Mixed Race Studies

“What are you?” Reactions to American Racial Rhetoric among Mixed and Multiracial Caribbeans

Charisse L’Pree, Ph.D.: Media Made Me Crazy
2014-08-19

Charisse L’Pree, Associate Professor of Communications
S.I. Newhouse School of Public Communications
Syracuse University, Syracuse, New York

Historically, the United States has had tumultuous relationship with mixed and multiracial individuals within its borders; interracial marriage was illegal until 1967, and the one-drop rule continues affect racial discourse. Combined with the hegemonic power of American culture, the effect of this rhetoric is especially evident in neighboring cultures with different social constructions of race. This paper explores the experiences of young adults in the United States and the Caribbean who identify as mixed or multiracial, and their use of social media to publicly identify and affect this conversation.

To be “mixed” is to contain different qualities or elements. Although racial categorizations can differ from culture to culture, much of the literature regarding the identity of mixed individuals has emerged from the United States and Western Europe. In these communities, multiracial individuals are less than 3% of the population and considered to be between groups. Stereotypes like the “tragic mulatto” describe the psychological stress that multiracial individuals can experience as simultaneously ostracized and exoticized anomalies. They are the targets of curiosity, resulting in the common question: “What are you?”…

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A War Born Family: African American Adoption in the Wake of the Korean War

New York University Press
January 2020
328 Pages
6.00 x 9.00 in
Hardcover ISBN: 9781479872329
Ebook ISBN: 9781479815869

Kori A. Graves, Associate Professor of History
University at Albany, State University of New York

The origins of a transnational adoption strategy that secured the future for Korean-black children

The Korean War left hundreds of thousands of children in dire circumstances, but the first large-scale transnational adoption efforts involved the children of American soldiers and Korean women. Korean laws and traditions stipulated that citizenship and status passed from father to child, which made the children of US soldiers legally stateless. Korean-black children faced additional hardships because of Korean beliefs about racial purity, and the segregation that structured African American soldiers’ lives in the military and throughout US society. The African American families who tried to adopt Korean-black children also faced and challenged discrimination in the child welfare agencies that arranged adoptions.

Drawing on extensive research in black newspapers and magazines, interviews with African American soldiers, and case notes about African American adoptive families, A War Born Family demonstrates how the Cold War and the struggle for civil rights led child welfare agencies to reevaluate African American men and women as suitable adoptive parents, advancing the cause of Korean transnational adoption.

Mixed-Race Superheroes

Rutgers University Press
2022-04-16
288 pages
24 color images
6 x 9
Paperback ISBN: 9781978814592
Cloth ISBN: 9781978814608
EPUB ISBN: 9781978814615
PDF ISBN: 9781978814639
Kindle ISBN: 9781978814622

Edited by:

Sika A. Dagbovie-Mullins, Associate Professor of English
Florida Atlantic University, Boca Raton

Eric L. Berlatsky, Associate Professor of English
Florida Atlantic University, Boca Raton

American culture has long represented mixed-race identity in paradoxical terms. On the one hand, it has been associated with weakness, abnormality, impurity, transgression, shame, and various pathologies; however, it can also connote genetic superiority, exceptional beauty, and special potentiality. This ambivalence has found its way into superhero media, which runs the gamut from Ant-Man and the Wasp’s tragic mulatta villain Ghost to the cinematic depiction of Aquaman as a heroic “half-breed.”

The essays in this collection contend with the multitude of ways that racial mixedness has been presented in superhero comics, films, television, and literature. They explore how superhero media positions mixed-race characters within a genre that has historically privileged racial purity and propagated images of white supremacy. The book considers such iconic heroes as Superman, Spider-Man, and The Hulk, alongside such lesser-studied characters as Valkyrie, Dr. Fate, and Steven Universe. Examining both literal and symbolic representations of racial mixing, this study interrogates how we might challenge and rewrite stereotypical narratives about mixed-race identity, both in superhero media and beyond.

Table of Contents

• Introduction by Sika A. Dagbovie-Mullins and Eric L. Berlatsky
• Part I Superheroes in Black and White
  • 1. Guess Who’s Coming Home? Mixed Metaphors of Home in Spider-Man’s Comic and Cinematic Homecomings by Sika A. Dagbovie-Mullins
  • 2. The Ride of the Valkyrie Against White Supremacy: Tessa Thompson’s Casting in Thor: Ragnarok by Jasmine Mitchell
  • 3. “Which World Would You Rather Live In?” The Anti-utopian Superheroes of Gary Jackson’s Poetry by Chris Gavaler
  • 4. Flash of Two Races: Incest, Miscegenation, and the Mixed-Race Superhero in The Flash Comics and Television Show by Eric L. Berlatsky
• Part II Metaphors of/and Mixedness
  • 5. “Let Yourself Just Be Whoever You Are!” Decolonial Hybridity and the Queer Cosmic Future in Steven Universe by Corrine E. Collins
  • 6. The Hulk and Venom: Warring Blood Superheroes by Gregory T. Carter
  • 7. Monsters, Mutants, and Mongrels: The Mixed-Race Hero in Monstress by Chris Koenig-Woodyard
  • 8. Examining Otherness and the Marginal Man in DC’s Superman through Mixed-Race Studies by Kwasu David Tembo
• Part III Multiethnic Mixedness (or Mixed-Race Intersections)
  • 9. Talented Tensions and Revisions: The Narrative Double Consciousness of Miles Morales by Jorge J. Santos Jr.
  • 10. “They’re Two People in One Body”: Nested Sovereignties and Mixed-Race Mutations in FX’s Legion by Nicholas E. Miller
  • 11. Into to the Spider-Verse and the Commodified (Re)imagining of Afro-Rican Visibility by Isabel Molina-Guzmán
  • 12. Truth, Justice, and the (Ancient) Egyptian Way: DC’s Doctor Fate and the Arab Spring by Adrienne Resha
• Acknowledgments
• Notes on Contributors
• Index

21. Fredi’s Migration: Washington’s Forgotten War on Hollywood

Chapter in the anthology: Women and Migration: Responses in Art and History
Deborah Willis, Ellyn Toscano and Kalia Brooks Nelson (ed.)
(2019-09-12, Open Book Publishers)
Printed ISBN: 9781783745654
eBook ISBN: 9791036538070

Pamela Newkirk, Professor of Journalism
New York University

Nearly eight decades before #OscarsSoWhite focused attention on the dearth of roles for Blacks and other people of color in Hollywood, actress Fredi Washington became one of the most vocal critics of the industry’s racial bias. But despite her trailblazing work on stage and screen beginning in the 1920s, Washington has largely been forgotten as one of the pioneering African-American leading ladies, and for her noteworthy civil rights activism.

The eldest of five children, Washington was born in Savannah, Georgia in 1903 and relocated to Philadelphia aged eleven following the death of her mother, a former dancer. In 1919 Washington launched her own career as a chorus girl in Harlem’s Alabam Club, and, in 1926, landed a coveted role in the landmark Broadway play Shuffle Along. When the show closed she sailed to Europe to tour with her dance partner Al Moiret. Two years later she returned to the United States and starred in a string of successful films and plays including the short film Black and Tan Fantasy with Duke Ellington (1929); Black Boy starring Paul Robeson (1930); Emperor Jones with Robeson again (1933); and Drum in the Night (1933); with an equal number of plays, including Singing the Blues (1930), Sweet Chariot (1930) and Run Lil’ Chillun (1933).

Washington’s stardom was secured with her performance as Peola, the tortured bi-racial daughter who passes for white in Imitation of Life, the 1934 feature film starring Claudette Corbert and Louise Beavers. However, after achieving critical acclaim for her performance Washington was routinely passed over for lead roles. This was in part due to Hollywood’s Hays Codes, which, beginning that year, explicitly prohibited the depiction of miscegenation in film. The Hays Codes made life especially challenging for Washington, whose green eyes and pale complexion rendered her too light to be cast in films with all-Black casts. In 1937 her skin was darkened for her co-starring role in One Mile from Heaven with Bill Robinson…

Read the entire chapter here.

Fading Out Black and White: Racial Ambiguity in American Culture

Rowman & Littlefield Publishers
August 2018
224 pages
Trim: 6 x 9
Hardback ISBN: 978-1-78660-254-1
Paperback ISBN: 978-1-78660-255-8
eBook ISBN: 978-1-78660-256-5

Lisa Simone Kingstone, Visiting Scholar, New School for Social Research, New York, New York; Associate Professor at Montclair State University, Montclair, New Jersey.

What happens to a country that was built on race when the boundaries of black and white have started to fade? Not only is the literal face of America changing where white will no longer be the majority, but the belief in the firmness of these categories and the boundaries that have been drawn is also disintegrating.

In a nuanced reading of culture in a post Obama America, this book asks what will become of the racial categories of black and white in an increasingly multi-ethnic, racially ambiguous, and culturally fluid country. Through readings of sites of cultural friction such as the media frenzy around ‘transracial’ Rachel Dolezal, the new popularity of racially ambiguous dolls, and the confusion over Obama’s race, Fading Out Black and White explores the contemporary construction of race.

This insightful, provocative glimpse at identity formation in the US reviews the new frontier of race and looks back at the archaism of the one-drop rule that is unique to America.

Table of Contents

• Acknowledgments
• List of Illustrations
• Preface
• Introduction
• Overview of the book
• Terminology
• Chapter 1: Tracing Race: A tour of the Racial Binary
• Chapter 2: The Trial of Rachel Dolezal: The First Transracial
• Chapter 3: Obama as Racial Rorschach: The First Blank President
• Chapter 4: Casting Color: Black Barbie and the Black Doll as Racial Barometer
• Chapter 5: Really Black: Black-ish and the Black Sitcom as Racial Barometer
• Chapter 6: Talking about Race: Black, White and Mixed Focus Groups
• Coda
• Appendix
• Bibliography

Which skin color emoji should you use? The answer can be more complex than you think

National Public Radio
2022-02-09

Alejandra Marquez Janse

Asma Khalid, White House Correspondent

Patrick Jarenwattananon, Host of NPR Music’s A Blog Supreme

Heath Racela identifies as three-quarters white and one-quarter Filipino. When texting, he chooses a yellow emoji instead of a skin tone option, because he feels it doesn’t represent any specific ethnicity or color.

He doesn’t want people to view his texts in a particular way. He wants to go with what he sees as the neutral option and focus on the message.

“I present as very pale, very light skinned. And if I use the white emoji, I feel like I’m betraying the part of myself that’s Filipino,” Racela, of Littleton, Mass., said. “But if I use a darker color emoji, which maybe more closely matches what I see when I look at my whole family, it’s not what the world sees, and people tend to judge that.”

In 2015, five skin tone options became available for hand gesture emojis, in addition to the default Simpsons-like yellow. Choosing one can be a simple texting shortcut for some, but for others it opens a complex conversation about race and identity…

Read the entire story here.

Too black for Brazil | Guardian Docs

The Guardian
2016-02-09

Nayara Justino thought her dreams had come true when she was selected as the Globeleza carnival queen in 2013 after a public vote on one of Brazil’s biggest TV shows. But some regarded her complexion to be too dark to be an acceptable queen. Nayara and her family wonder what this says about racial roles in modern Brazil.

All Tangled Up: Intersecting Stigmas of Race, Gender, and Sexuality in Mariana Rondón’s Bad Hair

Black Camera: An International Film Journal
Volume 9, Number 1, Fall 2017
pages 47-61

Reighan Gillam, Assistant Professor of Anthropology
University of Southern California

The film Pelo Malo / Bad Hair (dir. Mariana Rondón, 2013) depicts the story of Junior, a mixed-race young boy in Venezuela who wishes to straighten his curly hair. This essay shows that the stigmatization of black hair is part of Venezuela’s racial aesthetic regime and thus contextualizes the actions and desires of the main character. Moreover, while much of the literature on race and beauty in Latin America focuses on women’s experiences, this essay examines men’s and boys’ experiences of aesthetic regimes that value whiteness. Junior’s continual fussing with his hair, as well as his other actions, informs his mother’s fears that he is gay. I argue that the main character, Junior, is subject to shifting forms of stigma that inform his attempts to straighten his curly hair and in turn inform Junior’s mother’s perception that he is gay.

Read or purchase the article here.

Whoopi Goldberg’s American Idea of Race

The Atlantic
2022-02-03

Adam Serwer, Staff Writer

The “racial” distinctions between master and slave may be more familiar to Americans, but they were and are no more real than those between Gentile and Jew.

It made sense, to the New York Daily News sports editor, that these guys dominated basketball. After all, “the game places a premium on an alert, scheming mind and flashy trickiness, artful dodging and general smartalecness,” not to mention their “God-given better balance and speed.”

He was referring, of course, to the Jews.

In the 1930s, Paul Gallico was trying to explain away Jewish dominance of basketball. He came up with the idea that the game’s structure simply appealed to the immutable traits of wily Hebrews and their scheming minds. It sounds strange to the ear now, but only because our stereotypes about who is inherently good at particular sports have shifted. His theory is not any more or less insightful now than it was then; his confidence should remind us to be skeptical of similar, supposedly explanatory arguments that abound today.

Looking back at old stereotypes is a useful exercise; it can help illustrate the arbitrary nature of the concept of “race,” and how such identities shift even as people insist on their permanence and infallibility. Because race is not real, it is malleable enough to be made to serve the needs of those with the power to define it, the certainties of one generation giving way to the contradictory dogmas of another.

Whoopi Goldberg, the actor and a co-host of The View, stumbled into a public-relations nightmare for ABC on Monday when she insisted that “the Holocaust wasn’t about race.” After an episode of The Late Show With Stephen Colbert aired in which she opined that “the Nazis were white people, and most of the people they were attacking were white people,” she was temporarily suspended from The View. She has apologized for her remarks…

Read the entire article here.

Can You Be “White Passing” Even if You Aren’t Trying?

Mother Jones
January-February 2022 Issue

Andrea Guzmán, Ben Bagdikian Editorial Fellow

Lisa Taniguchi

The phrase has become popular on social media. But there’s a lot left out of the conversation.

When pop star Olivia Rodrigo released her album Sour in May 2021, listeners took to TikTok to debate whether she was “white passing.” The question was not really about how Rodrigo perceives or publicly identifies herself. She is of both Filipino and white ancestry. Rather, it was about whether others see her as white. The Rodrigo discourse soon enflamed more general discussion about who deems one “white passing.” As one Iranian-born TikToker explained, she “did not grow up being white” when she came of age in post-9/11 America, but after others began to associate her appearance with whiteness—partially because of the rise of the Kardashians—she now recognizes the privilege of being “white passing.”

The conversation differed from how “passing” has traditionally been used in the United States. In the Jim Crow era—when “one drop” of Black ancestry subjected a person to segregation—“passing” was a deception to assume the privileges of whiteness. From 1880 to 1940, experts suspect about 20 percent of Black men passed for white at some point. It was commonly an attempt to “access things that wouldn’t have been available to them otherwise,” says Nikki Khanna, a sociology professor at the University of Vermont. But it was also a certain betrayal—leaving behind collective uplift for personal gain…

Read the entire article here.