Mixed Race Studies

One Playwright’s ‘Obligation’ To Confront Race And Identity In The U.S.

Code Switch: Frontiers of Race, Culture and Ethnicity
All Things Considered
National Public Radio
2015-02-16

Jeff Lunden

Playwright Branden Jacobs-Jenkins may be only 30 years old, but he’s already compiled an impressive resume. His theatrical works, which look at race and identity in America, have been performed in New York and around the country. Last year, Jacobs-Jenkins won the best new American play Obie Award for two of his works, Appropriate and An Octoroon.

An Octoroon is currently playing at Theater for a New Audience in New York…

…Over the past five years, the young playwright has written a trilogy of highly provocative and fantastical explorations of race in America. In Neighbors, a family of minstrels in blackface moves in next to a contemporary mixed-race family. In Appropriate, a white family discovers their dead father belonged to the KKK. His latest, An Octoroon, is a loose adaptation of a play written more than 150 years ago that deals with identity and race.

“They are all kind of like me dealing with something very specific, which has to do with the history of theater and blackness in America and form,” he says. “And also, my obligation, as a human being with regards to any of these themes.”

It is Jacob-Jenkins’ self-examination that drove Ben Brantley, the chief drama critic for The New York Times, to rank An Octoroon on the top of his best pays list last year. He saw it at Soho Rep, a tiny off-Broadway theater.

“[Jacobs-Jenkins] starts off from self-consciousness, which you would think would be a crippling place for a playwright to begin,” Brantley says.”But his self-consciousness isn’t just particular; it’s national, it’s universal. And it’s the self-consciousness of realizing that we don’t have the vocabulary, the tools to discuss race.”

The play, based on a 1859 melodrama by the Irish-Anglo playwright Dion Boucicault, tells the story of a young man who’s about to inherit a plantation and falls in love with a woman who is an octoroon — seven-eighths white, one-eighth black.

Director Sarah Benson points out that, in the original, all the parts had to be played by white actors…

Read the entire article here. Listen to the story here. Download the audio here. Read the transcript here.

Laura Kina: Blue Hawai’i

Harold B. Lemmerman Gallery
New Jersey City University
Hepburn Hall, Room 323
2039 Kennedy Boulevard
Jersey City, New Jersey

2015-01-27 through 2015-03-03
Artist Reception: 2015-01-29, 16:30-19:30 EST (Local Time)
Artist Talk: 2015-03-02, 17:30-18:30 EST (Local Time)

Laura Kina, Canefield Workers, 2013, oil on canvas, 30 x 45 inches.

“You won’t find Elvis or surfboards or funny umbrella-topped cocktails in my dystopic Blue Hawai’i.” The Chicago-based artist Laura Kina speaks of her latest series of paintings which are featured in this exhibition. Drawn from her family albums, oral history and community archives, Kina’s ghostly oil paintings employ distilled memories to investigate themes of distance, longing, and belonging. The setting of these paintings is her father’s Okinawan sugarcane field plantation community, Piʻihonua, on the Big Island of Hawaiʻi near Hilo. The predominant blue color of the series was inspired by the indigo-dyed kasuri kimonos repurposed by the Issei (first generation) “picture bride” immigrants for canefield work clothes. Blue Hawaiʻi echoes the spirits of Kina’s ancestors and shared histories of labor migration.

In 2009, Kina accompanied her father back to his hometown community in Hawaiʻi to interview him along with other Nisei (second generation) and Sansei (third generation) about their memories of plantation life. In 2012, she traveled to Okinawa with her father, collecting stories of heritage and history. She learned of her grandmother and great aunts having been Kibei Nisei, i.e., sent to Japan for their education and that in the devastation of WWII and the Battle of Okinawa, four family members were killed–two by forced suicide.

As U.S. relatives ceased to use the Okinawan dialect of Uchinaguchi or standard Japanese, stories like these were lost. In Blue Hawaiʻi, Kina seeks to reclaim these histories via reanimated traces from old photographs and present-day vestiges visible in paintings such as “Okinawa—All American Food” and “Black Market,” which capture the remnants of war and a continued American military presence in contemporary Okinawa. Risking distortion, misreading, nostalgia and erasure, the artist fully engages in, what she calls, “the messy business” of memory, collapsing time and space into one Blue Hawaiʻi.

Laura Kina is Vincent de Paul professor of Art, Media, & Design at DePaul University. She is the coeditor, along with Wei Ming Dariotis, of War Baby/Love Child: Mixed Race Asian American Art (University of Washington Press, 2013); cofounder of the DePaul biennial Critical Mixed Race Studies conference; and cofounder and consulting editor of the Journal of Critical Mixed Race Studies and reviews editor for the Asian Diasporic Visual Cultures and the Americas.

Her solo exhibitions include Blue Hawaii (2014), Sugar (2010), A Many-Splendored Thing (2010), Aloha Dreams (2007), Loving (2006), and Hapa Soap Operas (2003). She has exhibited at the Chicago Cultural Center, India Habitat Centre, Nehuru Art Centre, Okinawa Prefectural Art Museum, the Rose Art Museum, the Spertus Museum, the University of Memphis, and the Wing Luke Museum of the Asian Pacific American Experience.

For more about the exhibition, view an on-line catalog here.

Dorothy Roberts: Fatal Invention: The New Biopolitics of Race

University of California, Los Angeles
School of Law
385 Charles E. Young Drive East
1242 Law Building
Los Angeles, California 90095
2015-02-19, 17:00-18:30 PST (Local Time)
Room: TBD

Dorothy Roberts, George A. Weiss University Professor of Law and Sociology and the Raymond Pace and Sadie Tanner Mossell Alexander Professor of Civil Rights
University of Pennsylvania

We are witnessing the emergence of a new biopolitics in the United States that relies on re-inventing race in biological terms using cutting-edge genomic science and biotechnologies. Some scientists are defining race as a biological category written in our genes, while the biotechnology and pharmaceutical industries convert the new racial science into race-based products, such as race-specific medicines and ancestry tests, that incorporate false assumptions of racial difference at the genetic level. The genetic understanding of race calls for technological responses to racial disparities while masking the continuing impact of racism in a supposedly post-racial society. Instead, I call for affirming our common humanity by working to end social inequities supported by the political system of race.

For more information, click here.

Mixed 101: Creating a Space to Explore Mixed Race Identity

Duke University
Durham, North Carolina 27708
Counseling & Psych Services (CAPS)
Resource Room 0010
Bryan Center – Multicultural Center
Thursdays, 17:00-18:30 EST (Local Time) on February 12, 19, 26, and March 5

Marcella Wagner and Cat Goyeneche

CAPS is offering a weekly group for students who identify as mixed or multiracial to dialogue and explore our experiences of being mixed race.

For more information, click here.

One Drop of Love

Northern Arizona University
Ashurst Hall
Flagstaff, Arizona
Wednesday, 2015-02-18, 18:00 MST (Local Time)

Performed by Fanshen Cox DiGiovanni. Presented by NAU College of Education

One Drop of Love, is an hour-long one woman show. This funny, interactive and moving memoir explores history, family, race, class, justice and love and takes audiences from the 1600s to the present, to cities all over the U.S. and to West and East Africa, where both father and daughter spent time in search of their ‘racial’ roots.

For more information, click here.

Are Mixed Race Asian/Whites, “Basically White”?

Multiracial Asian Families: thinking about race, families, children, and the intersection of mixed ID/Asian
2015-02-17

Sharon H. Chang

[She] never told the son who was crippled by polio about her relationship with his father. All she said was that the man was an American, a sergeant in the Army. He was one of the thousands of GIs who left children behind as victims of the conflict that the United States never officially called a war.
— “Life and Times of Le Van Minh” by Irene Virag

I’ve gotten some pretty vitriolic comments these last months regarding my writings on white-mixing not being synonymous with whiteness. A recent response to my piece protesting Asian Fortune’s troubled 2013 “Hapa” article:

“Guys…Sometimes you just need to calm the f down. You need to get out of your heads a little bit and stop over analyzing things. I’m sure all you hapas out there have some understanding of the way hapas are treated in Asia. Talk about superficial stereotypical understandings! Your ultra-liberal, ultra-progressive, straight-out-of-an-undergraduate-African-American-studies-class mumbo jumbo would only ever be considered in White countries. And you know damn well that you benefit from ‘White privilege.’ The reason I put that in quotes is beyond the scope of this comment. Don’t write back with some bullshit about traffic stops – I know the statistics.” (October 26, 2014)

Another recent response, this time to my piece on talking mixed race identity with young children for Hyphen Magazine:

“‘mom am i white?’

the answer is yes, he is. Stop confusing the poor child and STOP telling him he’s of Asian descent when you and the baby daddy are clearly white. He will grow up with an identity problem and will very likely hate you for it. Have some decency as a parent.” (February 10, 2015)…

…There are a lot of problems with the idea that Asian/whites are white: (1) it disallows space for contemporary Asian/whites to discuss the racialized experiences they do have when they are viewed and treated as non-white, (2) it ignores/invalidates/erases these oppressions as stemming from a long history of racism Asian/whites have faced nationally and globally that is an integral part of the larger narrative of race, and (3) it ultimately deflects from the more important point that it is not Asian/whites who created and uphold the racism we struggle to undo today…

Read the entire article here.