Mixed Race Studies

“My father is black. My mother is white. I self-identify as black and as mixed and I don’t relate to those as mutually exclusive. I also try to be mindful and try to have a certain humility about how my experience differs from most other black people; about how I have certain types of residual white privilege which I don’t believe makes me less black. I also know that it is ultimately not up to me whether I am accepted as black. My experience though, has almost always been of black people welcoming me and accepting me as their own. And it’s only because of that lifetime of experience that I would feel comfortable telling Nancy Giles,“actually I’m black.” And I knew that even within that moment, I could tell her that and she would get it. And I’m not saying that there is never any exclusion within the black community. I’m not negating people who have experienced that. But I do think that there is a tradition of a loving welcoming inclusive blackness that is important as a rejection and a counter to the historical function of whiteness. It’s a tradition I’ve experienced as a beautiful thing and as Adam Serwer said, it’s a beautiful thing that Rachel Dolezal has “taken advantage of,” that she has manipulated, that she has poisoned just a little bit with what she’s done here.”

Jay Smooth, ““Empathy does not preclude accountability:” Jay Smooth on Rachel Dolezal,” Fusion, June 18, 2015 (00:01:53-00:03:11). http://fusion.net/video/153151/empathy-does-not-preclude-accountability-jay-smooth-on-rachel-dolezal/.

Drum Dream Girl: How One Girl’s Courage Changed Music

Houghton Mifflin Harcourt
2015-03-31
48 pages
Hardcover ISBN-13/ EAN: 9780544102293
eBook ISBN-13/ EAN: 9780544102286

Margarita Engle

Rafael López

In this picture book bursting with vibrance and rhythm, a girl dreams of playing the drums in 1930s Cuba, when the music-filled island had a taboo against female drummers.

Girls cannot be drummers. Long ago on an island filled with music, no one questioned that rule—until the drum dream girl. In her city of drumbeats, she dreamed of pounding tall congas and tapping small bongós. She had to keep quiet. She had to practice in secret. But when at last her dream-bright music was heard, everyone sang and danced and decided that both girls and boys should be free to drum and dream.

Inspired by the childhood of Millo Castro Zaldarriaga, a Chinese-African-Cuban girl who broke Cuba’s traditional taboo against female drummers, Drum Dream Girl tells an inspiring true story for dreamers everywhere.

Why Rachel Dolezal Needed To Construct Her Own Black Narrative

BuzzFeed
2015-06-13

Adam Serwer, BuzzFeed News National Editor

In order to pass as black, Dolezal took advantage of the black community’s long tradition of inclusion regardless of skin tone.

In 1895, when Justice Henry Billings Brown ruled that Louisiana’s law segregating train cars was constitutional, he didn’t want to get into the messy business of determining whether or not passenger Homer Plessy was actually black. Though only possessing “one eighth African blood,” with “the mixture of colored blood” not “discernible in him,” whether Plessy was black was a matter for the state to decide.

“[T]here is a difference of opinion in the different States, some holding that any visible admixture of black blood stamps the person as belonging to the colored race,” wrote Brown, “others that it depends upon the preponderance of blood; and still others that the predominance of white blood must only be in the proportion of three-fourths.”

Plessy v. Ferguson became the legal cornerstone of Jim Crow even though Homer Plessy was so light-skinned he could probably drive through Ferguson, Missouri, today without getting a ticket. In other words, who is black is a complicated question, one that remains fraught more than a hundred years after Brown’s ruling blessing racial apartheid in a country founded on the premise of equality under the law. But the long tradition of African-American resistance is one that excels in turning efforts to subjugate black Americans into advantages. One of these is the reversal of the infamous “one-drop rule,” which allows anyone who was a descendant of enslaved black Americans to identify as a member of the African-American community, which is why the NAACP’s Walter White used his racial ambiguity to report on lynchings in the South while passing as white. To claim is to be claimed; to love is to be loved in return. It is that very tradition of love and acceptance that Rachel Dolezal, the NAACP leader in Spokane, Washington, who for years passed as a light-skinned black woman, took advantage of by manufacturing a biography that reads like a racial caricature of a dystopian young adult novel.

Dolezal knew it wasn’t enough to perm and dye her hair and do whatever it is she did to her skin, and to tell everyone she was black. She also had to invent a history in which she and her family had borne the scars of racism, one in which she was born in a “tepee in Montana” and went hunting for food with bows and arrows. One in which she and her siblings endured beatings according to skin tone, and were lashed with “baboon whips” that were “pretty similar to what was used as whips during slavery,” to say nothing of the years she spent filing questionable reports with police about hate crimes. With that connection, even someone as light as her could be black.

The irony is that racial barriers in America have always been permeable and ambiguous, even when they have been most violently enforced…

Read the entire article here.

Joseph Emidy: From slave fiddler to classical violinist

BBC News
2015-06-21

Miles Davis, BBC News Online

Joseph Emidy led the Truro Philharmonic Orchestra

The remarkable life of a former slave who became a pioneer of classical music has been commemorated.

The “genius” violinist Joseph Emidy, from West Africa, was enslaved for two long periods of his eventful life.

But having finally gained his freedom in 1799, Emidy became “Britain’s first composer of the African diaspora”.

His achievements were marked at Truro Cathedral on Sunday with the erection of a ‘boss‘ – a painted wooden carving featuring a violin and a map of Africa.

On his death in 1835, The West Briton newspaper reported in Emidy’s obituary: “As an orchestral composer, his sinfonias may be mentioned as evincing not only deep musical research, but also those flights of genius.”…

…Emidy was finally discharged four years later in the port of Falmouth on 28 February 1799.

He married a local woman, Jenefer Hutchins, in 1802, started taking on music students and became involved with the the first of Truro’s biennial concerts in 1804.

Beverley Wilson (far right) the great, great, great, great grand-daughter of Joseph Emidy met kora player Sona Jobarteh (centre)

Silk Buckingham described him as “an exquisite violinist, a good composer, who led at all the concerts of the county, and who taught equally well the piano, violin, violoncello, clarionet and flute”…

Read the entire article here.