Mixed Race Studies

As Dear White People receives much deserved praise for its “diverse” representations of Black characters, the conversation on mixed race identity fails to be fully engaged with and must continue. The hypervisibility of mixed race women as video vixens, eroticized Others, or Tragic Mulattas flattens the complexities of negotiating a mixed-race identity within a Black-White binary. Rather than reinforcing this problematic binary with movies and TV shows in which characters have to “pick a side” or are placed within “colorblind” settings, we must demand that characters choose not to remain fixed within a singular identity performance. The tired tropes of mixed race women’s sexuality are not harmless entertainment, but have devastating consequences off-screen because they are translated to interpersonal relationships.

Jazlyn Andrews, “EMERGING FEMINISMS, (F)Act of Blackness: The Politics of Mixed Race Identity,” The Feminist Wire, February 25, 2016. http://www.thefeministwire.com/2016/02/30379/.

For Artur Santoro, 21, identifying as black is about being honest with himself—a process similar to coming out as gay.

“I had to come out of the closet twice—once as gay, and once as black,” Artur tells me. He says growing up with a white dad and a “light-skinned black” mom made it difficult to recognize his own blackness for most of his youth. But once Artur got involved in the LGBT community, it helped him identify other forms of discrimination in his life.

“I was suffering from situations of racism and didn’t realize it before,” he said. “If you’re black, you suffer racism—it’s not a choice; black is a consequence of what I live.”

Tim Rogers, “That moment you look in the mirror and realize you’re black,” Fusion, February 28, 2016. http://fusion.net/story/274184/that-moment-you-look-in-the-mirror-and-realize-youre-black/.

“The Free State of Jones” on Film: A Q&A with Victoria Bynum

The Society of Civil War Historians
2016-03-01

Megan Kate Nelson

This May, STX Entertainment will release the film Free State of Jones, which tells the story of the Knight Company and the Jones County rebellion, a Civil War history first told by Victoria Bynum in her 2001 book The Free State of Jones. A few weeks ago, Bynum and I discussed her experiences working as a consultant on the film, and seeing her book come alive on the screen.

MKN: Did you know at the time you were writing “The Free State of Jones” that it had cinematic potential? And what is it about this story that makes it compelling for filmmakers?

VB: As I researched and wrote The Free State of Jones, I grew increasingly aware of its historical importance as an insurrection that combined elements of class, race, gender, and kinship that, for this story, had long been underestimated, misunderstood, distorted, or simply ignored.

Although I did not write the book with a movie in mind, the story’s vivid real-life characters, its oral and written first-hand accounts of fierce confrontations between Confederates and deserters, the interracial romance between the band’s leader, Newt Knight, and his slave accomplice, Rachel Knight, and the Unionist core of the band itself, convinced me of the story’s cinematic potential.

On the standard author’s questionnaire that I completed for the University of North Carolina Press, I advised the press to consider presenting the book “to television and film companies as a potential docudrama or miniseries.” At that point, however, I did not anticipate Hollywood’s interest in the story…

Read the entire interview here.

‘Blaxicans’ photos explore Angelenos straddling two worlds

Cable News Network (CNN)
2016-03-01

Emanuella Grinberg, Writer/Producer CNN Digital

Blaxicans of L.A. is an Instagram account that grew into a show at Los Angeles’ Avenue 50 Studio during Black History Month. The exhibit includes portraits with captions detailing personal histories and experiences with colorism and self-identity. Ken and Alejandra, pictured here, say they tell their daughter she is black and Mexican. “We will explicitly teach her to be proud of the fact that she is Mexican and to be proud of the fact that she is black,” Alejandra said.

Los Angeles (CNN)—As the biggest names in entertainment converged Sunday on the Oscars red carpet at the Dolby Theatre in Hollywood, about 10 miles to the east, artists, academics and community leaders gathered in Los Angeles’ historically Chicano community for a different sort of cultural event.

“Duality: Blaxicans of L.A.” is a photo exhibit that explores multiracial identity among the city’s two largest minority groups. The show is a Humans of New York-esque portrait series of Angelenos of African and Latino backgrounds accompanied by captions detailing family history, experiences with colorism and self-identity.

The exhibit grew from an Instagram account of the same name started by Walter Thompson-Hernandez, who has a Mexican mother and an African-American father. He launched Blaxicans of L.A. while researching the topic as a graduate student at Stanford University’s Center for Latin American Studies in response to what he saw as a gap in multiracial studies.

“Most multiracial scholarship has been on the black and white binary. I felt it didn’t cover the range of ways that multiracial people identify,” he said…

Read the entire article here.