Mixed Race Studies

Sesquicentennial Event Addresses Colorado Inequality

Clarion: The University of Denver’s Newwspaper Since 1892
Denver, Colorado
2014-10-21

Carissa Cherpes

DU hosted a Sesquicentennial Conversation entitled Miscegenation Law, Marriage Equality, and the West 1864-2014 on Oct. 15 in the Sturm College of Law.

Over 50 students, faculty and others gathered to listen to three panelists lecture on how Miscegenation Laws and inequality affected our region throughout history. Miscegenation Laws banned marriages or relationships between mixed raced couples.

The three panelists were Rachel Moran, Ronald J. Stephens and Anna N. Martinez. The moderator was Bill Convery, who holds the position of Colorado State Historian…

…Next to present was Moran. She described how Miscegenation Laws originated in the South when concern over mixed race slave children became an issue. The popular opinion was that “mixed race children were black,” and therefore could not be considered free or have rights.

She then went on to talk about California’s Miscegenation Laws, which targeted Asian immigrants. In California, the laws were designed to force Chinese, Japanese and Filipino immigrants to return to their native country.

Moran then discussed how the Colorado territory had Miscegenation Laws as well, but only after additional land was acquired from Mexico. Because the people living in the territory had different customs and laws, there was an invisible boundary where mixed race couples were more accepted. She concluded by explaining how it was not until the 1960s that the Supreme Court decided Miscegenation Laws were unfair…

Read the entire article here.

MISC Shows Fourth Annual Identity Project

The Smith Sophian: The Independent Newspaper of Smith College
Northampton, Massachusetts
2014-11-13

Nicole Wong ’17, Arts Editor

The Identity Project is an annual photo exhibition in which students, faculty and staff of the Smith community are photographed and given the opportunity to define who they are in their own words. It is loosely based off of Kip Fulbeck’s “Hapa Project.”

The organization Multi-ethnic Interracial Smith College, hosted its fourth annual Identity Project on Oct. 25 in the Hearth Room at Unity House and in the Nolan Art Lounge in the Campus Center. The Identity Project was purposely held in conjunction with Otelia Cromwell Day on Nov. 6.

Fulbeck began the project in 2001, traveling the country, photographing over 1200 volunteer subjects who self-identified as hapa, defined for the project as mixed ethnic heritage with partial roots in Asian or Pacific Islander ancestry. Each individual was photographed in a similar minimalist style (directly head-on, unclothed from the shoulders up, and without jewelry, glasses, excess make-up or purposeful expression) after being photographed, participants identified their ethnicities in their own words, then handwrote their response to the question, “What are you?”…

Read the entire article here.

Dr. Rainbow Johnson: Tracee Ellis Ross and Mixed Race on Black-ish

Kaleido[scopes]: Diaspora Re-imagined
Williams College Student Research Journal
2014-10-27

Michelle May-Curry, Contributing Writer

Mixed race women. The tragic mulatta, the jezebel, the code-switcher, the new millennium mulatta, and the exceptional multiracial are terms and ideas that audiences subconsciously pull from to index mixed race identity. Some of these tropes are centuries old – the tragic mulatta calls to mind a woman who cannot find a home in either of her identities and as such meets her downfall through racelessness. Other terms like the “new millenium mulatta” are new, and describe a woman who constantly seeks to transcend her blackness and climb the racial hierarchy. But these terms do not quite begin to describe who Dr. Rainbow Johnson is on ABC’s new show Black-ish. What role Rainbow plays within the black experience, however, is a question that Black-ish might not know the answer to just yet.

Tracee Ellis Ross, the mixed race actress of Girlfriends fame, plays Rainbow (Bow for short), a 21st century working mother of four. As the show might imply, Ross’ character is black…ish. Bow is a self identified mixed race woman and the matriarch to an upper class black family in the suburbs. The product of hippie parents, as her rather eccentric name might suggest, Bow’s upbringing was progressive and far less “traditionally” black compared to her husband’s, who grew up in Compton. As for Ross, the actress is a self-identified black woman who simultaneously acknowledges both her black and white identities. Ross’ identity is rather abnormal for a mixed woman of her generation- most mixed race people born before the 1980′s recount stories of how black was the natural and only identity choice they had to make. The most famous example we can look to today who shares this opinion is our president, Barack Obama…

Read the entire article here.

‘William Wells Brown,’ by Ezra Greenspan

The New York Times
Sunday Book Review
2014-11-14

Nell Irvin Painter, Edwards Professor of American History, Emerita
Princeton University

Greenspan, Ezra, William Wells Brown: An African American Life (New York: W. W. Norton & Company, 2014)

If the publishing industry reflects the American zeitgeist, things have changed when it comes to black American historical figures. As a graduate student at Harvard decades ago, I came across William Wells Brown, the fugitive slave, abolitionist, lecturer, travelogue writer, novelist and performer whose wide-ranging intelligence turned a gaze on white people (for a change). Back then he was to be found in only one full-length biography, William Edward Farrison’s “William Wells Brown: Author and Reformer” (1969). Published by the University of Chicago Press in the twilight of the “second Reconstruction” and at the dawning of African-American studies, it depicted Brown as a representative black American. In the absence of the biographical scholarship coming after 1969, Brown’s colleagues remained ill defined. Farrison’s biography was reviewed only in publishing trade papers and a couple of history journals. What was the problem?

It wasn’t Brown’s lack of an interesting life: more on that momentarily. The main problem was that 20th-century American culture accommodated only one 19th-­century black man, a spot already taken by the monumental, best-selling Frederick Douglass. Another problem was theoretical: Farrison published his biography before the flowering of two other fields crucial to a full appreciation of Brown’s public life — the history of the book and performance art…

…The child who would be William Wells Brown was born enslaved in Kentucky, in about 1814, the son of his owner’s cousin. In St. Louis, given the job of tending a young charge also called William, his name was changed to Sandford with the carelessness characteristic of slave naming. As Sandford he worked in his owner’s medical office and on the Mississippi River’s ships and docks. After several unsuccessful attempts at escape, one with his mother, he finally fled St. Louis at about age 19. He retook his own name William and added Wells Brown in honor of the Quaker who had rescued him from starving and freezing in Ohio…

Read the entire review here.