Mixed Race Studies

The sweetness of forbidden fruit: Interracial daters are more attractive than intraracial daters

Journal of Social and Personal Relationships
Published online: 2014-07-09
DOI: 10.1177/0265407514541074

Karen Wu
Department of Psychology and Social Behavior
University of California, Irvine

Chuansheng Chen, Professor of Psychology & Social Behavior and Education
University of California, Irvine

Ellen Greenberger, Research Professor and Professor Emerita of Psychology & Social Behavior
University of California, Irvine

Past research on interracial dating has focused on demographic and adjustment factors while ignoring the traits most valued in romantic partners. We examined whether interracial and intraracial daters differ in the extent to which they possess various desirable attributes. In Study 1, undergraduates estimated their partners’ ratings of them on 27 attributes. A factor analysis yielded attractiveness (e.g., physically attractive), cerebral (e.g., intelligent), relational (e.g., compassionate), and vibrancy (e.g., confident) attributes. Compared with intraracial daters, interracial daters reported that their partners saw them more positively on attractiveness, cerebral, and relational attributes (Study 1), rated their partners more positively on attractiveness and cerebral attributes (Study 2), and were rated by independent coders as more physically attractive (Study 3). Implications are discussed.

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Attorney General Holder is right: Racial animus plays role in Obama opposition

Southern Poverty Law Center
2014-07-16

Morris Dees, Founder, Chief Trial Attorney

Right-wing pundits are jumping all over Attorney General Eric Holder for daring to suggest on Sunday that “racial animus” plays a role in the “level of vehemence” that’s been directed at President Obama. They’re denouncing him for “playing the race card” and “stoking racial divisions.”

Who do they think they’re fooling?…

…And, we’ve seen an explosive growth of radical-right groups, including armed militias, since Obama was elected, and repeated threats that violence is needed to “take our country back” from the “tyranny” of Obama. This is part of a backlash to the growing diversity in our country, as symbolized by the presence of a black man in the White House…

Read the entire article here.

CA+T Interview with Laura Kina

Center for Art and Thought
2014-09-07

Rachel Ishikawa, CA+T Interviewer

Laura Kina, Vincent de Paul Professor Art, Media, & Design
DePaul University, Chicago, Illinois

Rachel Ishikawa: When did art begin for you?

Laura Kina: My mom. She had been a double major in art and sociology in undergrad and worked for a time as a technical illustrator for Boeing’s aerospace division. I was born in Riverside, CA, in 1973, and when I was just two years old she turned our enclosed sun porch into an art studio for me, gave me a big paintbrush, a pile of red paint and rolls of butcher paper to go crazy on. I was painting before I could really talk or write. Making art became my initial way of processing the world around me. In 1976 my little sister Alison was born with Down’s Syndrome, so we moved to a little Norwegian town in the Pacific Northwest called Poulsbo, WA to be near my mom’s parents but also so my dad could set up a private practice as a family practitioner and OGBYN [OBGYN] [obstetrician-gynecologist]. I learned how to sew from my great grandma, Ethel “Nanny” Smiley. She was a professional seamstress. I spent a lot of time playing in the woods, building forts, drawing, and using my imagination and also doing manual chores (yard work, gardening, canning) that one has to do living in the country. I think that really influenced my inclination toward making things with my hands. This was the late 1970s, and one of my house chores was to rake our ochre yellow shag carpet into this Zen like perfection. That was probably my first contemporary artwork!…

…RI: Many of your pieces have a connection to your identity as a “hapa, yonsei, Uchinanchu.” At the same time they are historically rooted. How does the personal, political, and historical function within your work?

LK: Being multiracial (my mother is “white” –Spanish-Basque on her mother’s side and French, English, Scottish, Irish, and Dutch on her father’s side) has been a fundamental experience for me both in terms of how I’m perceived and treated but also in terms of how I understand myself and the world around me. I grew up in a predominantly White and Native American community, and there were not too many other Asians or other mixed kids around so I was hyper aware of being different. On one hand, being multiracial was celebrated as a sign of racial progress and being the “best of both worlds.” We were accepted, but then people would ask, “What are you?” or “Where are you really from?” or say things like “You look so exotic,” which would imply that maybe I didn’t belong. The fact of the matter is that I could be a member of the Daughter’s of the American Revolution. Our relatives were French mercenaries in the American Revolutionary War. I’m related to James Knox Polk, the eleventh president of the US, and to the Confederate Major General George Pickett, who lost the Battle of Gettysburg…

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Little White Lie

OTB Productions LLC
2013
66 minutes

Lacey Schwartz, Producer/Director

Mehret Mandefro, Producer

James Adolphus, Co-Director

What defines our identity, our family of origin or the family that raises us? How do we come to terms with the sins and mistakes of our parents? Lacey discovers that answering those questions means understanding her parents’ own stories as well as her own. She pieces together her family history and the story of her dual identity using home videos, archival footage, interviews, and episodes from her own life. Little White Lie is a personal documentary about the legacy of family secrets, denial, and redemption.

Little White Lie tells Lacey Schwartz’s story of growing up in a typical upper-middle-class Jewish household in Woodstock, NY, with loving parents and a strong sense of her Jewish identity — despite the open questions from those around her about how a white girl could have such dark skin. She believes her family’s explanation that her looks were inherited from her dark-skinned Sicilian grandfather. But when her parents abruptly split, her gut starts to tell her something different.

At age of 18, she finally confronts her mother and learns the truth: her biological father was not the man who raised her, but a black man named Rodney with whom her mother had had an affair. Afraid of losing her relationship with her parents, Lacey doesn’t openly acknowledge her newly discovered black identity with her white family. When her biological father dies shortly before Lacey’s 30th birthday, the family secret can stay hidden no longer. Following the funeral, Lacey begins a quest to reconcile the hidden pieces of her life and heal her relationship with the only father she ever knew.

Little White Lie, formerly called Outside the Box, is a feature documentary produced by Truth Aid in association with ITVS. The film will enter the festival circuit in 2014 and be broadcast on Independent Lens on PBS in 2015.

Black American Indians seek to honor their mixed ancestry

Al Jazeera America
2014-07-22

Naureen Khan

WASHINGTON — The soaring sound of “Wade in the Water,” a Negro spiritual once said to be used on the Underground Railroad, filled Plymouth Congressional United Church of Christ Saturday morning.

But on this particular Saturday, church-goers offered their respects to the Great Spirit, in addition to the Holy Spirit, looked on as a Native American drum processional wound its way through the aisle, and took part in a ceremonial tobacco offering.

At the first gathering of the newly created National Congress of Black American Indians, organizers and attendees came to unite and celebrate individuals of both African and Native American ancestry — a subject often fraught with complicated questions of race, identity and citizenship.

Although Native Americans and African-Americans have crossed paths, intermarried and formed alliances since pre-colonial times, often uniting in their common fight against slavery and dispossession, their shared history has been slow to be unearthed and brought into the light.

The formation and the first meeting of the NCBAI sought to remove the taboo of mixed ancestry and bring together those who could trace their ancestry to both communities. The gathering received endorsement and letters of support from Maryland Gov. Martin O’Malley, D.C. mayor Vincent Gray and Prince George County Executive Rushern L. Baker III.

“This has been a conversation that has been avoided and pushed aside, and folks who have wanted to have this conversation have been marginalized, subjugated, separated, downtrodden, stepped on,” said Jay Gola Waya Sunoyi, one of the founders of the National Congress. “But still we’re here.”…

Read the entire article here.

Not So Black and White

Tree Spirit Publishing
2012
210 pages
9 x 6 x 0.5 inches
Paperback ISBN: 978-0615568249

Alexis Wilson

Mixed marriage, abandonment, a mother’s secret, same sex parents, Broadway, the Ballet, and AIDS all make up a multi-colored tapestry of this author’s valiant journey towards a strong and clear passage; leaving the reader uplifted and wanting more.

It is the early 60’s in Europe, when a breathtakingly beautiful interracial couple dance great ballets together and fall passionately in love.  She is a Dutch ballerina and he is an African-American international ballet star.  They come to America and create a family and a new life.  While their daughter Alexis grows up dancing before she can walk, the marriage grows angrily apart.  Her father soon becomes one of the few celebrated black choreographers on Broadway, while her mother turns toward a shockingly desperate existence of survival.

At age eleven, Alexis’s world comes crashing.  Her mother abandons her and her brother and they are shuttled off to New York City to live with their adoring larger-than-life father, the footlights that beam on the likes of Sammy Davis Jr., Chita Rivera, and the other man in her father’s life.

How Turbans Helped Some Blacks Go Incognito In The Jim Crow Era

Code Switch: Frontiers of Race, Culture and Ethnicity
National Public Radio
2014-07-19

Tanvi Misra

There’s a weekly trial on the Internet about who may be stealing culture from whom. Earlier this week, the defendants were Iggy Azalea and white gay men. A while back, it was Macklemore and the Harlem Shakers.

Now, we have come across a story from the Jim Crow era about cultural mimicry between people of color.

In mid-20th century America, the turban was a tool that people of color used for “confounding the color lines,” writes Manan Desai, board member of the South Asian American Digital Archive.

At the time, ideas of race in America were quite literally black and white. In some places, if you could pass yourself off as something other than black, you could circumvent some amount of discrimination. People of color — both foreigners and African-Americans — employed this to their advantage. Some did it just to get by in a racist society, some to make a political statement, and others — performers and businessmen — to gain access to fame and money they wouldn’t have otherwise had…

Read the entire article here.

Why Mixed with White isn’t White

Hyphen: Asian America Unabrided
2014-07-22

Sharon H. Chang

When I wrote my first post for Hyphen, “Talking Mixed-Race Identity with Young Children,” I was deliberately blunt about race. I wrote about how I don’t tell my multiracial son, who presents as a racial minority, that he’s white — but I do tell him he’s Asian. While the essay resonated with many people, others made comments like this:

“Your child is as white as he is Asian… Why embrace one label and not the other?”

“Why is he Asian but not white? He has white ancestors as much as Asian ones. So if it’s OK to call him Asian, it’s OK to call him white. Or, if it’s not OK to call him white (because he’s not completely white) then it’s not OK to call him Asian, because he’s not completely Asian either.”

“Your child is neither white nor Asian. I once heard this description: When you have a glass of milk and add chocolate to it, you no longer have just a glass of milk and you no longer just have chocolate because you have created something completely different. A bi-racial or multi-racial child is not either/or.”

In the 1990s, psychologist and mixed-race scholar Maria P.P. Root wrote the famous “Bill of Rights for People of Mixed Heritage,” stirred by her examination of mixed-race identity, interviews with hundreds of multiracial folk across the U.S., and the struggles multiracial people face in forming and claiming a positive sense of self. “I have the right not to justify my existence to the world,” it reads. “To identify myself differently than strangers expect me to identify. To create a vocabulary about being multiracial or multiethnic.”

Almost two decades later, these proclamations still ring so true. Some people are completely unwilling to honor my family’s choice to identify as mixed-race and Asian because it doesn’t align with their own ideas about how we should identify. The right of a mixed-race person to self-construct and self-define, even today, endures continual policing from people with their own agendas…

Read the entire article here.

Researchers discuss origins of Melungeon heritage at annual event

WCBY.com (News 5)
Brisol, Virginia
2014-06-28

Olivia Caridi

BIG STONE GAP, Va. – Wayne Winkler discovered he was a Melungeon at 12 years old. His grandmother is a Melungeon. His father is, too.

“I had never heard the word, so I asked my relatives what a Melungeon is. I asked what it was, and I’ve spent all this time since then trying to answer the question,” Winkler says.

For Winkler and others of mixed-ethnic groups, attending the 18th annual Melungeon Union on Saturday was a way to get some answers.

Melungeon’s were first documented in southwest Virginia and northeast Tennessee in the 19th century. “They are basically a mixed-ethnic group of a combination of Native American, European American and African American,” Winkler says.

Researchers have attempted to document the meaning of Melungeon identity for years. Lisa Alther, an author, wrote books exploring the history. “I always heard growing up that we were Anglo-Saxon and Celtic here in the mountains, so the most fascinating thing for me is realizing that we are here in the mountains really a melting pot of the entire world,” Alther says…

Read the article and watch the video here.

Ghosts of Camptown

MELUS: Multi-Ethnic LIterature of the United States
Volume 39, Issue 3 (Fall 2014)
pages 49-67
DOI: 10.1093/melus/mlu025

Grace Kyungwon Hong, Associate Professor of Gender Studies and Asian American Studies
University of California, Los Angeles

This essay engages the deployment of form in Heinz Insu Fenkl’s Memories of My Ghost Brother (1996), focusing in particular on its strategy of embedding fantastical stories within its narrative structure and on the ways in which the mystical or magical tone of these stories pervades the narrative, establishing a frame seemingly incongruous with the memoir’s setting within a military camptown in South Korea. If a classically realist tone and linear narrative arc are the formal expressions of nationalist culture, the autobiographical novel’s departure from these formal strategies, I argue, is necessary to convey the complex juridical status of the camptown. Through a curious excess of state sovereignty, because they are simultaneously under both US and South Korean sovereignty, the camptown and its residents are subject to abandonment by both nation-states, producing a heightened vulnerability to death. Accordingly, such complex relationships to sovereignty demand a narrative form organized around a complex and divided subject unlike the possessive individual at the center of traditional autobiographies, a divided subject formed around an ethics in which no one is blameless and everyone is complicit.

Read or purchase the article here.