Mixed Race Studies

The Mix: Conversations with Artists…Between Races

Stage and Studio
KBOO FM, Portland, Oregon
Tuesday, 2018-03-20 19:00-19:30Z (11:00-11:30 Local Time)

Dmae Roberts, Host

“In The Mix: Conversations with Artists…Between Races” by Dmae Roberts is a radio exploration of Mixed Race. Through the voices of artists who have dedicated their lives to building bridges and bringing to light interracial issues and themes, Roberts takes us on a journey to understanding what means to be of Mixed Race.

You’ll hear Novelist Lisa See (Peony in love), Playwright Heather Raffo (9 Parts of Desire), Writer/Conceptual Artist damali ayo, Playwright Velina Hasu Houston, and three actors formerly from the Oregon Shakespeare Festival, Juan Rivera LaBron, Soneela Nankani and Joshua Wolf Coleman. For more info visit the Facebook page or go to MixedRaceWorld.org.

Associate producer is Sara Caswell and mix engineer is Clark Salisbury. Originally aired in 2008.

Funded by the Regional Arts and Culture Council and the National Endowment for the Arts.

To listen to the interview, click here.

A black female politician was gunned down in Rio. Now she’s a global symbol.

The Washington Post
2018-03-19

Anthony Faiola, South America/Caribbean Bureau Chief
Miami, Florida

Marina Lopes, Reporter
São Paulo, Brazil

Demonstrators rally for a second consecutive day last Friday to mourn Marielle Franco, a Rio de Janeiro councilwoman, black rights activist and outspoken critic of police brutality who was fatally shot in an assassination-style attack in the city on March 14. (Lianne Milton/For The Washington Post)

RIO DE JANEIRO — Before stepping into her Chevrolet Agile at 9:04 p.m. last Wednesday, Marielle Franco had just done what she did best: fire up a room.

“Let’s do this,” the 38-year-old politician with the cascading Afro had said as she wrapped up a speech at Rio’s House of Black Women calling for black empowerment.

Brazil needed it, she said. Across this troubled metropolis, police brutality and extrajudicial killings were ravaging the slums. Elected last year as the only black woman on Rio’s 51-member city council, she had gone after those responsible while reframing the debate in an uncomfortable new way.

In a society that has long seen itself as post-racial, Franco argued, the slaughter was not just a war on the poor. It was also a war on blacks…

…Racism in Brazil has a complex history.

The country imported 4 million slaves, more than 10 times the number brought to the United States. In the United States, intermixing of races was discouraged. But in Brazil, where Portuguese settlers were outnumbered by their slaves, it was endorsed as a way to “whiten” the population.

Miscegenation soon became a cornerstone of national identity, with 53 percent of Brazilians now seeing themselves fluidly as black or mixed-race.

“In Brazil, you bump up against this narrative of racial mixture, that black identity or white identity is an import — that the concept of racism was imported by Americans,” said Glen Goodman, professor of Brazilian studies at the University of Illinois at Urbana-Champaign.

Critics say that the myth of a post-racial Brazil silences conversations about deep-rooted discrimination and violence…

Read the entire article here.

Africanus Princeps? The Emperor Caracalla and the Question of His African Heritage

Journal of Black Studies
First Published 2018-03-12
DOI: 10.1177/0021934718760219

Alex Imrie
University of Edinburgh, Edinburgh, United Kingdom

This article responds to a recent publication in the Journal of Black Studies regarding the emperor Caracalla, who ruled the Roman Empire between AD 211 and 217, following the murder of his younger brother, Geta. In addition to offering an exploration of his career, the recent essay attempts to investigate the importance of Caracalla’s African heritage to the historical portrait of him that survives into modernity, claiming that both ancient sources and modern scholars have downplayed the emperor’s origin and ancestry. Unfortunately, the publication is beset by factual errors that serve to undermine its case. This article addresses these shortcomings and attempts to explain the scholarly approach to Caracalla’s ethnicity, showing that there was some recognition of Caracalla’s African roots, even in antiquity. Furthermore, this article considers the question of modern Africa’s relationship with the emperor, noting the symbolism of the Severan family within Libya under the dictator Muammar Gaddafi.

Read or purchase entire article here.

Interrogating the African Roman Emperor Caracalla: Claiming and Reclaiming an African Leader

Journal of Black Studies
Volume 47, Issue 1, January 2016
pages 41–52
DOI: 10.1177/0021934715611376

Molefi Kete Asante, Professor of African American Studies
Temple University, Philadelphia, Pennsylvania

Shaza Ismail
Helwan University, Cairo, Egypt

This essay provides an interrogation into the historical and personal contradictions in the character of the Roman Emperor Caracalla. As an emperor of African origin who once ruled the world, the nature of his rule, in its political and social dimension, has not been adequately studied. In fact, the scholarly sources that focused on Caracalla as a powerful ruler hardly mention his African origin and in some cases outright deny the fact that he was African. On the other hand, many European writers who do understand his political significance refer to his military achievements ignoring his origin. This work seeks to place Caracalla in the historical setting that befits his adventure as emperor during the time of Rome’s incessant leadership crises. While we know that Caracalla’s life was a series of bold and cruel actions as well as creative achievements, this work discusses his life in the context of his humanity more than to itemize his imperial achievements. The idea is to reveal through the literature and history as much as we can of his complex character in amid the challenging circumstances that surrounded his life and career.

Read the entire article here.

EXCLUSIVE: Afro-Latina Slam Poet, Elizabeth Acevedo, Debuts First Novel ‘Poet X’

Latina
2018-03-05

Jenifer Calle, Politics and Culture Writer

@acevedowrites/Instagram

Elizabeth Acevedo has been empowering Afro-Latinas for years by bringing attention to the various experiences of women of color through her powerful words in poetry.

As a Latina, you might remember a certain poem or a book that changed your life, a verse so precise it gave you chills. Acevedo’s debut novel, Poet X, will do just that with its raw emotions that are universal to all young girls, wrapped up in beautiful lyrical verses.

Poet X is a Young Adult novel that follows the story of an unapologetic 15-year-old girl, Xiomara Batista, growing up in Harlem. As a Dominican-American teen stepping into adulthood she takes to her journal to deal with the emotions and frustrations she feels at home and at school. In this three-part novel, Xiomara struggles with her conservative mother, an absent father, her faith in God, her sexuality, and much more. Xiomara’s awakening through slam poetry helps her find her voice but her journey of self-discovery doesn’t come easy…

Read the entire article here.

Editorial: Owning Both Sides

Hapa Mag
2017-12-09

Alison Lea Bender

How do I even begin? I am a person who is trying to navigate this complicated, wonderful, and mysterious life just like everyone else. On top of that, I am in a career that tends to make subjective decisions on race and culture. Needless to say, facing those factors and trying to “fit a bill” for my art constantly makes me analyze and overthink my racial identity. I don’t mind that I’m continuously thinking about it anymore.

I never truly gave my racial makeup much thought my whole life, so I feel like the past few years have been a needed catch-up. I am quite proud of the knowledge I’ve gained from looking at every angle of it, and I feel closer to my roots now. I’ve come a long way, but as far I have come with my own racial identity and accepting and loving every part of myself, it seems that there will always be an obstacle in my way to make me question who I am…

Read the entire article here.

Phoebe Collings-James Wants To Change The Face Of The Art World

Nylon
2016-02-16

Sydney Gore, Assistant Digital Editor

with more color in the picture

In celebration of Black History Month, NYLON is running a spotlight series called Black Girl Power… The Future Is Bright. Every day, phenomenal black women from different industries will be featured to tell their stories—revealing how they became who they are, showing what they have accomplished, and pinpointing how they navigated their careers. Black women deserve to be celebrated 365 days of the year, and we hope that this series will inspire everyone to believe in the power of #blackgirlmagic.

Phoebe Collings-James is an artist from London currently based in New York. Breaking out into the art world can be challenging enough as a woman, but the 28-year-old has been exposed to even more realities as the product of an English and Jamaican family. Collings-James’ latest work at the CONDO exhibition consisted of a series of watercolour paintings of animals titled Just Enough Violence. (Her previous series was called Choke On Your Tongue.)

“My work relies on a hypersensitivity to the situations and people surrounding me. Perhaps that broadly describes many artists, but it is true. I think it’s about bearing witness,” she told us in an email. “That gets scrambled with my research and desires to make physical things, to use my hands to turn materials from one form to another. I love art. I feel like I always forget to say that and it’s the most obvious answer really. I got into it because I love it. I find it inspiring because it can open up your imagination, which is something that is essential if we are to live and not merely survive.”

Collings-James started modeling as a teenager and then got back into it a few years ago as a means to support her artistic practice. Her approach toward fashion and art has always been one of great ambivalence. “I think clothes are vitally important, even more so to people who are overlooked or marginalised in society,” she added. “For many it is one of the few ways of expressing your creativity. To show the world who you are, what you are into, and what you believe in.”

This reasoning is why Collings-James thinks that cultural appropriation has become a more divisive subject today. “Whether it’s designers appropriating ‘work wear’ or Kylie Jenner wearing her hair in cornrows, our style is something very precious,” she explained.

Get more familiar with Collings-James and her work in the interview, below!…

…How did you grow into your black identity? (Or, if you’re multiracial, how did you grow into your identity as such?)

I feel like I’m only just figuring that out to be honest. When I see younger women like Amandla Stenberg speak so eloquently and vehemently about their identities I’m so happy that they exist now. As I feel like I was looking for that kind of inspiration as a kid and didn’t find it until much later. A lot of my relationships with my identity have been through the lens of relationships with men who, both black and white, have projected their own complicated relationships with race onto my body and mind. It’s only in the last year I have started to feel more whole. As black people, we often are seen as just skin. Light skin, dark skin, golden skin—ooh that beautiful blue-black skin. We don’t get to be whole. We don’t get to be nuanced or chameleon-like.

I have been reading Grace Jones’ autobiography and she is giving me life each day. Coming from Jamaica like my father’s family, she describes her relationship with a world that would rather she stayed small, or fitted neatly in a box, and she continues at age 66 to smash all conventions. I especially like the way she describes each of the glossy photos that line the gutter of the book. “At the edge of the Caribbean Sea.” “A one-man show. A red curtain, an accordion, a minimal staircase, one leg up. Voila – theatre!” “Acting natural in a 1970’s disco setting.” “Using a New York rooftop as a stage, totally believing in myself.” When people say gender and race are constructs, Grace knows that innately. She lives that performance of identities. She is my hero/ine!…

Read the entire interview here.