Mixed Race Studies

Review: Leilani Nishime’s Undercover Asian: Multiracial Asian Americans in Visual Culture

Slant
2014-02-03

Clayton Dillard, Staff Critic

In 2003, The New York Times published an article entitled “Generation E.A.” which discussed the emergent role of multiracial people in advertising campaigns and concluded by suggesting that they’re an emerging racial category and a stepping-stone key to a race-free future. According to Leilani Nishime, such a notion has become dominant among popular media outlets, which awaits an “inevitable end to race.” For Nishime, these inclinations aren’t only misguided, but a constituent for racial oppression, since “color blindness is not the opposite of racial hierarchies; it is its enabling fiction.” These concerns form the bulk of Nishime’s focus in Undercover Asian: Multiracial Asian Americans in Visual Culture, an exciting new addition to the canon of critical race studies, which marks the first book-length examination of media images of multiracial Asian Americans.

Nishime’s scope extends across cinema, reality TV, episodic TV drama, advertising campaigns, sports figures, and art installations to offer a comprehensive sense of the representational landscape. Thus, she devotes two chapters to Keanu Reeves, both as a celebrity persona in the 1990s and for his role as Neo in The Matrix trilogy. Within media discussions of both Reeves’s ethnicity and sexuality, Nishime finds that “writers often revert to the queer rhetoric of closeting instead of summoning the racially inflected language of passing to describe Reeves racially.”…

Read the entire review here.

More Than “Black-ish”: Examining Representations of Biracial People

For Harriet
2014-11-08

Aphrodite Kocieda

Being biracial can be an uncomfortable subject to talk about, especially because it highlights a sensitive history of colorism, racism, and favoritism within the Black community. The unapologetic presence of biracial people in contemporary media culture is beginning to spark questions about what it means to be black, and if biracial people “count” as black. We often speak about biracial people through a black apocalyptic narrative; meaning that the increase of biracial individuals represented in the media seemingly comes at a cost of erasing darker-skinned black people from the screen. This narrative is unproductive and anti-intersectional.

Salon writer Morgan Jerkins recently wrote a critique of the film “Dear White People” demonstrating how it was problematic that their most complex character was Sam, a biracial woman. Yes, folks, we live in a white supremacy; however, I am suspicious of people who want to end colorism with surface-level critiques. They call every representation of a light-skinned person a giant step backwards and offer no solutions for moving forward that honors the complexity and diversity of blackness. Jerkins’ sentiments were as trite and obvious as natural hair nazis who think every black woman with straight hair is a dupe. It’s much more complex than that. Sam’s authenticity as a black woman was questioned and it was assumed that the film may have been more dynamic if a darker-skinned (i.e. “fully” black) woman was cast instead. As a biracial woman myself, I thought the critique was quite dull and lacked any real depth…

..The show “Black-ish” picks up on this uneasiness surrounding biracial identity and ideas of blackness. The lead black character Dre (played by Anthony Anderson) struggles with his own blackness because he is wealthy, however he seems comfortable insisting that his mixed-race wife Rainbow (played by Tracee Ellis Ross) isn’t black. In the pilot episode, she tries to comfort him after a bad day at work and he teases her by stating that since she’s biracial—thus, she’s not really black.

In response, she states, “Okay, well, if I’m not really black, then could somebody please tell my hair and my ass?”

I celebrated this moment. She wasn’t asking for permission to be black. She claimed it, which is powerful when people interrogate our (meaning, biracial women) need to take up space in black narratives…

Read the entire article here.

241F Performances of Passing, Performances of Resistance

Hamilton College, Clinton, New York
Spring 2014

Yumi Pak, Ph.D., Visiting Assistant Professor of Africana Studies

An examination of the historical practice of passing in the United States. While the practice has most commonly referred to the history of racial passing for light-skinned African Americans in the early 20th century, this course will situate acts of passing as acts of resistance through close readings of literature, film and performance studies. Scholars and authors include Soyica Diggs Colbert, Fred Moten, Dael Orlandersmith and Suzan-Lori Parks. We will consider how performances of passing have the potential to challenge institutional power. (Same as English and Creative Writing 241.)

The Post-Racial Mystique: Media and Race in the Twenty-First Century

New York University Press
April 2014
256 pages
9 halftones and 7 tables
Cloth ISBN: 9780814762899
Paper ISBN: 9780814770603

Catherine R. Squires, Associate Professor of Communication Studies
University of Minnesota

Despite claims from pundits and politicians that we now live in a post-racial America, people seem to keep finding ways to talk about race—from celebrations of the inauguration of the first Black president to resurgent debates about police profiling, race and racism remain salient features of our world. When faced with fervent anti-immigration sentiments, record incarceration rates of Blacks and Latinos, and deepening socio-economic disparities, a new question has erupted in the last decade: What does being post-racial mean?

The Post-Racial Mystique explores how a variety of media—the news, network television, and online, independent media—debate, define and deploy the term “post-racial” in their representations of American politics and society. Using examples from both mainstream and niche media—from prime-time television series to specialty Christian media and audience interactions on social media—Catherine Squires draws upon a variety of disciplines including communication studies, sociology, political science, and cultural studies in order to understand emergent strategies for framing post-racial America. She reveals the ways in which media texts cast U.S. history, re-imagine interpersonal relationships, employ statistics, and inventively redeploy other identity categories in a quest to formulate different ways of responding to race.

Seahawks’ Russell Wilson Controversy Shows Dangers of Racial Authenticity Tests

The American Prospect
2014-11-01

Kevin Cokley, Associate Professor of Counseling Psychology; Associate Professor of African and African Diaspora Studies
University of Texas, Austin

The ‘are you black enough?’ question is perilously close to the racist one-drop rule of yore—whether called by blacks or whites.

Whether Seattle Seahawks quarterback Russell Wilson is “black enough” is beside the point. The real issue is why we are still talking about racial authenticity at all.

“My feeling on this—and it’s backed up by several interviews with Seahawks players—is that some of the black players think Wilson isn’t black enough,” Mike Freeman writes at Bleacher Report, reporting on tensions between just-traded teammate Percy Harvin and Wilson, including a locker room reportedly divided into pro/con camps.

“This is an issue that extends outside of football, into African-American society—though it’s gotten better recently,” Freeman writes. “Well-spoken blacks are seen by some other blacks as not completely black. Some of this is at play.”

The “Am I Black Enough?” racial authenticity card is a recurring theme in the lives of black athletes in particular, and black people in general. Concerns about racial authenticity are always present, especially for those who are biracial or somewhat more racially ambiguous as Wilson, with his light skin tone and curly hair, is believed to be…

Read the entire article here.

BSt 335U The Multi-Racial Experience

Portland State University
Portland, Oregon
2014-2015

Explores what it means to identify oneself or be identified as multiracial/ethnic. Considers how social class, gender, race and other factors shape the multiracial experience. In addition, explores interracial relationship and the representation of multiracials in the media.

The End of Race As We Know It?

Stanford+Connects
Stanford University
2014-10-09

Michele Elam, Professor of English
Stanford University

Sharing demographic shifts and a personal story about the use of her photograph in various advertisements, Professor Michele Elam traces multiracial identities from the 1940s to present day. In this talk, she explores how society understands race through context and their own cultural perceptions, and what this means for society.

For more information, click here.

Transcending Blackness: From the New Millennium Mulatta to the Exceptional Multiracial by Ralina L. Joseph (review) [Ardizzone]

African American Review
Volume 46, Number 4, Winter 2013
pages 787-790
DOI: 10.1353/afa.2013.0105

Heidi Ardizzone, Assistant Professor of American Studies
Saint Louis University, St. Louis, Missouri

Joseph, Ralina L., Transcending Blackness: From the New Millennium Mulatta to the Exceptional Multiracial (Durham: Duke University Press, 2012)

Ralina Joseph begins Transcending Blackness: From the New Millennium Mulatta to the Exceptional Multiracial with a personal story. Her own engagement with ongoing debates over identity, ancestry, authenticity, and race mirrored political and cultural shifts in perceptions of people of mixed ancestry at the time. As a college student in the 1990s, Joseph quickly embraced the term multiracial to describe her own “race story,” becoming a leader of Brown (University’s) Organization of Multi- and Biracial Students (BOMBS). Being multiracial became, she says, a “full blown preoccupation” (xv), resulting in her undergraduate thesis on cultural depictions of black-white women. Transcending Blackness continues this project, identifying two related images, the millennial mulatta, and the exceptional multiracial, which operate in a dialectic cultural relationship as a “two-sided stereotype” (5). Joseph defines both representations in relationship to blackness: Millennials are punished for their attempts to identify as black; exceptionals are rewarded for transcending blackness or even race itself. Rather than demonstrating that blackness might be embraced “in messy, hybridized, multiracial forms” in the cultural texts Joseph examines, blackness is the thing that “must be risen above, surpassed, or truly transcended” (4). However, Joseph also introduces a third potential option: multiracial blackness, identifying positively and simultaneously as mixed and as black or African American. While she embraces this option for herself and claims it as a dominant identity, the authors whose works she analyzes never display it in their fictional depictions of this black-unite figure. So multiracial blackness forms a third point in a now triangulated relationship that crosses the line between social experience and cultural representation.

Transcending Blackness follows a familiar literary and media studies format: The Preface, Introduction, and Conclusion bracket four chapters, each focusing on a particular genre, work, and multiracial or black-white female character. Joseph’s Introduction lays out her terms and framework, while providing a clear and concise history of people of mixed ancestry, of their treatment and categorization, and of the attitudes toward and circumstances of interracial unions. She also provides a selective trajectory of literary and media depictions of the black-white figure covering roughly a century prior to her target years of 1998-2008. This decade spans the first inclusion of the “pick one or more” option under the federal census’ racial categories, and the election of the first U.S. president who could have—but publically didn’t—exercise that option. Like the twenty years that preceded it, the 1998-2008 decade falls squarely in the overlapping postracial and postfeminist eras that Joseph identifies as key to understanding the shifting meaning of the representations of black-white women. However, her decade is a static one: Her chapters are not chronological, but organized around her analytic positioning of each text and character within her framework.

One result of this is that the four main chapters operate in some ways more as related essays than as an integrated argument. But there is a consistent analytical thread. In the first two chapters Joseph presents two examples of the new millennium mulatta to show “how blackness is cause and effect of sadness and pain for the multiracial African American figure.” The last two chapters then argue that for the exceptional multiracial “blackness is an irrelevant entity” (6). And the first chapter sets up Joseph’s argument, not just for the new millennium mulatta, but also for the absence of the multiracial blackness that Joseph is looking for but doesn’t find—at least not in the form in which she desires it to be…

Commercial music radio, race and identity in South Africa

Media Culture & Society
Volume 36, Number 7 (October 2014)
pages 901-915
DOI: 10.1177/0163443714536076

Tanja Estella Bosch
University of Cape Town, South Africa

In South Africa, listeners often believe that radio stations deliberately constitute their audiences in terms of race. This article further explores this notion using commercial music station Good Hope FM as a case study. Radio creates a textured soundscape that is experienced as part of the material culture of the home; it contributes to the creation of domestic environments and it can help maintain and establish identities. These assertions are explored further through interviews with listeners. Mediated experience has long influenced self-identity, and this study explores popular conceptualizations of GHFM as a ‘coloured’ or mixed-race radio station, through these listener interviews, conducted in the home. The article explores the possibility that the symbolic arrangement of broadcast music and talk elements in one ensemble, embody and expresses group self-consciousness; and that the cultural consumption of GHFM leads to the formulation of an imagined identity based on ethnicity. Consumption of radio station content becomes a dialectical identity-forming process played out through tuning in. While GHFM listeners re-articulate normative discourses of identity and old apartheid constructions in their reflections on their media consumption, the article shows the act of tuning in as a critical part of their dialectical identity-forming process.

Read or purchase the article here.

Here’s Why Louis CK’s Kids Are White But Their Mother Is Black In ‘Louie’

Business Insider
2014-09-18

Aly Weisman, Senior Editor

There’s one mystery on FX show “Louie” that has never really been addressed.

While Louie’s ex-wife “Janet” is played by black, Jamaican actress Susan Kelechi Watson, his two daughters are very white, very blonde little girls.

Despite leaving viewers guessing about the backstory of the relationships, the race issue has never been fully explained on the show — and that’s intentional.

“We play around with ethnicities. Janet is African-American, but both of their kids are white and Louie’s white so how does that work? Look, it probably doesn’t make sense but Louie wanted to cast someone to play his on-screen ex-wife who was unlike his real ex-wife,” casting director Gayle Keller tells Business Insider. “He didn’t want that much reality in this show.”

But the race of the actress wasn’t necessarily a premeditated decision, Louis just thought Watson was the best person for the part.

“We auditioned people who were African-American and white, we auditioned both,” explains Keller. “We didn’t limit ourselves to someone who was just Caucasian. Louis just felt that the woman who we cast [Watson] was best for the part and she happened to be African-American and he didn’t care about that. He didn’t feel like he had to explain that in any way and have two Caucasian children and an African-American wife.”…

Read the entire article here.