Mixed Race Studies

The color of Black: Professor explores racial identity in college students

Scope: Stanford Center for Opportunity Policy in Education
Stanford University
2011-10-10

Barbara McKenna

There are lots of different ways to be Black and to have a strong Black identity,” says Camille Charles. But, she adds, research and social definitions of Black identity don’t generally consider those multi-faceted dimensions.
 
Charles discussed her research on identity in Black college students on October 3 in a talk titled, “Say it Loud (I’m Black and I’m Proud?): Understanding the Racial Identities of Upwardly Mobile Black College Students.” The talk was the first SCOPE Brown Bag Seminar of the 2011-12 year.
 
Charles, the Edmund J. and Louise W. Kahn Term Professor in the Social Sciences at the University of Pennsylvania and director of the Center for Africana Studies, says that traditional academic theories on Black identity have changed in the face of shifting demographics and politics. Throughout the 20th century, the one drop rule was the measure of race; any person with one drop of Black blood was socially and legally Black. More recently, Black racial identity was generally based on one’s political views. Black individuals were labeled as either assimilationist (for those who valued integration into the larger American society) or nationalist (for those who renounced efforts to integrate with white peers or institutions). “When, in fact,” Charles says, “one can hold aspects of both at the same time.”
 
Ironically, she notes, in recent times the one drop rule has been flipped to bring into question the authenticity of mixed-race people identifying as Blacks—a conversation heard often during the 2008 presidential campaign.

But this “unidimensional” definition is out of step with both current demographics and mindsets, she says. According to the 2010 Census, 10 percent of the Black U.S. population was immigrant and there was an increase as well in those identifying as mixed-race Black. “Two fields of study challenge the traditional unidimensional definition of Black identity: studies of multiraciality and of Black ethnic identity,” Charles says. These changes have helped broaden definitions of identity somewhat, but both academic and lay depictions of black identity continue to apply outdated unidimensional definitions of black identity…

Read the entire article here.  View the slideshow presentation here. View the video of the lecture here.

Author Hill speaks on race, place, and identity at ‘City of Words’ series

University of Toronto, Scharborough
2012-02-06

Kurt Kleiner

Writer Lawrence Hill has always felt attachment to people, not places. Nevertheless, the place he grew up – Don Mills in the early 1960s – shaped him as a person and as a writer.
 
Hill is the best-selling and critically acclaimed author of The Book of Negroes and many other works of fiction and non-fiction. He spoke at UTSC on Feb. 1 about the importance of a sense of place to a writer, about the surprise success of The Book of Negroes, and about the new novel he is just completing.
 
Hill, the son of a black father and a white mother, grew up in an all-white neighborhood. He had good friends, did well in school, played hockey, and usually faced no questions about his racial identity – until suddenly someone would fling a racial slur at him.
 
“I was so confused about who I was and how to perceive myself,” he says. “Nine days out of 10 I’d just be sailing along … It would come out of the blue. But that ambiguity was a great crucible in which to become a writer.”
 
The City of Words reading series is intended to give voice to writers who come from or write about Scarborough. More generally it examines the role of geography in shaping a writer, says Karina Vernon, professor of English at UTSC and lead organizer of the reading series. Not only is Don Mills right next door to Scarborough, but many of Hill’s experiences there are similar to those of people growing up in Scarborough now.
 
“Lawrence Hill is one of the most gifted authors in Canada today, and one of the foremost theorists of the black and mixed-race experience in Canada,” Vernon said as she introduced Hill…

Read the entire article here.

A Philippa Schuyler moment

On an Overgrown Path
2011-08-02

John McLaughlin Williams

Philippa Schuyler. Just hearing the name takes me back to a place in my childhood I have not revisited in memory more than a couple of times in decades. Philippa Schuyler’s name was but one of dozens lodged in my parent’s large sheet music library, occupying shelf space alongside the giants and talented lesser lights of our canonic music literature. Even among those lesser lights Schuyler seemed to me an odd duck a the time, for here peering at me from the cover of the sole piece of music by her in our possession was a picture of a seven year old girl of mixed race, rather than an aged, wizened and likely bearded Caucasian man. Wasn’t that what a composer was supposed to look like?

My being a beginning pianist of about ten or eleven at the time caused me to be extremely curious about the yellowed sheets containing nine pieces of progressive difficulty penned by Schuyler between the ages of four to nine. The fact that she was considered to be an exemplar of mid-twentieth century black achievement added to her music’s mystique. My parents played piano music of timeless worth; my dad enamored of Beethoven and Brahms, my mom all quicksilver and light in Chopin and Mozart. I was learning to play Scarlatti sonatas, my mind filled with the melody and counterpoint by masters of compositional craft. I sat down to play Schuyler’s music and was immediately filled with disappointment. “This is bad”, I thought to myself! It didn’t sound like what my parents played, much less like the music I was studying. Compared with the masters Schuyler’s work seemed trite, short breathed, and to my young mind, immature. (In retrospect and in defense of Schuyler’s work, because of the unusual way in which I began to play the piano, the valuable didactic nature of these pieces eluded me completely.) I played through the music, put it away and never looked at it again. Until last week.

When Bob Shingleton asked me if I knew anything about Philippa Schuyler, I said I knew a little. That little bit comprised my early impressions of her music coupled with knowledge acquired later of her reputation as a racial role model. (I was given Kathryn Talalay’s biography of Schuyler a few years ago, but I considered her such a marginal figure that to this day I have not read it.) Remembering dimly that my mother (Mrs. Norma McLaughlin Nelson) had some sheet music by Schuyler as well as her autograph (acquired at a concert my mom attended as a child in Greensboro, North Carolina), I offered to ask my mom if she still had these items in her possession, and if so would she share them with us. Mom looked and confirmed that indeed she did, and she would. Mom sent me scans of the material that I soon forwarded to Bob. After perusing the music he asked if I might consider making an informal recording of the little pieces, and that is when my trip down memory lane began…

Read the entire article and listen to a performance of one of Schuyler’s compositions here.

The Souls of Mixed Folk [Review: Samatar]

Sofia Samatar
2012-02-05

Sofia Samatar

This book, by Stanford professor Michele Elam, comes at you with a provocative title and a provocative cover.

The title, a reference to the brilliant and still relevant 1903 book The Souls of Black Folk, by W.E.B. Du Bois, is provocative because it could be read as trivializing a classic of African-American literature and cultural theory. The cover, which shows an image of “Baby Halfie Brown Head” by artist Lezley Saar, is provocative because of the way it presents a mixed-race body as a creepy, freakish-looking doll.

If you are bothered by these things, you should keep reading Elam’s book. She explains very quickly that she doesn’t mean to trivialize Du Bois: her title comes from a frame in Nate Creekmore’s comic strip, Maintaining, and she chose it for a number of good reasons, among them a wish “to both evoke and unsettle expectations, to prepare the reader for examples of art, literature, comics, and drama that collectively reframe…conversations about the ‘spiritual strivings’ of mixed race people.” The disturbing doll on the cover is meant to play a similar role. Elam writes: “Politically incorrect in an age seeking to answer ever more earnestly the philosophical and democratic problem of ‘the one and the many,’ its body will not deliver the desired whole.”…

Read the entire review here.