Mixed Race Studies

Canada Is Still Racist: And No Think Piece Can Change That

Vice Canada: The Definitive Guide to Enlightening Information
2013-03-05

Anupa Mistry

When I was younger and more naïve and shielded by my parents, Canadian multiculturalism felt real and true. I grew up in Brampton, Ont., a restlessly expanding suburb of Toronto that teems with immigrants. In 1992, the city – or, at least, my grade two classroom – was a case study in the celebratory, preservation-minded policy of Trudeau’s multiculturalism: My pale blonde friend Zeyn was from Turkey and Afia and all her cousins were Pakistani. Ebony and Roxanne had parents from Jamaica, Seth The Pervert was a Newfie, and Natasha, whose surprise birthday party I ruined because I cannot keep those kinds of secrets, constantly had relatives visiting from Guyana.

There was never a need to question where I fit in, and that same school year when some sniveling, store brand whiteboy called me a ‘Paki’ I went home and told my parents and cried because I knew from TV that that was what I was supposed to do. In reality, while I still remember exactly how the light filled the air in that bustling elementary school hallway, I was left largely unfazed by first contact with overt racism. Even my eight-year-old mind could grasp that dude was either scared, stupid or, at the very least, outnumbered. In that multiethnic microcosm his bad attitude was undesirable, and I was the normal one. He had nothing to take. There might not be a better place to grow up brown or black than Brampton.

Then, I enrolled in a performing arts high school north of the city only to transfer after two years because it was too white. Race as it actually functions, as a tool of human insidiousness and despotism, became real beyond my imagined utopia. As a millennial citizen of the Western world I move with an according sense of privilege: whatever you got, I’ma have that too. It’s my birthright, regardless of the colour of my skin or where my grandparents are from. Until it’s not. In hindsight my problem with that school was an inability to articulate feeling exposed and significantly different and, for the first time in my life, outnumbered. I’d taken diversity for granted; my normal was not so much…

…Two recent high profile pieces by Canadian writers are willfully naïve about the psychic reality of this country’s demographics…

…Fear is kind of the subtext for “Mixie Me,” a personal essay about being mixed race by Nick Hune-Brown in Toronto Life, with the attendant claim that the city is set to be the world’s first post-racial metropolis. Mixed race people are a more common sight on the streets of Toronto now, more than ever, and there’s comfort to be taken in that kind of visibility, he writes. Anxieties about interracial unions have given way to curiosity. Sexy, ethnically ambiguous mixies are what makes Toronto desirable next to taco restaurants and condos and a trap music party every night of the week. The beige and the beautiful will blur the lines that constitute xenophobia, or at least confuse us into submission.

Glib eugenics aside, there is a lot of merit to visibility. It’s why I was able to easily dismiss that second grade bully. But I’m skeptical that birthing a Yoruba-Guinea-Indian child, though a political act, will dissolve the structures that preserve xenophobia unless, maybe, that hot multiracial baby grows up to marry a Weston…

Read the entire article here.

Africa in Europe: Studies in Transnational Practice in the Long Twentieth Century

Liverpool University Press
January 2013
304 pages
Illustrations: 8 colour plates, 12 black and white illustrations
234 x 156 mm
Hardback ISBN: 9781846318474

Edited by:

Eve Rosenhaft, Professor of German Historical Studies
University of Liverpool, United Kingdom

Robbie Aitken, Senior Lecturer in History
Sheffield Hallam University, United Kingdom

This volume explores the lives and activities of people of African descent in Europe between the 1880s and the beginning of the twenty-first century. It goes beyond the still-dominant Anglo-American or transatlantic focus of diaspora studies to examine the experiences of black and white Africans, Afro-Caribbeans and African Americans who settled or travelled in Germany, France, Portugal, Italy and the Soviet Union, as well as in Britain. At the same time, while studies of Africans in Europe have tended to focus on the relationship between colonial (or former colonial) subjects and their respective metropolitan nation states, the essays in this volume widen the lens to consider the skills, practices and negotiations called for by other kinds of border-crossing: The subjects of these essays include people moving between European states and state jurisdictions or from the former colony of one state to another place in Europe, African-born colonial settlers returning to the metropolis, migrants conversing across ethnic and cultural boundaries among ‘Africans’, and visitors for whom the face-to-face encounter with European society involves working across the ‘colour line’ and testing the limits of solidarity. Case studies of family life, community-building and politics and cultural production, drawing on original research, illuminate the transformative impact of those journeys and encounters and the forms of ‘transnational practice’ that they have generated. The contributors include specialist scholars in social history, art history, anthropology, cultural studies and literature, as well as a novelist and a filmmaker who reflect on their own experiences of these complex histories and the challenges of narrating them.

Contents

• Acknowledgements
• List of Illustrations
• List of Abbreviations
• List of Contributors
• 1. Introduction / Eve Rosenhaft and Robbie Aitken
• I. Enacting Identity: Individuals, Families and Communities
  • 2. Prince Dido of Didotown and ‘Human Zoos’ in Wilhelmine Germany: Strategies for Self-Representation under the Othering Gaze / Albert Gouaffo
  • 3. Schwarze Schmach and métissages contemporains: The Politics and Poetics of Mixed Marriage in a Refugee Family / Eve Rosenhaft
  • 4. ‘Among them Complicit’? Life and Politics in France’s Black Communities, 1919–1939 / Jennifer Anne Boittin
  • 5. ‘In this Metropolis of the World We Must Have a Building Worthy of Our Great People’: Race, Empire and Hospitality in Imperial London, 1931–1948 / Daniel Whittall
• II. Authenticity and Influence: Contexts for Black Cultural Production
  • 6. Féral Benga’s Body / James Smalls
  • 7. ‘Like Another Planet to the Darker Americans’: Black Cultural Work in 1930s Moscow / S. Ani Mukherji
  • 8. ‘Coulibaly’ Cosmopolitanism in Moscow: Mamadou Somé Coulibaly and the Surikov Academy Paintings, 1960s–1970s / Paul R. Davis
  • 9. Afro-Italian Literature: From Productive Collaborations to Individual Affirmations / Christopher Hogarth
• III. Post-colonial Belonging
  • 10. Of Homecomings and Homesickness: The Question of White Angolans in Post-Colonial Portugal / Cecilie Øien
  • 11. Blackness over Europe: Meditations on Culture and Belonging / Donald Martin Carter
• IV. Narratives/Histories
  • 12. Middle Passage Blackness and its Diasporic Discontents: The Case for a Post-War Epistemology / Michelle M. Wright
  • 13. Black and German: Filming Black History and Experience / John Sealey
  • 14. Excavating Diaspora: An Interview Discussing Elleke Boehmer’s Novel Nile Baby / John Masterson with Elleke Boehmer
  • 15. Afterword / Susan Dabney Pennybacker
• Bibliography
• Index

2013-03-06

My name is Nina Robinson, a third year photography student at Glamorgan University. To form part of the research for my dissertation about mixed-race identity, I am looking for British mixed-race girls aged 16-25 to fill in my questionnaire. It’s a good way to express your opinions and feelings, be part of a project and help out a student!

Please email me at njrobinson@hotmail.co.uk if you are interested.

Laylah Ali: The Greenheads Series

Weisman Art Museum
University of Minnesota
333 East River Road
Minneapolis, Minnesota 55455
(612) 625-9494
2013-02-16 through 2013-05-12

Laylah Ali, Associate Professor of Art
Williams College, Williamstown, Massachusetts

Join us for a talk with Laylah Ali on March 7, 2013.

WAM is pleased to present Laylah Ali: The Greenheads Series. This is the first time the Greenheads series, created between 1996 and 2005, is being shown as a comprehensive body of work. Forty-three of the exquisitely rendered gouache paintings—from a total of more than eighty—have been gathered from collections here and abroad to chronicle the series’ development.

The figures inhabiting Ali’s works—the Greenheads—are enigmatic, round-headed beings of indeterminate sex and race who inhabit a regimented, dystopian world where odd and menacing, though sometimes strangely humorous, encounters prevail.

This exhibition will allow viewers to examine the evolution of Ali’s series. While the early paintings frequently focus on physically aggressive exchanges between groups of figures, these interactions are later replaced by individuals—alone or in small groups—who witness the prelude to, or aftermath of, a charged encounter. As the series continues, more and more of the figures’ anatomy is pruned away, as if the artist is examining how much can be taken out—such as arms, feet, skin color—while still communicating thought, emotion, and social status.

This exhibition was organized by the Williams College Museum of Art, Williamstown, Massachusetts. It is co-sponsored by the University of Minnesota Department of Art…

For more information, click here.

60 Ways of Looking at a Black Woman

The New York Times
2005-01-23

Edward Lewine

Ellen Gallagher dabbed a swirl of gray watercolor onto the delicate pencil drawing she had just sketched of a furry hamster. Late December sunlight radiated through the windows at Two Palms Press, the SoHo printmaking studio where she has spent the last 18 months preparing a work comprising 60 collage prints. Titled “DeLuxe,” it is the subject of its own show at the Whitney Museum, opening this week.

Weeks remained until “DeLuxe” had to be delivered, and the mood in the lower Broadway loft was intense. One artist glued toy eyeballs onto a collage; another placed wig shapes made of plasticine clay onto a different collage; while a master printer was in a darkroom reproducing pages from black magazines like Ebony, Sepia and Our World that dated from the 1930’s through the 1970’s.

Reserved in manner, with a sonorous voice and a girlish laugh, Ms. Gallagher seemed relaxed despite her looming deadline and pleased to see the first copy of “DeLuxe” nearing completion. (The set of 60 collages will be printed 20 times in a numbered edition.)

“I love this moment,” she said. “It is sort of delicious. You have come through the agonizing part, when you are trying to articulate what you want to say but can’t. You have made your ideas visible.”

Until recently, Ms. Gallagher, 39, had charted a quiet if successful course as an artist, mostly as a painter whose work plays with ideas about race. In the past year, however, her career has gained momentum. Major institutions including the Museum of Modern Art have bought paintings; and the technical virtuosity of “DeLuxe,” the subject of her first solo show in a New York museum, is generating buzz…

…Many curators praise Ms. Gallagher for her ability to discuss race without being pompous and for the way she balances ideas with technique. “She’s masterful at creating tension between form and content,” said Elizabeth Smith, the chief curator of the Museum of Contemporary Art Chicago, which bought a Gallagher painting last year.

Not all agree. Ms. Gallagher has been faulted for what some critics see as a certain facile quality. Writing in The New York Times about Ms. Gallagher’s winter 2004 show at the Gagosian Gallery, Ken Johnson called her paintings and collages “visually catchy” but “too obvious.”

Ms. Gallagher said she draws such criticism because her material makes people uncomfortable. “Somehow in America black artists aren’t allowed to use banal images of blackness,” she said. “On the other hand, the idea of something black and inscrutable is also very disturbing.”…

…Ms. Gallagher was raised in Providence, R.I. Her mother was white, her father black. Her father, a professional boxer, was rarely around, she said, and died in 1998.

Growing up, Ms. Gallagher said, she learned to navigate the worlds of her mother’s blue-collar, Irish family, her father’s family of recent immigrants from the Cape Verde Islands and the homes of her friends, many of them African Americans…

Read the entire article here.

“Double Natural”

Yale University
Department of African American Studies
81 Wall St., Gordon Parks Room 201
2013-01-24, 11:45-13:15 EST (Local Time)

Ellen Gallagher, Hayden Visiting Artist
Yale University Art Gallery

Ellen Gallagher breaks the boundaries of traditional art by using materials and found images in unexpected ways. Her work often looks at how African Americans have been represented and stereotyped. She also explores her own identity and experience as an American woman of African and Irish descent. In DeLuxe (2004-2005), Gallagher experimented with printmaking by using materials including Plasticine and glitter to transform old advertisements for beauty products targeted at African Americans into a work of art.

Co-sponsored by the Yale University Art Gallery and the Dept. of African American Studies.

MFA Thesis Choreographies

Davis Life Magazine
Davis, California
2013-02-28

UC Davis Department of Theatre and Dance is proud to present MFA Thesis Choreographies: “Ligilo” by Jarrell Iu-Hui Chua, in collaboration with Bobby August Jr., travels through the worlds of memories, dreams and present realities to investigate touch and its effects on relationships; “Transmutation” by Christine Germain, in collaboration with Andrea del Moral and Deirdre Morris, examines questions of personal identity and shifts in identity. MFA Thesis Choreographies opens at Mondavi Center’s Vanderhoef Studio Theatre on Thursday, Feb. 21 and runs through Sunday, March 3.

The title of Jarrell Iu-Hui Chua’s work “Ligilo” means “link” in Esperanto, a language that represents the choreographer’s ethnic sensitivities. She and collaborator Bobby August Jr. are both “hapa,” a term that Chua lovingly uses to describe their half-Asian heritage. Their hapa experiences of prejudice growing up in America are a core element in the choreography as is personal trauma from which Chua is recovering.

Emanating from these painful themes, “Ligilo” portrays anger and violence as two performers, Chua and August Jr., physically connect and disconnect. Most emphatically, the piece explores the positive dimensions of human touch in erotic love, humor, tenderness and other aspects of humanity and healing. The spiritual touch of bathing a loved one conveys hope and tranquility. This is both the heart of “Ligilo” and the basis of its foreign title as Esperanto (literally meaning “one who hopes”) was intended to foster peace among peoples of differing cultures…

Read the entire article here.

MMXLII Viewpoint: What Are You?

MMXLII: the power of diversity
2013-03-01

Joel Wacks

Our guest correspondent Joel Wacks is back with another intriguing article as he takes time to reflect on his personal life. As a person of mixed race there is a common question he seems to always be asked, and for one reason or another…it doesn’t sit too well. Hit the jump and take a look at his opinion and see what many other people of mixed race have to deal with constantly. Take a walk in their shoes so you can think about how that question may come across for some people. And if you are of mixed race, this is probably a story you can relate to.

A week or two ago I spent a weekend in New York, where I happened to chat, briefly, with a girl from Maryland. Or at least a girl who went to school in Maryland- it might be that she was from somewhere else originally. There were several minutes of generic pleasantries, and then she asked me, just as pleasantly as she’d asked my name and about my flight, what I was. Those were her exact words. “What are you?”

It was a question I found jarring and unpleasant. Which is unfair- it wasn’t unpleasantly, I’m sure, and I certainly had no excuse for being jarred. It’s a question I’ve been asked many times, by many people, for as long as I can remember. The truth is, though, that the more times I’m asked what I am, the more bothersome I find it. On the flight back to California, I had some time to think about why.

As an English major, I’ll start the discussion with a close reading, an analysis of the diction used in this three-word query. I’ll go ahead and say right now that it could usually be phrased more sensitively. I’ve heard stabs at this, actually- “What ethnicity are you?” “What nationality are you?” “Where are you from?” invariably followed by the clarifying but not necessarily enlightening “No, I mean originally?” For whatever reason though the most common formulation remains the simplest- “What are you?” (Of course the evidence for this is purely anecdotal, as much as I wish I had I haven’t actually kept track.)

It’s the “what” I think, that’s the sticking point. There’s some ugly implication, not entirely accidental I suspect, that you don’t fit into acceptable categories or genres, that you’re something completely different, unrecognizable, freakish. It’s telling that the snarky response most often suggested by my friends and family is “Human.” After all, who else is asked what they are besides the racially ambiguous? It’s what you ask the Terminator when his flesh scrapes away to reveal the robot beneath. It’s what you ask the newest Batman villain, right before he does you in. It’s what you ask Frankenstein’s monster, when you notice all those stitches. “What” is for monsters. When you’re talking to people, you usually say “who.” But of course, if you ask someone “Who are you?” they’d just tell you about themselves, and might forget to mention race at all.

Which brings me to the second issue I have with “What are you?” I never know how to answer. When I was younger, I would tell people that I was half Chinese and a quarter Jewish, falling prey to the racism of marked terms and assuming that the final fraction of unadulterated WASP DNA needed no explaination. At some point I figured out that the fractions didn’t add up, and switched to “Half Chinese and half white.” That formula lasted for years, before I began to worry that it sounded too much like a formula. “Half and half.” It made me feel like a cocktail, or a dairy product…

Read the entire article here

One Drop of Love: Debut Performance

Arena Theater
California State University, Los Angeles
5151 State University Drive [Directions] [Map]
Los Angeles, California 90032
Saturday, 2013-03-09, 20:00 PST (Local Time)

Fanshen Cox DiGiovanni, Playwright, Producer, Actress, Educator
Jillian Pagan, Director

One Drop of Love is a solo show by Fanshen Cox DiGiovanni that journeys from Jamaica to Washington, D.C., Cambridge, Michigan, and East and West Africa from 1790 to the present to explore how ‘race’ affects our most intimate relationships.

For more information, click here.

The claim that “there has been vastly less race mixture in the northern hemisphere” than is sometimes alleged, may be questioned in the light of some data which have been submitted to us for publication by Mr. J. C. Trevor, formerly one of the Eugenics Society’s Darwin Research Fellows and now University Lecturer in Anthropology at Cambridge. In Mr. Trevor’s paper, for which we hope to find room in our next issue, the ratio of mixed bloods (i.e. persons of partly European and partly non-European stock) to the total population of the United States is given as slightly over 7 per cent, Admittedly this figure can at best be only an approximation, but including as it does in its basis Kuczynski’s statement that to count 6o per cent of the negro inhabitants of that country as mulatto would be “a most conservative estimate,” it is more likely to understate the facts than overstate them. It is noteworthy that according to an eminent American scholar, the number of negroes of full blood was unduly exaggerated in the 1920 U.S. census, the last in which an attempt was made to assess the mulatto element by itself. And it need hardly be added that the familiar phenomenon of “passing for white,” with its inevitable consequences, must not be overlooked in examining the contention that “there is practically no negro blood in the one hundred and ten million whites.”…

Editor, “Eugenics and Mongrelization [Letter and Response],” Eugenics Review, Volume 32, Number 1 (April 1940): 29.