Mixed Race Studies

The black president some worried about has arrived

The Washington Post
2015-07-15

Janell Ross, Reporter

There’s this thing people sometimes say down South.

So-and-so is “acting brand new.” Sometimes that’s a reference to people behaving like they don’t know old friends and family — that they have evolved past their old crowd. Sometimes that’s Southern-speak for the emboldened, people behaving like they either don’t know the rules or have outright decided to disregard them.

In the past four weeks, we’ve seen President Obama take up residence in a place that sits somewhere in-between.

He’s spoken off the cuff about race relations on a widely circulated podcast (even using the n-word) and then eloquently followed that with what can only be described as a sermon on race relations in America before breaking into song. He’s challenged America to go deeper in its support of equality than retiring symbols of slavery (such as the Confederate flag) and impolitic words (such as the n-word).

While eulogizing a slain minister and state lawmaker allegedly killed by a white supremacist in Charleston, S.C., he outlined a whole raft of ways in which discrimination remains and inequality continues to grow. And now, in the span of two weeks, he has announced two major reform packages — housing last week and criminal justice on Tuesday — that could, if ultimately implemented, be of particular benefit to people of color in the United States.

Here’s the thing: This Obama might look or sound “brand new” to some Americans. He might even sound a little something like the black president some white Americans across the political spectrum feared (or hoped for). But to people who watch the White House closely, this is the President Obama who has been developing for some time…

Read the entire article here.

In The Writer’s Room, One Woman Quietly Makes Late Night History

Code Switch: Frontiers of Race, Culture and Ethnicity
National Public Radio
2015-07-12

Eric Deggans, TV Critic

How do you write jokes for a TV comedy about race and culture when there are riots over how police treat black suspects, and a gunman just shot down nine people in a black church?

If you’re Robin Thede, head writer for The Nightly Show with Larry Wilmore, you think carefully about where you focus the joke.

“The thing about tragedy, is that it causes people to react in a myriad of ways … [and] some of them are very hilarious,” Thede says, laughing. “You don’t make fun of the actual tragedy. You make fun of the ridiculous ways people react to it.”

Her example: The way some news outlets focused on the involvement of the gang Black Guerilla Family when rioting broke out in Baltimore last April.

“You’ve got people on the news saying ‘Black Guerilla Family’ 4,000 times because they get a kick out of saying ‘gorilla’ when connected to black people,” she says…

…That voice first emerged in January, when Wilmore’s Nightly Show debuted in the timeslot originally held by Stephen Colbert’s Colbert Report.

Wilmore made a bit of history then as the only black man hosting a major late night talk show.

And Thede also made history: She’s the first black woman to serve as head writer for such a show. But she’s quick to counter the notion that The Nightly Show is just a parody of Meet the Press centered on jokes about race…

Read the entire article here. Listen to the story (00:04:09) here. Download the story here. Read the transcript here.

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

Journal of Social and Personal Relationships
Volume 32, Number 5 (August 2015)
pages 650-666
DOI: 10.1177/0265407514541074

Karen Wu
Department of Psychology
University of California, Irvine

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

Ellen Greenberger, Recall-Faculty and Professor Emerita of Psychology and 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.

Read or purchase the article here.

Black Dancers, White Ballets

The New York Times
2015-07-15

Laurie A. Woodard
New York University

MISTY COPELAND’S elevation to principal dancer with American Ballet Theater is a tremendous accomplishment for her as a ballet dancer and as an African-American ballerina. Neither her talent nor her achievement should be underestimated. But even as she reaches the apex of her art in the role of Odette/Odile in “Swan Lake,” her promotion poses complicated questions about black artists in classical ballet.

This country has a long history of embracing exceptional African-Americans decades before we will fully admit their equal talent and abilities. Whether it was Jackie Robinson, Halle Berry or Barack Obama, somebody had to go first. The world of classical ballet is no different.

Since ballet was developed in the court of Louis XIV in late 17th-century France, it has proved resistant to evolving beyond its roots as an elite, rigidly European art form. Balletomanes, choreographers and directors generally concurred that black bodies were unsuited to the lines of classical technique. Racism and discrimination continued to plague ballet, and throughout most of the 20th century, African-Americans were largely barred from quality training and professional careers.

Largely, but not completely. Although Ms. Copeland is the first African-American ballerina to attain the rank of principal dancer with the historically white A.B.T., she is not the first African-American professional ballerina. In fact, the line is long and illustrious, including Janet Collins, who danced with the Metropolitan Opera House in the early 1950s; Raven Wilkinson, who joined the Ballet Russe de Monte Carlo in 1955; Nora Kimball, one of the first African-American soloists (a rank below principal) with A.B.T.; and the legendary Virginia Johnson of the Dance Theater of Harlem…

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The Global African – Mexican Afro-descendants

The Global African
2014-12-03

Bill Fletcher, Host

Randal Archibold, Bureau Chief for Mexico, Central America and the Caribbean
The New York Times (Author of the article “Negro? Prieto? Moreno? A Question of Identity for Black Mexicans”)

William Loren Katz
Author of: Black Indians: A Hidden Heritage

Each week on “The Global African” host Bill Fletcher, Jr. addresses issues facing Africa and the African Diasporas.

Mexico’s Afro-descendant population for years has been virtually invisible; now, for the first time ever, the next national census will include the category of Afro-Mexican. Fletcher interviews NY Times Bureau Chief for Mexico, Central America, and the Caribbean Randal Archibold about Mexico’s Afro-descendant population. The next segment of the program deals with a fascinating yet virtually unknown chapter of US history, the biological and cultural bonds established between African slaves and Native Americans. Professor William Loren Katz, author of Black Indians-A Hidden Heritage and 40 other books on African-Americans and Native Americans, describes his research on relations between Africans and Afro-descendants and Native Americans.

CUNY Exhibition Documents Lives of Black Africans in Early Dominican Republic

The New York Times
2015-07-13

Sandra E. Garcia

Scholars at the City University of New York are using clues left in 16th-century manuscripts and Spanish records to track the lives of the earliest black Africans in the Dominican Republic.

An exhibition now on view of letters and other documents from the archives of CUNY’s Dominican Studies Institute and the General Archives of the Indies in Seville, Spain, provides a window onto the lives of the often ignored black Africans of La Española, the island of Hispaniola.

In the exhibition, “16th-Century La Española: Glimpses of the First Blacks in the Early Colonial Americas,” 25 panels display photos of an original letter or record, along with an English translation, that explain or question situations involving formerly enslaved Africans on the island.

When searching the archives, Anthony Stevens-Acevedo, the assistant director of the Dominican Studies Institute, focused on keywords like “mulatto,” “negro” and “negra,” he said.

Read the entire article here.

Faking Black identity: An American tradition

The New Pittsburgh Courier
Pittsburgh, Pennsylvania
2015-06-27

Robert Fikes Jr., Reference Librarian
San Diego State University, San Diego, California

The recent case of Rachel Dolezal, the White woman who reinvented herself as African American and headed the Spokane, Washington NAACP, is just the latest sensationalized instance of “passing.”  Though reports of Black and mixed-race individuals pretending to be White far outnumber reports of Whites masquerading as Black, curiously, this rare but persistent case has attracted considerable attention.

In the 1800s there were documented cases involving poor Whites kidnapped, declared mulatto, and sold into slavery. In the 1900s the typical scenario presented Whites as intimate partners of Blacks or Whites who lived among them and found it convenient to either manufacture Black ancestry or did nothing to rectify the misconception folks had that they were part Black. A well-researched example, detailed in the acclaimed biography Passing Strange in 2009 by Martha Sandweiss, is that of blue-eyed Clarence King who in the late 1800s was a renowned white scientist by day but by evening resumed his fake identity as James Todd, a Black Pullman porter who lived with his Black wife and their two biracial children in Brooklyn, New York.

More widely publicized was journalist John Howard Griffin who in the late 1950s managed to darken his skin sufficiently to pass as Black in order to report on the ordinary treatment of Blacks in the Deep South.  His experiences resulted in the both a bestselling book and movie of the same title:  John Howard Griffin “Black Like Me.”…

Read the entire article here.

The Unperformative President

TDR: The Drama Review
Volume 59, Number 2, Summer 2015 (T226)
pages 7-8

Richard Schechner, University Professor; Professor, Performance Studies
New York University

Who is President Barack Obama? What will his legacy be? Why is he so unpopular that his own Democratic Party shunned him during the 2014 elections? The Dems got whupped in those elections, losing the Senate, falling further behind in the House and in governorships. Paradoxically, the defeat roused Obama to action. Even before the elections, Obama — sensing that he could not depend on a flaccid Senate and a toxic House — governed increasingly by executive order rather than legislation. The trend is accelerating. By means of executive order, Obama is reforming immigration policy, raising the minimum wage for Federal contract workers, extending rights to same-sex couples, giving paid parental leave to Federal employees, making it harder to buy guns, instituting major new limitations on greenhouse gas emissions, as well as signing a long-term agreement on climate control with China.

And of course the big turn around, one that will have reverberations for years to come: normalizing relations with Cuba.

Add to this, Obamacare (if it is not trashed by the Supreme Court). And don’t forget the stinks of the Bush years that Obama at least partly cleaned up: atrocities, dead-end wars, and economic collapse. Obama has not done enough, granted, but by comparison the nation is much better off now than in 2008.

If even a substantial part of what I’ve just written is true, why does the Obama presidency feel inadequate, to say the least? Why do so many on the Left disparage him while those on the Right despise him? A big part of the answer is the endemic racism of American culture. I won’t analyze this here except to note that Obama embodies a gap that he cannot transcend: African father, Euro-American mother; “black” Chicago street activist, “white” Harvard Law School graduate; country club golfer, ’hood high-fiver. Somewhere deep down Obama knows he isn’t having it both ways, or either way, so he has “chosen” (in quotation marks because I do not think it’s a conscious choice) to have it no way. He really wants his actions to speak for, of, and about him. He does not, or maybe cannot, perform himself as President.

He can’t be General Washington crossing the Delaware, pious Biblical Lincoln bringing his grief to Gettysburg, Rough-Rider Teddy Roosevelt leading the charge, patrician FDR having a “fireside chat” with 125 million Americans, camera-savvy Reagan ordering Mikhail Gorbachev to tear down the Berlin Wall, or beer buddy Dubya Bush landing on the flight deck of aircraft carrier Abraham Lincoln decorated with a banner boasting, “Mission Accomplished.” Obama’s public image is of a man who dislikes putting on a show. He’s not larger than life, holier than thou, or one of the folks.

Obama is the Unperformative President.

Which is both his greatness and his undoing.

Nowhere was Obama’s unperformativity more (in)visible than on 11 January 2015 when in Paris 40 world leaders led more than one million people marching for “free speech” and against the murder of 12 people at Charlie Hebdo, an officer directing traffic, and four hostages at a Paris kosher grocery. The front row — carefully staged for media — featured French President François Hollande, German Chancellor Angela Merkel, UK Prime Minister David Cameron, and — on either end of the line — Palestinian Authority Chairman Mahmoud Abbas and Israeli Prime Minister Benjamin Netanyahu. Obama and Vladimir Putin of Russia were conspicuously absent. Putin’s absence is explained by Russia’s behavior in the Ukraine and Putin’s former position with the KGB, the Soviet secret police. What was Obama’s excuse?

Clearly, he does not like to perform, if by perform one means playing the symbolic role assigned to him. Indeed, the US presidency has from its inception been a Great Figure in Jean Genet’s sense: in The Balcony the Great Figure is a necessary public performer representing one of the four quadrants of society: Queen, Police Chief, Judge, Bishop. Of course, other presidents have not wanted to play and some could not perform effectively. History also has its say. Crises have provided presidents with their best chances at performing well.

Obama took office at…

This identity and social experience is part of what [Rachel] Dolezal is denounced for having inauthentically appropriated. Unfortunately, it’s a darn sight messier and more complicated than that. For after all, blackness, responding to the dominant society’s definition and control of boundaries was in part defined by its opposition to the cultural construct of whiteness, and vice versa, whiteness was created in opposition and on the basis of the privileges generated by dividing our country into dominant and subordinate races.

Richard Kaplan, “Dolezal and the Defense of the Community,” Public Seminar, July 9, 2015. http://www.publicseminar.org/2015/07/dolezal-and-the-defense-of-the-community.

Imperfect Unions: Staging Miscegenation in U.S. Drama and Fiction by Diana Rebekkah Paulin (review) [Black]

TDR: The Drama Review
Volume 59, Number 2, Summer 2015 (T226)
pages 178-180

Alex W. Black
Rutgers, The State University of New Jersey

Imperfect Unions: Staging Miscegenation in U.S. Drama and Fiction. Diana Rebekkah Paulin. Minneapolis: University of Minnesota Press, 2012. 336 pages.

Imperfect Unions is Diana Rebekkah Paulin’s award-winning study of “the symbolic and material implications of interracial unions” in the United States from the Civil War to World War I (3). During this period, interracial sex was often “the black-white headliner that overwrote stories featuring other intersecting relationships,” including those of gender and class (xvi). For example: In her 1892 pamphlet Southern Horrors, Ida B. Wells demonstrated that black men were lynched in the postbellum South not because they were a sexual threat to white women, but because they were an economic threat to white men. Paulin calls the process through which miscegenation came to stand in for such conflict “demographic distillation” for the way it “elided other types of power relations” (x, xiii). Interpreting drama and fiction to investigate “the contours of the color line,” Paulin argues that “the black-white encounter overshadows the complex” identities of, and relations between, all Americans, regardless of their race or ethnicity (xi, ix).

Paulin’s “miscegenated reading practices” draw on performance studies and literary history to examine formally hybrid productions like Thomas Dixon’s play The Clansman, which he adapted from his own novel, and Pauline Hopkins’s Winona, which she began as a play but rewrote as a novel (xiii). If the name Paulin gives to her method is provocative (one may argue how parallel the lines of color and of scholarship are), the method itself is productive. Her approach is consistent with the objects of study, which often make their arguments in theatrical terms — many are filled with spectacular enactments of identity — and with their creators, who worked in multiple media. More than viewing performance as a metaphor, these writers saw their texts as “mediating between the imagined world and the realities of everyday experience” (3): Louisa May Alcott based “M.L.” on the well-known case of a black male professor eloping with a white female student (30); Charles Chesnutt sent a copy of The Marrow of Tradition to Congress (104); James Weldon Johnson wrote The Autobiography of an Ex-Colored Man while serving as an American consul to Venezuela and Nicaragua (206).

In the first chapter, “Under the Covers of Forbidden Desire: Interracial Unions as Surrogates,” Paulin shows that miscegenation was viewed as a threat to the family and the nation it represented. In the Civil War era, America was figured as a divided house and as a mixed race. The title character of Dion Boucicault’s 1859 play The Octoroon embodies and inspires transgression: the other characters respond to her resistance to classification by revolting against their own classes — and races and genders (13, 10). Both of Alcott’s 1863 short stories, “M.L.” and “My Contraband,” feature white women who desire mixed-race men and their own liberation from patriarchal society (32, 44).

In the book’s second chapter, “Clear Definitions for an Anxious World: Late Nineteenth-Century Surrogacy,” Paulin describes how Americans dramatized national issues on an international stage. In the period between Reconstruction and Plessy v. Ferguson, they imagined Europe as a place where miscegenation originated or where it could settle and be resolved. The ambiguous racial status of the heroines of Bartley Campbell’s 1882 play The White Slave and William Dean Howells’s 1892 novel An Imperative Duty are resolved through marriage. In the former, a man declares his granddaughter (fathered by a foreigner and born abroad) to be his slave’s daughter to hide her illegitimate birth; her whiteness and their property are redeemed when she marries her grandfather’s adopted son (70–71). In the latter, a woman who learns that her mother was an octoroon chooses marriage to a white man and emigration to Europe over the cause of black uplift (87).

In chapter 3, “Staging the Unspoken Terror,” Paulin finds that Americans at the turn of the century connected the future of the nation’s government to the issue of miscegenation (102). This is the first chapter to present texts by a black writer and a white writer who take opposing positions, even if they foresee the same outcome: In Chesnutt’s The Marrow of Tradition, a white woman is killed (and rumored to have been…

Read or purchase the review here.