Mixed Race Studies

Cup O’Doodles

The Pennsylvania Gazette
University of Pennsylvania
Volume 109, Number 6 (July/August 2011)
pages 54-57

Molly Petrilla

Artist Gwyneth Leech C’81 started drawing on  used paper cups as a distraction when she  got “antsy,” but “then it began to really take over.”  A few hundred cups later, she spent six weeks doing the same thing while sitting in a window  in New York’s Fashion District in an exhibit called Hypergraphia.

On a stormy Monday morning at the end of February, Gwyneth Leech C’81 bought a cup of Irish tea to-go (milk, no sugar) and headed to a display window in New York City’s Fashion District. She spent the next hour or two drawing swirling, plantlike patterns on that and other paper takeout cups—all of which had at one time housed her morning coffee or afternoon tea—as passersby gawked or whispered or smiled or knocked on the glass to say hello.

Then she came back the next day and did it all again, over and over until a full six weeks had passed. The doodles evolved, the drinks changed, but her canvas stayed the same: cups with a matte paper outside and waxy plastic inside. She started with about 250 pre-drawn cups strung up in the window around her and another 25 or so scattered at her feet. By the end of her window residency, she’d created another 100 cup drawings that joined the ones around her. She called the whole thing Hypergraphia, which means the overwhelming urge to write or draw.

“Partly, I wanted to see what 375 cups looks like,” she says, “but I also thought it was a nice-but-provocative way to bring people’s attention to our waste production; it made me think a lot about upcycling and recycling.”
 
An accomplished painter who has also worked with ceramics, video, and printmaking, Leech has exhibited her work around the world, including solo exhibitions in Edinburgh, Glasgow, London, Philadelphia, and New York City. In 2006, she began a series called Perfect Families, and since then has been painting portraits of alternative and mixed-race families she meets in New York City…

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None of the Above

Filmakers Library (an imprint of Alexander Street Press)
1994
23 minutes

Erika Surat Andersen
University of Southern California

None of the Above is a documentary about people of mixed racial heritage based on the filmmaker’s own search for identity and community. Ms. Andersen, whose mother is (Asian) Indian and father is Danish American, explores her “own personal hangup” by finding others in the same ambiguous category. Through her journey into the multiracial world we are given an inside view of the emotional reality of what it’s like to be racially unclassifiable in a society obsessed with race.

During the course of the film we meet Leslie, a young woman of Native American, African, and European ancestry; Curtiss, whose mother is Japanese and father is African-American; and Henrietta, whose family has been mixed for at least six generations and defies all categorization. The intimacy of the interviews and the filmmaker’s openness about her own experience make this film emotionally compelling and particularly relevant in today’s multicultural society.

Rumblings of The Earth: Wifredo Lam, His Work and Words

Filmakers Library (an imprint of Alexander Street Press)
1996
23 minutes

Denise Byrd

Awards

• San Antonio CINEFEST, 1996
• Latin American Studies Association, 1995

The Afro-Cuban artist Wifredo Lam played a leading role in bringing the art of the non-white world to the attention of the international community. Of mixed race and cultural heritage, he was born in 1902 in Sangua La Grande, Cuba to a mother who was a descendent of slaves and a father who was a Chinese immigrant. In his youth he was exposed to the rich heritage of African, Santaria and Confucian traditions. These traditions affected him deeply and are reflected in his art which is in the collections of major museums here and abroad.

This film follows Lam from student days in Havana through his development as an artist in Europe where he became a close friend of Picasso and other luminaries. Upon returning to Cuba, Lam rediscovered his roots, became a leader in the Négritude movement, and produced his most famous work, “The Jungle.”

This richly illustrated film uses Lam’s paintings and writing along with interviews with authorities on art and Caribbean culture to trace the evolution of a unique and truly multicultural twentieth century artist.

Seoul II Soul

Filmakers Library (an imprint of Alexander Street Press)
1999
25 minutes

Hak J. Chung

Produced at USC School of Cinema & Television Directed by Hak J. Chung

Korean American filmmaker Hak J. Chung explores his own identity by taking a close look at a very engaging family. The Yates’ household consists of the father, a black Korean war veteran, his war bride and their three grown children. This love match has endured for thirty-five years because of the couple’s intellectual and spiritual unity. When they first settled in America, they faced discrimination and misunderstanding.

We learn how their children felt growing up as mixed race kids in a home where both cultures were valued. However, it is a surprise to learn that this seemingly well-adjusted family cannot escape the pain of cultural miscommunication. The beloved eldest son is estranged from his parents because his blonde wife and his mother are at odds. His wife does not understand the nuances of her in-laws expectations. His mother is offended that his wife won’t eat kimchi and addresses her by her first name.

This candid film makes a valuable contribution to resources on multiculturalism and diversity.

A measured freedom: national unity and racial containment in Winslow Homer’s The Cotton Pickers, 1876

The Mississippi Quarterly
Spring, 2002

Susanna W. Gold, Assistant Professor of Art
Tyler School of Art, Temple University

The Cotton Pickers Winslow Homer (United States, Massachusetts, Boston, 1836-1910) United States, 1876 Oil on canvas Canvas: 24 1/16 × 38 1/8 in. (61.12 × 96.84 cm) Frame: 35 1/4 × 49 1/2 × 4 in. (89.54 × 125.73 × 10.16 cm) Acquisition made possible through (Los Angeles County Museum of Art) Museum Trustees: Robert O. Anderson, R. Stanton Avery, B. Gerald Cantor, Edward W. Carter, Justin Dart, Charles E. Ducommun, Camilla Chandler Frost, Julian Ganz, Jr., Dr. Armand Hammer, Harry Lenart, Dr. Franklin D. Murphy, Mrs. Joan Palevsky, Richard E. Sherwood, Maynard J. Toll, and Hal B. Wallis (M.77.68)

After Traveling to Virginia during the Civil War as a field illustrator for the New York journal Harper’s Weekly, Winslow Homer returned to this area toward the end of the Reconstruction period to paint primarily around Richmond and Petersburg. Having abandoned his career as illustrator to devote himself exclusively to painting, Homer sketched outdoors near the shanties in black neighborhoods and wandered among the fields to find inspiration for several images of Southern black life that included his 1876 painting, The Cotton Pickers (Fig. 1).

Depicted are two young black women in the midst of a vast, seemingly endless field abounding in ripened snowy-white cotton bursting from its hulls and awaiting harvest The pair, rendered in robust and healthy proportion, stand engulfed in thigh-high cotton plants at the front of the picture plane and are the focus of the painting as they pause from their work picking cotton. Most scholarship on The Cotton Pickers interprets the artist’s rendering of Southern blacks as sympathetic, and perceives an optimistic future for the black situation under the new political and social structures following the Civil War. Public reception of The Cotton Pickers was favorable; the painting was purchased immediately at its first exhibition at New York’s Century Association in 1877, and a subsequent exhibition review claimed that “the freshest piece of figure painting that Mr. Winslow Homer has put his name to is his latest work, the Cotton Pickers, which provoked the admiration of the artists at the latest reception.” Noted art critic George W. Sheldon acknowledged Homer’s black genre works for their “total freedom from conventionalism and mannerism, in their strong look of life and in their sensitive feeling for character,” and the New York Times praised Homer as “one of the few artists who have the boldness and originality to make something of the Negro for artistic purposes.”

Among contemporary scholars, one author notes in his 1990 study of the history of the black image in American art, that Homer’s “sensitive recording of the uniqueness of individuality” in his black genre paintings “represents a high water mark in nineteenth-century artistic expression of African-American identity.” Another analysis praises The Cotton Pickers as a work that “stands apart from paintings of its period in the degree of grace and majesty it gives to its subjects” (Quick, p. 61), and yet a third study recognizes that “these black women seem larger than life and filled with strength and confidence in their ability to chart their own destinies” (Wood and Dalton, p. 97). Indeed, Homer seems to have been consistently admired for his ability to render the Southern black laborer with empathy and respectful sobriety in a world accustomed to regarding blacks as inferior…

…Emancipation may have destroyed the master-slave relationship, but the slaveholding ideologies remained intact up through the year of the Centennial.

The exploitation inherent in the forms of free labor in the postbellum South can be seen in the imagery of The Cotton Pickers. Because the vast expanse of land appears to be part of a large farm or plantation, the two figures are most likely common wage laborers rather than the more economically advantaged sharecroppers or landowners. Had the land been tenanted under the sharecropping system or owned by the laborers, we might expect to see a much smaller parcel of land spotted with cabins, garden plots, or other family members engaged in domestic work such as tending farm animals or collecting firewood. The age and gender of the figures represent the most profitable wage employee to the planter, as women and children received only one-half to two-thirds of the wages of men, and thus proved to be economically advantageous to planters who gained a greater profit from their labor.  As both wage earners and as young women, these figures would have been doubly exploited.

Homer depicts the extensive plantation completely full of cotton, as the entire field has yet to be worked. No progress from the women’s labor is visible, although the basket and sack are full. The fact that the end of the field is nowhere in sight suggests that the work can never be completed, that these women are trapped by the boundless field of cotton. As if to underscore this vision of entrapment, the cotton plants figuratively cut off the legs of the women, so that they are unable to move and escape from their situation. Like the labor system under which they work, this combination of pictorial elements that bind the women to the field suggests hopelessness in the place of tree emancipation.

The suggestion of a fruitless future for the black American is reinforced in the faces of the two young figures. Homer endows the women with traditional Caucasian features by painting them with light skin and slender facial bone structure. By representing the figures with a combination of both prototypical black and white physical characteristics, Homer portrays them as products of sexual mingling between the races. Although interracial cohabitation had been prevalent since the Colonial era, mulattos born in the period from the mid-eighteenth to the mid-nineteenth centuries were often the result of sexual relations between white males of the planter class and their domestic slaves. Common almost to the point on institutionalization, wealthy Southern planters kept regular concubines and bred entire families of mixed-race children, the result being an unprecedented increase in mulatto slavery during the years 1850-60.  Based on the appearance of the two figures in Homer’s 1876 painting, their logical birth dates would fall near the height of interracial procreation, raising the distinct possibility that these women were fathered by the plantation owner.

The mixed-blood heritage of these women posed another problem in the progress of the black American. According to racial mythology advanced by the white population in response to the imagined threat to the purity of the white race, mulattos were doomed to biological eradication and could not reproduce beyond a few generations. Unable to sustain their heritage, the mulatto would be denied a place in America’s future, and the world of the powerless mixed-race individual was understood by whites to be one in which significant progressive change for the black situation could never occur.

Although Homer translates the limited progress of blacks toward a successful future in his painting by depicting the two young women as mulattos, the reality of the black situation in the Centennial decade proved quite a different situation. Precisely because many mulattos of the mid-nineteenth century were born to wealthy white fathers, they often received special treatment both within the black community and from their slaveholding relations. Planter fathers commonly provided property rights to their illegitimate mulatto children in their wills, and sometimes even granted their manumission. Protected by their masters-fathers, these children were customarily relieved from backbreaking field labor and given education and specialized training for favorable work assignments from carpentry or building and machine maintenance to dressmaking, cooking, and child care (Williamson, New People, p. 56). Respected for their highly ranking labor positions and esteemed for the valuable association with white blood, mulatto offspring of white planters generally enjoyed a privileged status on the plantation among the slaves (Williamson, After Slavery, p. 315)…

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Fearless Music: Garland Jeffreys ’65

Syracuse University Magazine
Volume 28, Number 3 (Fall/Winter 2011)

David Marc

From his ’70s hit “Wild in the Streets” to his latest album, legendary singer-songwriter Garland Jeffreys has taken on life’s big issues with his own eclectic brand of music

From the pages of The New Yorker to deep inside the blogosphere, legendary singer-songwriter Garland Jeffreys has been winning high praise for his new album, The King of In Between, released last summer on his own Luna Park label. Loved by fans and admired by colleagues for his fearless movements through rock, R&B, reggae, and whatever other styles he may need to articulate his borderless vision, Jeffreys puts his mastery of popular musical forms in the service of personal expression, a talent he shares with Bob Dylan and Bruce Springsteen. Feeling “too black to be white, too white to be black,” he occupies his own space and fills it with a gritty sweetness that is hard for likeminded souls to resist.

Growing up in Sheepshead Bay, Brooklyn, during the 1950s, Jeffreys learned a thing or two about “diversity” long before the term took on its full contemporary meaning. “I’m from a totally mixed-race family—black, white, Puerto Rican, Native American,” he says. “At the time, we were the only people of color in the Catholic church we attended every Sunday. At school, I had my close friends, but I was also often the only ‘colored’ kid in the class, and every time I met a girl I liked, I had to contend with a race issue. My music has always had a great deal to do with these experiences.” Jeffreys felt more at ease in nearby Coney Island, where beach, boardwalk, and carnival karma drew people of every background imaginable. He also enjoyed the privilege of seeing the Dodgers play at Ebbets Field. “I was just 4 years old, but I was there at the game, April 15, 1947, when Jackie Robinson broke the color line in baseball,” he says. “Sports have always been an important part of my life, and even helped bring me to Syracuse. My father wanted me to go to Boston College. But Jim Brown [’57] went to Syracuse, and obviously I had to go to school where he went.”

Shortly after arriving on campus, Jeffreys met Lou Reed ’64, who became a lifelong friend. Although both were moving toward their careers as musicians, Reed was studying poetry and Jeffreys had his sights set on art history. “We hung out at the Orange Bar with Lou’s teacher, the poet Delmore Schwartz, and a bunch of people—I guess you’d call them ‘Beats,’” Jeffreys says. “It was a great place for me to be because race didn’t matter; it was all about hanging out and knowing each other.” Felix Cavaliere ’64, who was about to depart for the top of the pops as lead singer and keyboard man with The Young Rascals, was another friend Jeffreys first bumped into on Marshall Street…

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Jarocho’s Soul: Cultural Identity and Afro-Mexican Dance

University Press of America (an Imprint of Rowman & Littlefield)
February 2004
182 pages
Size: 5 1/2 x 7 3/4
Paperback ISBN: 978-0-7618-2775-7

Anita González, Associate Professor and Associate Chair of Theatre Arts
State University of New York, New Paltz

Brown-skinned men and women move across Mexico’s national stages dancing the folkloric jarocho, a symbolic blend of Spanish, Native American, and African cultures. Jarocho’s Soul: Cultural Identity and Afro-Mexican Dance traces the evolution and transformation of an Afro-Mexican dance form into a national cultural icon. It is an ethnographic study that compares and contrasts Mexican performance of national identity with Untied States dance styles. The book uses the image of the jarocho as a window to explore the phenomena of racial/cultural mixing that is endemic to Mexico and increasingly apparent in the politics and aesthetics of United States cultural performances.

Table of Contents

• Chapter 1 List of Illustrations
• Chapter 2 Preface
• Chapter 3 Acknowledgments
• Chapter 4 Introduction: Crafting Self; Frames of Reference; Locale and Methodology; Chapter Overviews
• Chapter 5 Cultural Mixing and Mexican Performance: Mapping Art: Cultural Contexts; Studies in Revolutionary Nationalism: Manuel Ponce; Amalia Hernandez; Celestino Gorostiza; A Legacy of Performance Strategies; Provincial Identity
• Chapter 6 Roots of Jarocho Dance
• Chapter 7 Jarocho as Folkloric Dance: State Images Ballet Folklórico del la Universidad Veracruzana; Miguel Velez and the Authenticity Mission; Raices del Pueblo (The Peoples’ Roots)
• Chapter 8 Jarocho as Theater: Company History, Veracruz, Veracruz Interprets Jarocho; Actors’ Interpretive (Re)Circulations in Veracruz, Veracruz; Implications and Interpretations
• Chapter 9 Remembering and Transforming the Past: Fiesta de las Cruces; Rewriting Government Agendas
• Chapter 10 Conclusion
• Chapter 11 Glossary
• Chapter 12 References
• Chapter 13 Index

Her Majesty’s Other Children: Sketches of Racism from a Neocolonial Age

Rowman & Littlefield
288 pages
August 1997
Size: 6 1/4 x 9 1/4
Hardback ISBN: 978-0-8476-8447-2
eBook ISBN: 978-0-585-20172-6

Lewis R. Gordon, Laura H. Carnell Professor of Philosophy, Director of the Institute for the Study of Race and Social Thought and Director of the Center for Afro-Jewish Studies
Temple University

Winner of the Gustavus Myers Outstanding Book Award for the Study of Human Rights in North America.

In this exploration of race and racism, noted scholar Lewis R. Gordon offers a critique of recent scholarship in postcolonial Africana philosophy and critical race theory, and suggests alternative models that respond to what he calls our contemporary neocolonial age; an age in which cultural, intellectual, and economic forms of colonial domination persist. Through essays that address popular culture, the academy, literature, and politics, Gordon unsettles the notion of race and exposes the complexity of antiblack racism. An important book for philosophers, political theorists, sociologists, cultural critics, and anyone concerned with the overt and subtle ways of injustice.

Table of Contents

• Chapter 1 Foreword
• Chapter 2 Introduction: Her Majesty’s Other Children
• Part 1
  • Chapter 3 Philosophy, Race, and Racism in a Neocolonial World
  • Chapter 4 Context: Ruminations on Violence and Anonymity
  • Chapter 5 Fanon, Philosophy, and Racism
  • Chapter 6 Race, Biraciality, and Mixed Race—in Theory
  • Chapter 7 Sex, Race, and Matrices of Desire in an Antiblack World
  • Chapter 8 Uses and Abuses of Blackness: Postmodernism, Conservatism, Ideology
  • Chapter 9 In a Black Antiblack Philosophy
  • Chapter 10 African Philosophy’s Search for Identity: Existential Considerations of a Recent Effort
• Part 2
  • Chapter 11 The Intellectuals
  • Chapter 12 Lorraine Hansberry’s Tragic Search for Postcoloniality: Les Blancs
  • Chapter 13 Tragic Intellectuals on the Neocolonial—Postcolonial Divide
  • Chapter 14 Exilic “Amateur” Speaking Truth to Power: Edward Said
  • Chapter 15 Black Intellectuals and Academic Activism: Cornel West’s “Dilemmas of the Black Intellectual.” Right-Wing Celebration, Left-Wing Nightmare: Thoughts on the Centennial of Plessy v. Ferguson
• Part 3
  • Chapter 16 Aisthesis Demokrate
  • Chapter 17 Sketches of Jazz
  • Chapter 18 Aesthetico-Political Reflections on the AMTRAK: Rap, Hip-Hop, and Isaac Julien’s Fanon along the Northeast Line
• Chapter 19 Epilogue: The Lion and the Spider (An Anticolonial Tale)

Vietnamese Amerasians: A Study Of Identity Construction

University of Texas, Arlington
December 2010
78 pages

Ky-Giao C. Nguyen

Presented to the Faculty of the Graduate School of The University of Texas at Arlington in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Sociology

“We define who we are by defining who we are not” (Daniel 1996). What happens when we don’t know who we are not, how can we determine who we are? What if the markers of family connections, community alliances and citizenship are missing and there are no peers with whom to make comparisons? “What are you? Where are you from?” Hispanic, Filipino, sometimes even Native American rather than Asian, are ethnicities often ascribed to Vietnamese Amerasians (children of Vietnamese and American parents). Curiously, for such a personal question, the reaction from others to the response “Vietnamese Amerasian” is often rejection or disbelief. For years, Amerasians have struggled with their place in society, within the U.S. based Vietnamese-American community as well as in the larger U.S. and Vietnamese societies. The life of the Amerasian born and raised in Vietnam is an example of the identity construction and socialization of persons whose lives were marginalized times three through denial of citizenship by country, desertion by family, and rejection by community. Triple marginalization is defined for my purposes as lack of national, familial, and societal affirmation of self. This triple marginalization offers no tangible core of positively valued identity, thus forcing the Amerasian to either accept the labels assigned or forge on to create their own identity. Loss of family, lack of community, and statelessness continues to haunt Amerasians today. The quest for a place to belong, a family to come home to, and a country to acknowledge them still influences their decisions and actions, in ways both detrimental and advantageous to the preservation of an identity built without solid foundation.

This project is a historically situated, qualitative research based look into the internal and external construction of identity of the Vietnamese Amerasians born during the Vietnam War, individually and as a group. For primary data collection, I utilized my membership in a local Amerasian organization to participate in regularly scheduled group discussions. I evaluated the transcripts of organized conversations among twenty subjects participating in group discussions sponsored through a local Amerasian organization, over five months, from March 2009 through July 2009. During the course of this research, I discovered that while individual participants’ lives were lived separately, there was a commonality to the experiences that helped each come to some definition of self. The members fell into three distinct groups: those who renounce any and all claim of their heritage, becoming wholly Americanized; those who completely immerse themselves in the Vietnamese communities, living much as they did prior to arriving in the U.S.; and those who learn to fluidly move between their two cultures, picking up nuances of themselves wherever they happen to exist, rarely clinging to just one identity.

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‘Amerasians’ in the Philippines fight for recognition

Cable News Network (CNN)
2012-03-03

Sunshine Lichauco de Leon

Manila, Philippines (CNN) — When Susie Lopez, 43, was a little girl she would run outside her home in Angeles City, near the U.S. Clark Airbase in the Philippines, every time she heard a plane fly by.

“I would say ‘bye bye, Dad’ because the only thing I knew about my father was my dad was riding a plane,” she recalls.

The daughter of an American naval pilot and a Filipino mother, Lopez is one of an estimated 52,000 “Amerasians” fathered by American military servicemen during the decades the U.S. Navy and Air Force had bases in the Philippines.

The majority of their mothers worked as bar girls in the area’s thriving “rest and recreation” industry, where soldiers were their regular clients. When the American military left the bases in the early 1990s, these children were left behind.

On March 4, in honor of International Amerasian Day, a group of 60 Filipino Amerasians from the cities surrounding former bases will celebrate in a special way. Their “100 Letters to our Fathers” campaign will see the group – whose members range from teenage to those in their 50s—reach out with messages of love and hope to fathers almost all of them never knew. Many of the handwritten letters will be read aloud and will be accompanied by their photos and a short video showing conditions Amerasians have faced…

…They were stigmatized for being illegitimate and for being the children of prostitutes. Amerasians fathered by African American soldiers say they suffered the most extreme prejudice.

Brenda Moreno, 44, does not know the name of her African-American father or her mother. She does not know where she belongs.

She remembers a childhood where she hid at home because she looked different. “They see my color and my hair and they tease me ‘negra’. I am always crying because I don’t feel good. I tell them when I grow up I am going to change my blood so I am going to be white,” she recalls…

…Alex Magno, Professor of Political Science at University of the Philippines, explains that this racial prejudice is deeply-rooted, but was strengthened by the country’s colonial past.

“We long ago considered the Malayo-Polynesian tribes superior and the Negrito tribes inferior,” he says. “Hispanic culture merely reinforced that prejudice with its Eurocentric paradigm. Superimpose Hollywood. The standard of beauty is fair skin, tall nose, straight hair.”

Growing up with such a lack of acceptance and economic hardship has taken an emotional and psychological toll on many.

According to a three-year study conducted by Dr. Peter Kutschera, Director of the Philippine Amerasian Research Institute in Angeles City, “we have a severely socioeconomically impaired population, especially among Africans, who contend with serious physical and mental stress issues, including homelessness, alcohol and drug abuse.”…

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