…

…RJJ: Precisely. And it’s those nuances, those metaphors, that subtext that speaks to some of us on a subconscious level, that made Get Out such a terrifying experience. My partner was as deeply moved by this film as I was, perhaps deeper. But as you imply, it also explains the misreadings of the film that I have seen or encountered. One person insisted that it was a film designed to let white people off the hook. I was flabbergasted by two things: 1. That the person actually watched the film — with that reveal and that ending — and got that from it, and 2. That the person actually thought this film was for white people in any way, shape, or form. To me, this was a film for black people. And it spoke to us in our own language and felt no need to explain anything to us. It assumed we already knew certain things and proceeded from that knowing. If anything perplexed me, it was knowing that Peele is biracial and has a white mother, and is also married to a white woman. I assumed that the movie would be certain unfavorable things based on that. I assumed he’d be more understanding and apologetic to Whiteness. But the exact opposite was true. So I’m implicated in making certain false judgments about black people based on their backgrounds. And I wonder if this film operates, in some ways, as Peele’s cry for help…

Read the entire interview here.

Orange Is the New Black Dives into Latinx Identity Politics

The Outtake
2016-11-07

Rebecca Bodenheimer

Maria Ruiz (Jessica Pimentel) and Gloria Mendoza (Selenis Leyva)

The series treats relations between Dominicans, Mexicans, and Puerto Ricans with a level of nuance uncommon in mainstream media

The fourth season of Orange Is the New Black (2013 — ) has a lot to say about inter-ethnic hostility within the Latinx community. The episode “Power Suit” (4.2) dives most deeply into these conflicts, treating relations between New York Dominicans, Mexicans, and Puerto Ricans with a level of nuance and depth uncommon in mainstream media.

In “Power Suit,” we learn via flashbacks that inmate Maria Ruiz (Jessica Pimentel) does not have an easy relationship with the Dominican nationalism her father tried to inculcate in her. We see her reject the ethnocentrism of her father, which is primarily directed at the new waves of Mexican immigrants whom he sees as attempting to take over “Dominican” territory in New York…

…Because Latin American countries have historically included a mixed-race category in their official population counts, many Latinx draw a hard and fast line between mestizo/mulato (mixed race) and negro (black). This presents a major contrast with racial categorization in the U.S., so shaped by the “one-drop” rule that lumps everyone with African ancestry together as “black.”

Afro-Latinx have only begun to be recognized in recent decades as a distinct population group in many countries, such as Mexico, Peru, and Colombia. Thus, to delve into the racial politics of Latinx identity and give this issue some airplay is not a small feat…

Read the entire article here.

That Asian mom is not the nanny. Why do so many people assume she is?

The Los Angeles Times
2017-03-10

Jessica Roy

If you’ve been on the Internet at all today, you’ve probably already seen this video.

A white professor became the star of a viral video when his two young children wandered into the room while he was being interviewed by the BBC about relations between North and South Korea. An Asian woman dashed in and dragged the kids away before crawling back to close the door behind him.

It’s charming and relatable. Kids don’t care about your Skype interview or the carefully arranged tableau of books and maps behind you. Anyone who’s ever been around a young child can relate…

Read the entire article here.

Caramel queen or white man’s whore: #HashtagLightie, the play exploring the realities of modern mixed-race lives

Media Diversified
2017-02-10

Zahra Dalilah

Women and men of mixed heritage, especially black/white, are often called upon in media to provide an inoffensive face of diversity, a fetishized vision of exotic beauty or simplistically characterised as inherently confused halves of one thing or the other. The play #HashtagLightie – which recently sold out the Arcola Theatre, London before rehearsals had even begun – effortlessly defies these restrictions with a story that is relatable in its specificity and genuine in its relationships.

The show, written by Lynette Linton and directed by Rikki Beadle-Blair, centres on an Irish/Bajan family who become the targets of racial abuse on social media. Although issues of colourism and the impact of social media on young lives are not exactly new, #HashtagLightie interweaves these with a fresh look at the identities and perceptions of mixed-race women and men in British society…

Read the entire review here.

Erased Onscreen: Where Are All the Interracial Couples?

The New York Times
2017-03-03

Kevin Noble Maillard, Professor of Law
Syracuse University

Daniel Kaluuya and Allison Williams in Jordan Peele’s “Get Out.” Credit Justin Lubin/Universal Pictures

The recent drama “Loving” is about an interracial marriage and takes place in midcentury rural Virginia, but there are no burning crosses, white hoods or Woolworth counters. Richard Loving and Mildred Jeter, a white man and a black Native American woman kiss in public at a drag race, and no one voices disapproval. A few white spectators stare and scowl. But the couple embrace and laugh, unsullied.

“Segregation wasn’t a clean divide in these communities,” the drama’s writer-director, Jeff Nichols, told me, and for “Loving” it’s true: The film, about the 1967 Supreme Court case striking down laws banning interracial marriage, addresses the long ignored and deliberately suppressed topic of mixed race in America. It confounds our impressions of the past, the legacies of slavery, and the reality of Jim Crow.

Fifty years have passed since “Guess Who’s Coming to Dinner,” and this is still an issue. Mixed-race couples existed here long before 1967, but the Lovings (played by Joel Edgerton and Ruth Negga) were among the first to demand official recognition through marriage. According to the codes of popular culture and the law of domestic relations, families like theirs did not exist. Sustaining the legitimacy of racial boundaries requires suppression of these narratives. Without policing and erasing by law and popular culture, taboos lose their authority…

Read the entire article here.

Hapa Japan: History (Volume 2)

Kaya Press
2017-02-28
400 pages
Paperback ISBN: 9781885030542

Edited by:

Duncan Ryūken Williams, Associate Professor of Religion and East Asian Languages and Cultures
University of Southern California

The film Kiku and Isamu (1959) was one of the first cinematic depictions of mixed-race children in postwar Japan, telling the story of two protagonists facing abandonment by two different Black GI fathers and ostracism from Japanese society. Bringing together studies of the representations of the Hapa Japanese experience in culture, Hapa Japan: Identities & Representations (Volume 2) tackles everything from Japanese and American films like Kiku and Isamu to hybrid graphic novels featuring mixed-race characters. From Muslim Japanese-Pakistani children in a Tokyo public school to “Blasian” youth at the AmerAsian School close to a US military base in Okinawa, the Hapa experience is multiple, and its cultural representations accordingly are equally diverse. This anthology is the first publication to attempt to map this wide range of Hapa representations in film, art and society.

Call for Papers: Power, Intimacy and the State: Mixed Families in Europe and Beyond

Power, Intimacy and the State: Mixed Families in Europe and Beyond Conference
University of Amsterdam
June 12-13, 2017
2017-01-20

Betty de Hart, Professor of Migration Law
Amsterdam Centre for European Law and Governance (ACELG)
University of Amsterdam, Amsterdam, Netherlands

CALL FOR PAPERS (View PDF version here.)

Historically, mixed couples and people of mixed descent have been seen as a problem, in popular culture as well as in academic literature. ‘Ethnically’ and ‘racially’ mixed relationships were described as dominated by power imbalances and as devoid of love. This perspective was brought to bear upon relationships and marriages in colonial times and in times of slavery. Even today, within the context of global migration, mixed couples are often perceived in negative terms, e.g. in discourses on ‘mail order brides’ (marriages between white men and migrant women) or ‘beznez marriages’ (marriages between white women and migrant men).

There is no denying that mixed couples and relations are fraught with power inequalities as they developed in the context of historical and modern-day global inequalities, colonialism, post-colonialism, slavery and racialised hierarchies. However, issues concerning the entanglement of power and privilege with intimate relationships are much more complex than they are often envisioned to be. Since the 1980s, scholars of ‘mixture’ and ‘mixedness’, including critical race and critical mixed race studies, have been questioning this pathologisation of mixed couples and mixed descent. They have called for more nuanced approaches to the lived experiences of mixed couples and persons of mixed descent, that should help us strike a proper balance between an overly negative view on the one hand and an unwarranted romanticised view on the other, which regards mixed relationships and mixed heritage as a means for creating a boundary-less and race-less world.

Hence, this conference addresses questions such as: how we may gain a fuller understanding of the lived experiences of mixed couples, power, and intimacy, without pathologizing and dehumanizing them? This conference aims to approach these questions from international comparative perspectives. How can a balanced view be achieved in the European context, where mixed couples are mostly studied with respect to the contradictory imperative of cultural assimilation on the one hand and respect for cultural difference on the other? And what about other continents such as Africa or Asia?

The conference

The conference seeks to bring together people from different disciplines (ethnic and racial studies, critical (mixed) race studies, history, (post)colonial studies, film and media studies, literature, sociology, anthropology, geography, law, gender studies, sexuality and queer studies, migration studies, et cetera), and from different national backgrounds. We believe that an interdisciplinary and comparative approach is key to gaining the ‘thick’ understanding of mixed relationships that this conference aims at. We especially hope to give a boost to the study of mixture and mixed intimacies in the European context.

The conference is a joint initiative of the Amsterdam Centre of European Law and Governance (University of Amsterdam), and the Maastricht Centre for Gender and Diversity, in cooperation with LovingDay.NL. It will take place on 12 and 13 June 2017, when Loving Day is commemorated as the 50th anniversary of the 1967 Loving v. Virginia American Supreme Court decision, that held that interracial marriage prohibitions were unconstitutional.

Papers may relate to, but are not limited to, the following topics:

1. Mixed couples and persons of mixed heritage navigating power and inequality

In order to study power differentiations within mixed families adequately, obviously, not only race or ethnicity but also gender and class are relevant identity markers. How can an intersectional approach of race, gender and class illuminate power dynamics within mixed families? How do members of mixed families respond to them? Another issue is how youngsters and persons of mixed descent negotiate the different social dynamics and power relations that shape their experiences? How and by what means do they claim the power to define themselves?

2. Activism and NGOs of mixed families and people of mixed descent

Across the globe, mixed couples and people of mixed descent have become activists and established NGOs to facilitate the telling of their stories and to challenge the disempowerment caused by dominant negative, pathologizing understandings of mixed couples and mixture. Who are the persons and parties that speak in the name of mixed families, and what are the interests at stake? What alternative discourses do they put forward? How do stories and experiences of mixed families and persons of mixed heritage matter in public and political debates on multicultural/multiracial societies, and anti-racism? And how does discovering ‘hidden’ historical stories of mixed heritage function in these debates?

3. State and institutional policies shaping power and inequalities

Power dynamics within mixed couples and families are closely intertwined with the power hierarchies of race/ethnicity, gender, and class within society at large. State laws and policies shape identities of ‘race’ and ‘ethnicity’ and determine the definition of who or what is ‘mixed’. State and institutional policies have both struggled to discourage or prevent, and to encourage or even celebrate mixed relationships. If state and institutional policies decide the meaning of difference, how should we understand various meanings of ‘mixed couples’ and ‘mixed descent across Europe and beyond? What are the transnational linkages between continents, colony and metropole, global north and global south? How does the state shape and regulate mixed families and identities and which effects do they have on the internal power dynamics of mixed couples?

4. Performing mixed relationships in the arts, popular culture and news media

In the present and in the past, the arts, popular culture and news media have been enacting specific scripts for mixed relationships, which have confirmed and critiqued perspectives implied in social policies, and state politics. We will study in what ways the arts, popular culture and news media have constructed, mediated and challenged the dominant, problematizing approach to mixed couples and people of mixed descent, as well as unwarranted romantic idealizations of mixed couples as the key to a fair society. What concepts of mixed identity have been produced by these media and how were these perceived by the general public? What were the agencies of mixed individuals and families in dealing with the written texts and visual images about them? And how have these changed through time and across space?

5. Studying mixedness in Europe

Until today, Europe does not have a strong academic tradition in studying mixed couples and mixed descent, as opposed to, for instance, the US or the UK. How can the study of mixedness in Europe be given a boost, and move beyond the exclusive association of mixed couples with the ‘assimilation versus difference’ debate? How is European research linked to dominant, politicized categorizations of what and who is ‘mixed’? How is research in Europe linked to policy perceptions of the social meaning of mixed relationships and mixed heritage? Do European research traditions challenge the binaries between ‘us’ and ‘them’? And what about the heteronormativity of much of the studies on mixed couples and families? How can the development of an interdisciplinary or multidisciplinary approach help us understand the relation between power, intimacy and the state in the European context? How can we take inspiration from the Anglo-American research traditions? And in what ways can we employ approaches from critical race and critical mixed race studies?

Abstracts of maximum 400 words to be submitted before March 1, 2017 at: mixedintimacies-fdr@uva.nl

Check our website for regular updates of conference information and practical matters http://acelg.uva.nl/mixedintimacies

The conference will be held at University of Amsterdam, Amsterdam, The Netherlands.

Conference organizers:

• Prof. Betty de Hart Amsterdam, Centre for European Law and Governance (ACELG), University of Amsterdam
• Prof. Lies Wesseling, Maastricht Centre for Gender and Diversity, Maastricht University
• Stichting LovingDay.NL

View in PDF here.

It’s Not Simply Black and White: Onscreen mixed-race romances (sort of) grow up

Film Journal International
2017-02-10

Simi Horwitz, Cultural Reporter/Features Writer
New York, New York

Guess Who’s Coming to Dinner, now celebrating its 50th anniversary, was not the first film to deal with an interracial love story, though it was the first to present “the issue” in the starkest terms. To wit: An exemplary son-in-law—a well-mannered, well-spoken doctor with a stellar future who happens to be black—sparks feelings of profound equivocation for the girl’s parents, otherwise the most fair-minded, tolerance-spewing champions one can imagine. The good doctor refusing to marry her at all without their blessing only makes it worse. He is a paradigm of virtue but still an African-American, and his race defines him.

At the height of the Civil Rights movement, the Stanley Kramer film was a controversial groundbreaker. The brilliant casting didn’t hurt: Sidney Poitier as the romantic lead, Dr. John Prentice, with Spencer Tracy and Katharine Hepburn as old-time liberals Matt and Christina Drayton, whose daughter Joey (Hepburn’s real-life niece Katharine Houghton) is engaged to Prentice.

Naturally, it all ends happily enough (Did I mention it’s a comedy?), with Tracy delivering a long, very long speech asserting that love is what matters and while the young couple will face obstacles in a bigoted world, they must get married. To fly in the face of their love is a violation and morally wrong.

The film’s treatment of race relations is clearly dated. Not coincidentally, its depiction of women is also thesis-worthy, let alone its portrait of a black housekeeper (Isabel Sanford, years before “The Jeffersons”) who embodies a host of racial, gender and class stereotypes. Enraged and horrified at the prospect of Joey marrying a black man, she sputters, “Civil Rights are one thing. But this is something else.”

Still, it was a bellwether, landing an Oscar nomination for Best Picture and winning its screenwriter William Rose a statuette…

Read the entire article here.

Trevor Noah, Colorism and The Unexpected Role He Plays In Expanding the Divide

Atlanta Black Star
2017-02-05

Jared Ball, Professor of Communication Studies
Morgan State University, Baltimore, Maryland

“He’s out to neutralize, not to awaken.” – Willa Paskin

The leadership of our School of Global Journalism and Communication at Morgan State University has encouraged that professors like myself find ways this semester to incorporate into our work the new book Born a Crime: Stories from a South African Childhood by Trevor Noah. Noah is the South African-born, biracial, Colored comedian and host of Comedy Central’s The Daily Show. Copies have been distributed to students and faculty alike and I anticipate there being a flurry of engagement for courses in media studies as Noah’s book has plenty to offer.

Immediately we can start with critiques of false balance and Western politicized notions of objectivity, both of which were in play during Noah’s recent extended exchange with the aggressive right wing commentator Tomi Lahren. Many know of Noah’s nightly television work and it appears many more know him now after the straw woman performed her role in enhancing Noah’s credibility and right in time to coincide nicely with his book’s launch. What liberal aspirant to the throne of legitimacy wouldn’t want her as an interlocutor? Even in the silly film Pop Star Conner Friel (Andy Samberg) made sure his entourage consisted of a “perspective adjuster” whose sole function was to make the star look better by comparison. Muhammad Ali’s legend wasn’t born by his fights with Henry Cooper and Brian London. It were the fights with Liston, Frazier, Foreman and the federal government that told us he was the greatest.

We can also as a class ask, what is happening semiotically with the book’s cover? It read to me from the first like the perfect symbolic display of Noah’s entire political function as celebrity.  Noah’s beige face, askew, askance even – especially – with that grin, hand touching his head, painted on a tattered township wall, imposing, top-down upon a faceless Black African woman, almost saying, in an aloof, twisted version of the Old Spice commercial, “aww-shucks, look at me. Now look at you. Now look at me again. Now look at you. And back to me. I’ve made it and you can to? Never mind that. Look at me!” Its reminiscent of any billboard falsely advertising an exclusive lifestyle of which most onlookers can only dream…

Read the entire article here.