Mixed Race Studies

Roundtable: Global Mixed Race

University of California, Santa Barbara
Department of Political Science
The Lane Room (Ellison 3824)
Monday, 2015-03-02, 16:00 PST (Local Time)

The authors of the new book Global Mixed Race (New York University Press) will participate in a Roundtable on the subject. The authors are:

• G. Reginald Daniel, UCSB Sociology
• Adrienne Edgar, UCSB History
• Paul Spickard, UCSB History
• Lily Anne Y. Welty Tamai, Japanese American National Museum

Discussant: Ingrid Dineen Wimberly, University of La Verne

For more information, click here.

Beyond The Chinese Connection: Contemporary Afro-Asian Cultural Production by Crystal S. Anderson (review)

Journal of Asian American Studies
Volume 18, Number 1, February 2015
pages 107-109
DOI: 10.1353/jaas.2015.0003

Edlie Wong, Associate Professor of English
University of Maryland

Anderson, Crystal S., Beyond The Chinese Connection: Contemporary Afro-Asian Cultural Production (Jackson: University Press of Mississippi, 2013).

Afro-Asian comparative racialization studies have begun to change how we think about race and its multiple and contradictory meanings across different periods of U.S. history. Beyond The Chinese Connection: Contemporary Afro-Asian Cultural Production contributes to this important trend in thinking about comparative constructions of race and cross-racial antagonisms and alliances. Earlier work on Afro-Asian comparative racialization such as Vijay Prashad’s Everybody Was Kung Fu Fighting (2001) and Bill Mullen’s Afro-Orientalism (2004) tended to emphasize the revolutionary—indeed, at times utopian—forms of anticolonial transpacific polyculturalism and political collaborations. Anderson’s volume explicitly builds upon and broadens this work. According to Anderson, Afro-Asian comparative racialization studies often favor anticapitalist critiques, taking the 1955 Bandung conference as the storied origins of the global alignment of the political struggles of African and Asian peoples. In contrast, her book offers a self-described cultural approach that emphasizes historical and ethnic specificity, disarticulating the homogenizing panethnicities implied in the term “Afro-Asian” to consider “the way the histories of individual ethnic groups may impact their interaction with one another” (37).

There is perhaps no more fitting figure for this study than the martial arts film star Bruce Lee, whose cross-racial and cross-ethnic appeal transformed him into an Afro-Asian cultural icon in the 1970s. Anderson’s volume stages a series of encounters between Lee’s signature films—one for each of the four chapters—and a range of post-1990s novels, films, and popular culture revealing the complexities of inter- and intraethnic Afro-Asian interactions. Anderson begins with the film Way of the Dragon (1972) and charts Lee’s emergence as a transnational and cross-cultural phenomenon. “Lee’s legacy,” she argues, “functions as a framework to interrogate the contemporary landscape” (5). In chapter 2, Lee’s Enter the Dragon (1973) facilitates an exploration of the limits and possibilities of interethnic male friendship in Frank Chin’s novel Gunga Din Highway (1994) and two mainstream Hollywood films, Rush Hour 2 (2001) and Unleashed (2005). In chapter 3, Lee’s The Chinese Connection (1972) allows Anderson to examine the theme of ethnic imperialism in Ishmael Reed’s satirical novel Japanese by Spring (1993) and the Japanese anime series Samurai Champloo (2004), while Lee’s The Big Boss (1971) frames the final chapter on intra- and interethnic conflict and solidarity in Paul Beatty’s novel White Boy Shuffle (1996) and the highly popular Matrix science fiction film trilogy (1999 (2003). These cultural case studies allow Anderson ample opportunity to engage in broader historical contextualization and considerations of Afro-Asian social dynamics. In the case of Rush Hour 2 and Unleashed, Anderson draws attention away from film reception to explore the historical underpinnings of their plots and characterizations, from Rush Hour 2’s eroticization of Chinese women and the 1875 Page Act equating all Chinese women with prostitutes to the economic exploitation of the Chinese coolie reformulated in Unleashed’s plot of human trafficking.

Anderson organizes these cultural readings according to how each work constructs Afro-Asian cross-cultural dynamics along a broad “continuum of intercultural interactions” (3). At one end of this spectrum lies what she identifies as “cultural emulsion.” A concept drawn from Homi K. Bhabha’s theory of hybridity, cultural emulsion designates those instances where “cultures come together but do not mix in response to pressures to reinforce ethnic or national boundaries” (3). Against this more limited form of cultural distancing, Anderson counterpoises the concept of “cultural translation,” which “uses one ethnic culture to interpret another ethnic culture” and “recognizes more complex combinations of cultures” across national boundaries (35). This framework of emulsion and translation lends a somewhat static quality to Anderson’s detailed readings, and the most compelling of the case studies predictably land on the cultural translation end of the spectrum. For example, Anderson explores how Samurai Champloo’s uses of African American hip-hop and graffiti aesthetics transform animated tales of eighteenth-century Japan into social commentaries aimed at urban Japanese youth culture. Her reading of White Boy Shuffle emphasizes Beatty’s experimentation with Japanese aesthetics and his encoding of African American political disillusionment in the subplot of ritual suicide and…

Zoe: That — that is the ineffaceable curse of Cain. Of the blood that feeds my heart, one drop in eight is black — bright red as the rest may be, that one drop poisons all the flood; those seven bright drops give me love like yours — hope like yours — ambition like yours — life hung with passions like dewdrops on the morning flowers; but the one black drop gives me despair, for I’m an unclean thing — forbidden by the laws — I’m an Octoroon!

Dion Boucicault, The Octoroon: A Play, in Four Acts, (First Performed at the Winter Garden Theatre, New York, December, 1859), Act I. http://www2.latech.edu/~bmagee/louisiana_anthology/texts/boucicault/boucicault–octaroon.html.

Mr. Spock, Mixed-Race Pioneer

Code Switch: Frontiers of Race, Culture and Ethnicity
National Public Radio
2015-03-01

Steve Haruch

At a time when the mere sight of Petula Clark touching Harry Belafonte’s arm held the potential to upset delicate sensibilities, the half-human, half-Vulcan character Mr. Spock embodied an identity rarely acknowledged, much less seen, on television: a mixed-race person.

Sure, the mixing of races was allegorical in Spock’s case, as was the brilliantly subversive mode for social commentary on Star Trek. But that doesn’t mean it didn’t resonate.

In 1968 — the year Clark made contact with Belafonte, and the same year the Star Trek episode “Plato’s Stepchildren” caused much consternation for network executives who feared backlash against the interracial kiss between Captain Kirk and Lieutenant Uhura — a young girl wrote a letter to Spock, care of FaVE magazine. In the letter, she makes the connection between Spock’s fictional identity and her own very real situation:

“I know that you are half Vulcan and half human and you have suffered because of this. My mother is Negro and my father is white and I am told this makes me a half-breed. In some ways I am persecuted even more than the Negro. The Negroes don’t like me because I don’t look like them. The white kids don’t like me because I don’t exactly look like one of them either.”

Leonard Nimoy, who played Spock, wrote a long and thoughtful response that reads, in part:

“Spock learned he could save himself from letting prejudice get him down. He could do this by really understanding himself and knowing his own value as a person. He found he was equal to anyone who might try to put him down — equal in his own unique way.

You can do this too, if you realize the difference between popularity and true greatness.”

Spock certainly knew what “true greatness” was all about. You didn’t have to be mixed-race to feel this kind of connection to Spock, though…

Read the entire article here.

Muscogee Creek Indian Freedmen Band 2015 Conference

Muscogee Creek Indian Freedmen Band
Moore, Oklahoma
2015-02-17

Rhonda Kay Grayson

For Immediate Release

Muscogee Creek Indian Freedmen Band
P.O. Box 6366
Moore, OK, 73135

The Muscogee Creek Indian Freedmen Band is thrilled to announce its 2015 conference. The conference theme is “Africans and Indians: Eating from the same pot, Generations of shared culture, traditions, language, food and music”. The conference will be held at Langston University, (OKC-Campus) 4205 N. Lincoln Blvd, Oklahoma City, OK 73105, May 29-30, 2015. The two day conference will focus on the history and plight of the African Indian Freedmen from all Five Tribes of Oklahoma, Indian Territory (Creek, Chickasaw, Cherokee, Choctaw, and Seminole). Activities and presentations will include genealogy workshops; a Mvskoke language workshop; a presentation by the renowned Storyteller, Wallace Moore; presentations by scholars, lecturers, and attorneys; a panel discussion; and a presentation by the Urban League ‘Young Professionals.’ In addition, a special viewing of the MCIFB’s documentary “Bloodlines” will be shown at the historic Paramount Theater, centrally located in downtown OKC, only minutes away from the historic Deep Deuce and Bricktown district.

Who should attend?

Scholars, History Buffs, Genealogy Societies, Genealogists, Family Historians, Beginner, intermediate, or experienced researchers, Hobbyists, Students, The descendants of Black Indians, the general public, and anyone interested in learning more about the unique history of the Black Indians…

For more information, click here.

“It is largely through the on-screen body of the mixed-race female that racial laws have been written and mixed-race issues have been explored.  The mixed female figure was (unofficially) accepted as a body onto which white men could project and enact their sexual fantasies.  Hence the popularity of mixed girls in chorus lines at all-white American clubs, known as ‘café-au-lait cuties’ in the 1930s (5), and as performers in otherwise white films (see the careers of Lena Horne, Josephine Baker, Nina Mae McKinney, Dorothy Dandridge and Fredi Washington). As Suzanne Bost observes ‘throughout popular culture and literature, debates about the nature of mixed-race identity are mapped out on the body of a woman because thinking about racial mixing inevitably leads to questions of sex and reproduction’ (6). J. E. Smyth (7) confirms that in this way, women embody the past, present and future of race relations; mixed women are thus symbolic of the histories of racial mixing and possibilities of integration and equality.” —Zélie Asava

Beti Ellerson, “Zélie Asava: mixed-race identities and representation in Irish, U.S. and French cinemas,” African Women in Cinema Blog, (February 28, 2015). http://africanwomenincinema.blogspot.com/2015/02/zelie-asava-mixed-raced-identities-and.html.

Review: ‘An Octoroon,’ a Branden Jacobs-Jenkins Comedy About Race

The New York Times
2015-02-26

Ben Brantley, Chief Theater Critic

Walking on a stage covered with cotton balls is a tricky business. It’s all too easy to slip into a pratfall. And forget about running or dancing or hopping like a bunny, as the characters sometimes unwisely attempt in “An Octoroon,” Branden Jacobs-Jenkins’s coruscating comedy of unresolved history, which opened on Thursday night at the Polonsky Shakespeare Center in Brooklyn.

But it feels right that the people occupying this production, first seen last year at Soho Rep, should be required to move on what might be called terra infirma. For Mr. Jacobs-Jenkins has deliberately built his play on slippery foundations, the kind likely to trip up any dramatist, performer or theatergoer.

“An Octoroon,” you see, is all about race in these United States, as it was and is and unfortunately probably shall be for a considerable time. That’s race as a subject that no one can get a comfortable hold on.

Directed by Sarah Benson, in a style that perfectly matches its mutating content, “An Octoroon” is a shrewdly awkward riff on Dion Boucicault’s “The Octoroon” (notice the change in article), a 19th-century chestnut about illicit interracial love. Boucicault’s melodrama was a great hit in its day but is now almost never performed, except possibly as a camp diversion for private amusement.

Read the entire review here.