Mixed Race Studies

Interview with Filmmaker Adu Lalouschek

Rooted In Magazine
2015-10-13

Annina Chirade

Adu Lalouschek is a 21-year-old filmmaker from London and recent graduate of the London College of Communication [University of the Arts]. Whilst studying Film and Television at University, Adu met fellow course mate Alex Wondergem, “I first remember meeting Alex when he was drumming on his lap in a seminar, he saw me and he said ‘Hey brother, where are you from?’”. It was then that they both found they were of mixed-Ghanaian descent, but they began their initial creative partnership as musicians; Alex played the drums whilst Adu was on the guitar. This soon transitioned into a film partnership that would see them co-directing and co-producing, “Our first film was a narrative film based on the Tottenham Riots which we made in 2012. But, my real passion came when we started making our documentaries in West Africa and I could see how our films were part of the changing landscape.”

Alex spent the majority of his life in Accra, whereas Adu grew up in London. They have two distinct visions which they are able to combine to create engaging work. In their second year of study, they came up with the idea for the In the Life series, where they portray interesting personal stories in Ghana. Their first in the series was Scrap Metal Men (2014), in which they followed two scrap workers in Agblogboshie – formerly the world’s largest e-waste dump. The second, Ga Fishermen (2015) documents the fast-disappearing traditions of the Ga fisherman in Accra; it premiered at BAFTA student screening and was shown at Chale Wote 2015. The third, and most recent, is Warrior’s Gym (2015) in which they capture the personal triumph of one of Ghana’s strongest men – Warrior. Both Ga Fishermen and Warrior’s Gym will be available to view at 1:54 from the 15th to 18th of October.

Aside from his films with Alex, Adu has also taken recent trips to Roses, Spain and Nsukka, Nigeria; there he spent time photographing and filming subjects. In this interview he will sharing snapshots from his travels, and films with Alex.

Annina: How does your heritage inform the stories and work you choose to do?

Adu: I’m Ghanaian and also Austrian, but first and foremost, I’m a Londoner. Alex and I are both mixed-race, and it’s obvious from our appearance when we walk around Ghana, that we’re not fully Ghanaian – we acknowledge that. Our main focus was to not make poverty-chic documentaries. We wanted to make documentaries in Accra, Ghana and not allow people to view Africa as a homogeneous place. We approached it in different ways. In our first documentary Scrap Metal Men, we didn’t have any talking head shots because we thought that was really cliché. We always made sure we filmed from a lower angle, because we didn’t want to be looking down on our subjects. By incorporating different techniques we found a way to place our feet in the documentary world – it was experimental in that sense. Our voice came through precisely because we didn’t want to dictate to the viewer. We showed some text to give context at the beginning and the end of the documentary, but we really let the viewer inform themselves through the narrative and the characters that we portrayed…

Read the entire article here.

At Last …?: Michelle Obama, Beyoncé, Race & History

Dædalus
Winter 2011, Volume 140, Number 1
Posted Online 2011-03-09
pages 131-141
DOI: 10.1162/DAED_a_00065

Farah J. Griffin, William B. Ransford Professor of English and Comparative Literature and African-American Studies
Columbia University

In this essay, Griffin brings to the fore two extraordinary black women of our age: First Lady Michelle Obama and entertainment mogul Beyoncé Knowles. Both women signify change in race relations in America, yet both reveal that the history of racial inequality in this country is far from over. As an Ivy League-educated descendent of slaves, Michelle Obama is not just unfamiliar to the mainstream media and the Washington political scene; during the 2008 presidential campaign, she was vilified as angry and unpatriotic. Beyonce, who controls the direction of her career in a way that pioneering black women entertainers could not, has nonetheless styled herself in ways that recall the distinct racial history of the Creole South. Griffin considers how Michelle Obama’s and Beyonce’s use of their respective family histories and ancestry has bolstered or diminished their popular appeal.

Read or purchase the article here.

Brown: The Last Discovery of America

Penguin Books
2012
256 Pages
Paperback ISBN: 9780142000793
eBook ISBN: 9781101161500

Richard Rodriguez

In his dazzling new memoir, Richard Rodriguez reflects on the color brown and the meaning of Hispanics to the life of America today. Rodriguez argues that America has been brown since its inception-since the moment the African and the European met within the Indian eye. But more than simply a book about race, Brown is about America in the broadest sense—a look at what our country is, full of surprising observations by a writer who is a marvelous stylist as well as a trenchant observer and thinker.

Table of Contents

• Brown – Richard Rodriguez Preface
• One: The Triad of Alexis de Tocqueville
• Two: In the Brown Study
• Three: The Prince and I
• Four: Poor Richard
• Five: Hispanic
• Six: The Third Man
• Seven: Dreams of a Temperate People
• Eight: Gone West
• Nine: Peter’s Avocado
• Acknowledgments

Postracial Mestizaje: Richard Rodriguez’s Racial Imagination in an America Where Everyone Is Beginning to Melt

American Studies
Volume 54, Number 1, 2015
pages 89-113
DOI: 10.1353/ams.2015.0007

Lee Bebout, Associate Professor of English
Arizona State University

And it seemed to me that the larger questions about America that the color raised is the fact that we are, all of us, in our various colors, our various hues, melting into each other and creating a brown nation. I tried to write a brown book, that is, brownly, by engaging contradiction and paradox, and rhetorical devices that suggest the way that I experience my own life. That is, for example, as the descendent of a conquistador and the Indian—as a Hispanic.

Richard Rodriguez

In recent years, racial formation in the United States has thrived in precipitous tension. Since the social and political tumult of the various freedom struggles from the 1950s to the 1970s and the rise of multiculturalism, explicitly racist discourses and practices have fallen from favor. Yet as many have noted, the material saliency of race is felt as much as ever. Thus, we are left with a wide array of seeming contradictions that maintain white supremacy and other forms of inequality in the guise of fairness and the protection of rights: ever-rising incarceration rates in communities of color through mandatory sentencing and policies of disparate impact, delegitimization campaigns against the first African American President of the United States through questions of his birthright citizenship, anti-(Latino) immigration policies that respond to the Hispanicization of America that mark people under “reasonable suspicion” of foreignness, and the targeting and banning of Mexican American Studies curricula by calling for students to be treated as individuals. These are but a few examples of the dynamic tension of racial formation in contemporary U.S. culture. It is within this context that I seek to situate Richard Rodriguez’s exploration of race in America in his 2002 book Brown: The Last Discovery of America.

Responding in part to Huntingtonian fears of a “clash of civilizations” and a “browning of America,” Rodriguez exalts the impurity of brown as a great American tradition. For Rodriguez, it is not “Brown, … in the sense of pigment, necessarily, but brown because mixed, confused, lumped impure, unpasteurized, as motives are mixed, and the fluids of generations are mixed and emotions are unclear, and the tally of human progress and failure in every generation is mixed, and unaccounted for, missing in plain sight.”

Here one may find common ground between Rodriguez’s “brown” and theorizations of complex personhood by Gloria Anzaldúa and Avery Gordon. Each maps the interactions of multiple, contradictory elements that constitute any individual. For Anzaldúa, this means embracing rejected aspects of the self: the working class, the indigenous, and the queer. In complementary fashion, Gordon suggests that people are not so easily compartmentalized as either victims or agents of their own destiny. Together, they articulate the impurity that Rodriguez terms brown. As this article will demonstrate, however, even as Rodriguez seeks to contest notions of purity, racial and otherwise, Brown serves the interests of the dominant racial order vis-à-vis its relationship to neoliberal thought and discursive strategies. Through Brown, Rodriguez advances a post-racial mestizaje, an embrace of mixture and contradiction that seeks to subvert the social construct of race and yet simultaneously acquiesces to the logics that undergird current inequalities.

In a Brown Context

The political thrust of Rodriguez’s brown project takes on greater significance when placed in context with his earlier work and its critical response. A child of Mexican immigrants who came of age during the Chicano movement—although certainly not a part of it—Rodriguez is one of the most recognized Latina/o public intellectuals today. Yet his vocal arguments against bilingual education, ethnic studies, and affirmative action have long made him a target of criticism. With the publication of his first memoir, Hunger of Memory, and his speaking engagements in conservative circles, Rodriguez advanced a problematic argument of a split between private and public selves. For Rodriguez, his Mexican heritage and the Spanish language were relegated to the private, familial sphere. Because of this argument, Rodriguez became a veritable Hispanic, anti-Chicano boogieman. Tomás Rivera, Ramón Saldívar, William Nericcio, and others critiqued Rodriguez’s thinking, and sometimes Rodriguez himself, as the result of a colonized mind, blind to history and structural…

The East-West House: Noguchi’s Childhood in Japan

Lee & Low Books
2012-09-02
28 pages
11.1 x 8.7 x 0.4 inches
Hardcover ISBN: 9781600603631

Christy Hale, Author, Illustrator

Isamu was a boy of the East and the West. Born in the United States to a Japanese father and Scotch-Irish American mother, Isamu grew up in Japan. From his earliest years he felt the tug of his biracial heritage, never quite fitting in or thinking he belonged. Pleasure came, however, from the natural world. Color, light, and shadow. Earth, wood, and stone. Working with these forms of nature, Isamu found a way to blend his cultural divide. It was an exploration that became the cornerstone and spirit of his lifelong creative journey.

With lyrical text and luminous artwork, Christy Hale tells the story of the boy who grew up to be the multifaceted artist Isamu Noguchi. Guided by his desire to enrich everyday life with art while bringing together Eastern and Western influences, Noguchi created a vast array of innovative sculptures, stage sets, furniture, and public spaces. The East-West House is a tribute to the artistic beginnings of this pioneering modern sculptor and designer.

White supremacy remains intact despite the increase in interracial relationships

Media Diversified
2014-07-08

Huma Munshi
London, United Kingdom

It’s been a strange tale of race relations of late. On the one hand, research indicates that one in ten relationships are between people from different ethnic backgrounds. Yet on the other hand, the effects of institutional racism are as potent ever.

It can come as no surprise that we are seeing more people in relationships from a different ethnic background. In cities with a high population density, mixing within diverse communities is very much the norm. In London, the 2011 Census showed that the BAME population outnumbered White British for the first time. Within that, however, there are pockets where there is significant segregation of communities. The groups that are least likely to be in mixed relationships are Bengali and Pakistani. So even within the context of mixed race relationships there are anomalies.

But this is just one small piece of a complex jigsaw.

PC Carol Howard’s case of race and sex discrimination against the Metropolitan Police Service was upheld last week, the employment tribunal ruled that the MPS “directly discriminated” against her. Moreover, it cast a light on the practice of “systematically destroying evidence of sexual and racial discrimination within its ranks”. Officers within the MPS clearly had great difficulty with a black woman in a senior position…

…In some respects the increase in relationships between different ethnic groups does not make the slightest difference to white supremacy in society. The latter not only exists but has such a profound and all pervasive impact on society. People may mix, they may marry and have children but what of the structures of racism that prevail?…

Read the entire article here.

The Myth of the White Minority

Critical Philosophy of Race
Volume 3, Issue 2, 2015
pages 305-323

Andrew J. Pierce, Lecturer
Department of Philosophy
Sacred Heart University, Fairfield, Connecticut

In recent years, and especially in the wake of Barack Obama’s reelection, projections that whites will soon become a minority have proliferated. In this essay, I will argue that such predictions are misleading at best, as they rest on questionable philosophical presuppositions, including the presupposition that racial concepts like ‘whiteness’ are static and unchanging rather than fluid and continually being reconstructed. If I am right about these fundamental inaccuracies, one must wonder why the myth of the white minority persists. I will argue that by reenvisioning whites as a minority culture struggling against a hostile dominant group, and by promoting white solidarity as a response to a (fabricated) crisis, such predictions actually serve to defend and legitimize white supremacy.

Read or purchase the article here.

Collective Identity, Oppression, and the Right to Self-Ascription

Lexington Books
May 2012
142 pages
Size: 6 x 9
Hardback ISBN: 978-0-7391-7190-5
Paperback ISBN: 978-0-7391-9057-9
eBook ISBN: 978-0-7391-7191-2

Andrew J. Pierce, Lecturer
Department of Philosophy
Sacred Heart University, Fairfield, Connecticut

Collective Identity, Oppression, and the Right to Self-Ascription argues that groups have an irreducibly collective right to determine the meaning of their shared group identity, and that such a right is especially important for historically oppressed groups. The author specifies this right by way of a modified discourse ethic, demonstrating that it can provide the foundation for a conception of identity politics that avoids many of its usual pitfalls. The focus throughout is on racial identity, which provides a test case for the theory. That is, it investigates what it would mean for racial identities to be self-ascribed rather than imposed, establishing the possible role racial identity might play in a just society. The book thus makes a unique contribution to both the field of critical theory, which has been woefully silent on issues of race, and to race theory, which often either presumes that a just society would be a raceless society, or focuses primarily on understanding existing racial inequalities, in the manner typical of so-called “non-ideal theory.”

Table of Contents

• Introduction
• Chapter 1: Minority Cultures and Oppressed Groups: Competing Explanatory Frameworks
• Chapter 2: Collective Identity, Group Rights, and the Liberal Tradition of Law
• Chapter 3: Identity Politics Within the Limits of Deliberative Democracy
• Chapter 4: The Future of Racial Identity: A Test Case