Mixed Race Studies

First black and minority ethnic orchestra to make debut

BBC News
2015-09-11

Lizo Mzimba

Europe’s first professional orchestra consisting entirely of black and minority ethnic musicians will make its debut this weekend at the Southbank Centre in London.

The Chineke orchestra has been created to promote diversity in a musical world that is predominantly white.

Lizo Mzimba reports from one of its final rehearsals.

Watch the story here.

James Blake doesn’t want NYPD cop who tackled him to ‘ever have a badge and gun again’

The New York Daily News
2015-09-12

Wayne Coffey, Special Reporter

Rich Schapiro, Staff Writer

Retired tennis star James Blake said Saturday the NYPD cop who brutally wrestled him to the ground should be served his walking papers.

“I want him to know what he did was wrong, and that in my opinion he doesn’t deserve to ever have a badge and a gun again, because he doesn’t know how to handle that responsibility effectively,” Blake, 35, told the Daily News. “He doesn’t deserve to have the same title as officers who are doing good work and are really helping keep the rest of the city safe.”

Blake called on the NYPD to can Officer James Frascatore a day after the department released disturbing video showing the WWE-style takedown outside a Midtown hotel Wednesday…

…Blake initially said he believed race was a factor in the rough arrest. But asked Saturday whether he thought white tennis stars such as Andy Roddick or Mardy Fish would have been treated the same way, he demurred.

“I don’t want to say that at all because I think that muddies the issue at hand,” said Blake, who was born to a black father and a white mother. “In this incident it was the excessive force that’s really the issue, because it was a nonviolent crime.”…

Read the entire article here.

They Pretend To Be Us While Pretending We Don’t Exist

BuzzFeed
2015-09-11

Jenny Zhang, BuzzFeed Contributor

Will Varner / BuzzFeed

White poet Michael Derrick Hudson’s use of the Chinese pen name Yi-Fen Chou was an act of yellowface that is part of a long tradition of white voices drowning out those of color in the literary world.

To be Other in America is to be coveted and hated at the same time. It’s never been enough to know that I feel it, but I know I am often asked to prove it before I am allowed to speak on it. When I was a graduate student at the Iowa Writers’ Workshop for fiction writing, I felt both coveted and hated. My white classmates never failed to remind me that I was more fortunate than they were at this particular juncture in American literature. “No one is going to pay attention to a name like mine,” a white dude who exclusively wrote stories about white dudes said to me one time when I was feeling particularly low about my writing. I couldn’t enjoy a scrap of validation or wallow in a sliver of self-doubt without someone interjecting some version of “You’re so lucky. You’re going to have an easier time than any of us getting published.” They were shameless about their envy, not shy or coy at all about their certainty that my race and gender were an undeniable asset, which, in turn, implied that I could be as mediocre and shitty as I wanted and still succeed. This was how some of my white classmates imagined the wild spoils of my literary trajectory. This was how they managed to turn themselves into the victims.

…I won’t be scandalized because what Hudson is doing isn’t anything that white male writers haven’t already been doing since the first recorded instance of our culture embracing any kind of excellence that did not include them: scramble to come up with ways to keep the playing field uneven, to keep the odds stacked in their favor. The scandal of Hudson performing the laziest act of yellowface (co-opting a Chinese name) to get his poem published and accepted into the Best American Poetry anthology is lurid fodder for our cultural conversation because of its explicitness, but it should not be strange or unbelievable. White people have always slipped in and out of the experiences of people of color and been praised extravagantly for it. After all, 50 years ago, when black voices were fighting to be heard, when their stories of trauma and abuse were struggling for legitimacy, it took John Howard Griffin, a white man who dyed his skin black and wrote about his experiences as a “black” man in his book, Black Like Me, for white Americans to believe that yes, black people were telling the truth about their lived experiences in the Jim Crow South. He was hailed a singular hero. Studs Terkel once said, “Griffin was one of the most remarkable people I have ever encountered. He was just one of those guys that comes along once or twice in a century and lifts the hearts of the rest of us.” It may seem totally nuts now, but as far as who gets credit for simply being affected by black pain, it doesn’t seem very removed from our current world where we heap lavish praise on someone like Jon Stewart for announcing on the Daily Show that he was too heartbroken to make jokes after the Charleston church shooting, as if all throughout this country’s present and past, black people and people of color have not been so heartbroken and so violated that we were left humorless, or worse, dead. To praise Stewart as excessively as he was praised is to say to black people: Your pain is unexceptional and does not matter until a white man feels it too…

Read the entire article here.

African Heritage and Memories of Slavery in Brazil and the South Atlantic World

Cambria Press
428 pages
2015-02-06
6 x 9 in or 229 x 152 mm Case Laminate
ISBN: 9781604978926

Edited by:

Ana Lucia Araujo, Professor of History
Howard University, Washington, D.C.

This book explores the history of African tangible and intangible heritages and its links with the public memory of slavery in Brazil and Angola. The two countries are deeply connected, given how most enslaved Africans, forcibly brought to Brazil during the era of the Atlantic slave trade, were from West Central Africa. Brazil imported the largest number of enslaved Africans during the Atlantic slave trade and was the last country in the western hemisphere to abolish slavery in 1888. Today, other than Nigeria, the largest population of African descent is in Brazil. Yet it was only in the last twenty years that Brazil’s African heritage and its slave past have gained greater visibility. Prior to this, Brazil’s African heritage and its slave past were completely neglected.

Even after the abolition of slavery in Brazil, African culture continued to be marginalized. Carnival, religious festivals, as well as Candomblé ceremonies, and capoeira (an Afro-Brazilian martial art) created important spaces of black assertion and insurgency. These cultural traditions were contested by white elites and public authorities, but starting in the 1930s, capoeira became a national symbol and Candomblé temples were gradually officially added to Brazil’s list of heritage sites.

In spite of these developments, the Atlantic slave past has remained absent from the public landscape of Brazilian and Angolan former slave ports, suggesting how difficult it is for these countries to address the painful legacies of slavery. African art and material culture also continued to be excluded from museums and other official institutions. In the rare instances that African artifacts were shown, they would be confined to only certain places dedicated to popular culture and associated with the religious sphere.

Even though public attention on slavery was growing internationally through national and international initiatives (e.g., The Slave Route Project by UNESCO), Brazil and Angola developed very few initiatives for the memorialization of slavery and the Atlantic slave trade. This has started to change slowly in the last decade as Brazil has begun engaging in more initiatives to memorialize slavery and underscore the importance of its African heritage.

Brazil’s slave past and African heritage are emerging gradually in urban and rural areas through different kinds of initiatives led not only by activists but also by scholars in association with black communities. Although in their early stages, most of these projects are permanent programs supported by official agencies. This new configuration suggests that––unlike the case in Angola––in Brazil, slavery and the Atlantic the slave trade are becoming recognized as foundational chapters of the country’s history.

This is the first book in English to focus on African heritage and public memory of slavery in Brazil and Angola. This interdisciplinary study examines visual images, dance, music, oral accounts, museum exhibitions, artifacts, monuments, festivals, and others forms of commemoration to illuminate the social and cultural dynamics that over the last twenty years have propelled––or prevented––the visibility of African heritage (and its Atlantic slave trade legacy) in the South Atlantic region.

The book makes a very important contribution to the understanding of the place of African heritage and slavery in the official history and public memory of Brazil and Angola, topics that remain understudied. The study’s focus on the South Atlantic world, a zone which is sparsely covered in the scholarly corpus on Atlantic history, will further research on other post-slave societies.

African Heritage and Memories of Slavery in Brazil and the South Atlantic World is an important book for African studies and Latin American studies. It is especially valuable for African Diaspora studies, African history, Atlantic history, history of Brazil, history of slavery, and Caribbean history.

Table of Contents

• List of Figures
• Introduction: Wounded Pasts: Memory of Slavery and African Heritage in Brazil (Ana Lucia Araujo)
• Chapter 1: Collectionism and Colonialism: The Africana Collection at Brazil’s National Museum (Rio de Janeiro) (Mariza de Carvalho Soares)
• Chapter 2: Race and Visual Representation: Louis Agassiz and Hermann Burmeister (Maria Helena Machado)
• Chapter 3: Counter-Witnessing the Visual Culture of Brazilian Slavery (Matthew Francis Rarey)
• Chapter 4: Angola in Brazil: The Formation of Angoleiro identity in Bahia (Matthias Röhrig Assunção)
• Chapter 5: Memories of Captivity and Freedom in São José da Serra Jongo Festivals: Cultural Heritage and Black Identity (1888–2011) (Martha Abreu and Hebe Mattos)
• Chapter 6: From Public Amnesia to Public Memory: Re-Discovering Slavery Heritage in Rio de Janeiro (André Cicalo)
• Chapter 7: Uncomfortable Pasts: Talking About Slavery in Angola (Marcia C. Schenck and Mariana P. Candido)
• Chapter 8: “Bahia is a Closer Africa”: Brazilian Slavery and Heritage in African American Roots Tourism (Patricia de Santana Pinho)
• Chapter 9: Preserving African Art, History, and Memory: The AfroBrazil Museum (Kimberly Cleveland)
• Chapter 10: The Legacy of Slavery in Contemporary Brazil (Myrian Sepúlveda dos Santos)
• Bibliography
• Index
• About the Contributors

James Blake and the Myth of an Unarrestable Black Man

The Daily Beast
2015-09-10

Tomás Ríos

Bill Bratton said race ‘had nothing at all to do’ with tennis star James Blake’s wrongful collaring and arrest. The numbers tell a different story.

What does a non-white person have to do for the police to leave them alone? The ready answer is that you have to be more famous than former tennis star James Blake.

Blake was leaving his Midtown Manhattan hotel to make corporate appearances at the U.S. Open when five white, plainclothes New York City police officers tackled and handcuffed him on Wednesday.

The real answer, of course, is that not being white means there is no escape from the consequences of not being white.

Among those who buy into the mythic moral righteousness of our police forces, there is a belief that people of color need only be perfect little humans to cancel out the realities of a racist society. Go to college, smile, pull up your pants, don’t smile at white women, and the prescription for transcending race goes on and on.

It seems not even James Blake—who attended Harvard, overcame scoliosis and a broken neck to become a world-class tennis player, and is now a cancer research philanthropist—can be that perfect. The numbers on incarceration make that much clear…

Read the entire article here.

In its focus on genetics and race, global newspaper coverage of athletics is far from “post-racial”

The LSE’s daily blog on American Politics and Policy
The London School of Economics and Political Science
London, United Kingdom
2015-09-10

Matthew W. Hughey, Associate Professor of Sociology
University of Connecticut

Devon R. Goss, Ph.D. Candidate in Sociology
University of Connecticut

With the years of racially segregated sports now long behind us, many would consider that sports coverage is color-blind and post-racial. In new research which examines newspaper coverage of race, sport and genetics from 2003 to 2014, Matthew W. Hughey and Devon R. Goss find that this is not the case. They write that the media persistently reinforces the notions that African American’s athletic success is based on biology, while whites’ comes from hard work and intelligence. They also debunk the ideas often seen in the media that race has a biological reality which can be defined by genes, and that the historic process of slavery somehow eliminated ‘weaker genes’ from the African American population, making them a more athletic race.

For many, sport represents the ultimate color-blind space, affording a level playing field where only one’s training and skills are the hallmarks of competition. Hence, racist and prejudicial beliefs and phenomena are both literally and figuratively, out-of-bounds. Moreover, sport has been understood as an activity that promotes racial harmony amongst both participants and observers. But such a claim is a bit simplistic.

To make sense of the correlation between different racial groups’ success and failures amidst different athletic events, many draw from the deep well of scientific racism to quench their thirst for explanatory knowledge. For instance, some research has found that many athletes believe that white sporting success is attributable to intelligence, while nonwhite success is accredited to genetically predisposed bodies—a longstanding cultural trope known as “white brains versus black brawn”—that has been around for at least a century. After African American boxer Jack Johnson became the heavyweight champion of the world in 1908, he precipitated a slow reconsideration of the assumption of nonwhites’ physical inferiority—a central tenet of early 20th century racial science and eugenics. Fast forward to our contemporary moment and the banal ubiquity of this trope among sports commentators is well known, and was even recently panned by the comic duo Key & Peele…

Read the entire article here.

Vulnerability as Empowerment in the Classroom

Education Week
2015-09-09

Christina Torres, Middle and high school English and Drama Teacher
University Laboratory School, Honolulu, Hawaii

It’s back-to-school time for many students and teachers this week. For many, it means that 20 to 120 new faces enter our classrooms and our lives.

Jessica, a fifth-grade teacher in Chicago, wrote this beautiful piece on the vulnerability of her new students after asking them to share how they saw themselves reflected in literary characters:

I was in awe of the bravery of these kids. To speak this freely in front of their classmates. To tell these things to me, their teacher, who they barely even know at this point. That is bravery.

What they showed me is their capability to make themselves vulnerable. To be willing to share the deepest parts of themselves. To leave behind the worry of how others would react and share these moments and glimpses into their lives with us all.

The piece hits on an aspect of education that is often forgotten: students not only look to us for content, they also can experience either empowerment or oppression based on the culture of our classrooms…

We have to face this with our students head on. We must not only acknowledge this truth with students but also attempt to build trust in a space that has failed to validate their identities.

Here’s the thing: we have all been biased, and we have been hurt by biases. As Jay Smooth discusses in his seminal talk, “How I Learned to Stop Worrying and Love Discussing Race,” “the race constructs that we live in in America were shaped … for centuries by a need to rationalize and justify indefensible acts.” Because of this, we “will never bat a thousand when it comes to dealing with race issues.” We’re going to mess up, which is difficult when the stakes feel so high…

Read the entire article here.