Mixed Race Studies

A Visit to the 2018 Critical Mixed Race Studies Conference

Pacific Citizen: The National Newspaper of the JACL
Los Angeles, California
2018-03-28

Rob Buscher, Contributor

Ken Tanabe, left, and Jeff Chiba Stearns lead the Community Caucus at CMRS. (Photo: Rob Buscher)

Leaders in the multiracial movement gather to ‘Resist, Reclaim, Reimagine’ – a direct call to action amidst the current political climate faced by historically underrepresented communities in the U.S.

Over the past few decades, the Japanese American community has become increasingly inclusive of multiracial and multiethnic individuals. However, for those of us who appear less phenotypically Japanese, it is sometimes difficult explaining our connection to people who are less familiar with interracial marriage and mixed-race children.

Multiracial Japanese Americans are in many ways the direct result of institutionalized racism that stigmatized Japanese-ness in the 20th century. From the Alien Land Laws to the mass incarceration during World War II, the very existence of our Japanese immigrant ancestors was deemed objectionable. Is it any wonder that so many of our parents and grandparents would choose intermarriage with partners from other ethnic and racial communities?

Yet, despite the growing prevalence of mixed-race Japanese Americans, there are many outside our community who do not acknowledge the legitimacy of our existence within the spectrum of Japanese American identity.

This is why it was so empowering to attend an event like the Critical Mixed Race Studies Conference, where nearly every one of the 200-plus participants were mixed race. While each individual has a totally different experience being mixed race (even within the same mixed community) the fact that multiracial folks were a super majority in this space meant that everyone had at least a basic understanding of the shared complexities surrounding our mixed identities.

Hosted at the University of Maryland on March 1-3, the 2018 conference’s theme was “Resist, Reclaim, Reimagine” — titled with a direct call to action amidst the current political climate faced by historically underrepresented communities in the United States…

Read the entire article here.

Why the idea that the English have a common Anglo-Saxon origin is a myth

The Conversation
2017-12-15

Duncan Sayer, Reader in Archaeology
University of Central Lancashire

A diverse history. Witan hexateuch via Wikimedia Commons

The idea that there is a common Anglo-Saxon ancestry based on biology is gaining currency among some right-wing and religious groups in the UK and US.

In the UK, the new leader of the UK Independence Party, Henry Bolton, suggested in a radio interview in October that “in certain communities the indigenous Anglo-Saxon population is nowhere to be seen.”

In August, a religious group called the Odinist Fellowship wrote to the Church of England demanding two churches as reparations for a “spiritual genocide” which it claims began in the seventh century AD.

The Odinists use old Icelandic texts to reconstruct the “indigenous” religion of the Anglo-Saxons which they claim was oppressed with the arrival of Christianity. The Anglo-Saxons are commonly believed to have migrated into Briton in the fifth and sixth century AD. Iceland by contrast was inhabited in the ninth century by Viking settlers. In the US, this mixed up medievalism is associated with the white supremacist alt-right who use Anglo-Saxon and Viking motifs.

But archaeological research, which examines ancient DNA and artefacts to explore who these “indigenous” Anglo-Saxons were, shows that the people of fifth and sixth century England had a mixed heritage and did not base their identity on a biological legacy. The very idea of the Anglo-Saxon ancestor is a more recent invention linked closely with the English establishment…

Read the entire article here.

Interracial Intimacies Symposium

University of Chicago
5733 South University Avenue
Chicago, Illinois 60637
2018-04-18 through 2018-04-19

Please join us for a two-day symposium examining the history of interracial intimacies in comparative and transnational perspective. This symposium offers emerging and established scholars an opportunity to come together to discuss issues of interracial intimacies broadly construed.

Doris L. Garraway, Associate Professor of French at Northwestern University, and Sarah Kovner, Senior Research Scholar in the Arnold A. Saltzman Institute of War and Peace Studies at Columbia University, will be the keynote speakers.

For more information, click here.

Passing as Post-Racial: Philip Roth’s The Human Stain, Political Correctness, and the Post-Racial Passing Narrative

Contemporary Literature
Volume 58, Number 2, Summer 2017
pages 233-261

Mollie Godfrey, Assistant Professor of English
James Madison University, Harrisonburg, Virginia

In March 2016, Robert Folsom published an article in The Socionomist declaring that the rise of Donald Trump as a viable presidential candidate marked “the violent death of political correctness” (1). Folsom argued that while “[t]he conventional narrative on Trump is that he has succeeded despite his rejection of political correctness,” the “truth is that he has in large part succeeded because of it” (4). Indeed, the past few years have seen the rise of vigorous, mainstream opposition to many multiculturalist policies associated with political correctness at all levels and from all directions: from the Supreme Court’s back and forth on voting rights and affirmative action, to the 2015 spate of articles that derided trigger warnings as an attack on free speech, to the crowds of voters like Steve Crouse cheering Trump for speaking his mind and “saying a lot of the things that I think we’re all thinking” (Proskow). These recent events have renewed a debate that began in the 1960s and 1970s, when Civil Rights and Black Power activists and second-wave feminists sparred with traditionalists over the diversity and inclusivity of university curricula, faculty, student bodies, and standards of academic excellence. By the culture wars of the mid–1980s, traditionalists had begun to use the phrase “political correctness” in order to deride these demands for inclusivity.¹ Teresa Brennan argues that the phrase “political correctness” was especially useful to its critics because it enabled the rebranding of demands for inclusive language as a violation of the American principle of the freedom of speech: “[t]he campaign against political correctness has been so successful because it has portrayed the attempt to uphold the rights of disadvantaged groups as the infringement of individual rights” (x). Now, criticism of political correctness has gone mainstream: a poll conducted in October 2015 by Fairleigh Dickinson University found that 68% of Americans and 81% of Republicans agreed with the statement “[a] big problem this country has is being politically correct” (Lalami 12).

The year 2000, which Folsom describes as the turning point in American public discourse over the value of liberal multiculturalism and its much caricatured cousin, political correctness, was also the year that Philip Roth’s highly acclaimed novel The Human Stain was published. The Human Stain made waves among critics and scholars as a racial passing novel for the new millennium, one that was especially surprising because the passing genre focuses on a social practice that Jet magazine had once optimistically declared would “pass out” with the end of Jim Crow (“Passing Out”).² In The Human Stain, the light-skinned African American protagonist, Coleman Silk, decides to pass as Jewish during the 1940s, gaining as a Jewish American in the post–World War II era many of the privileges of whiteness.³ He marries a Jewish woman and rises to prominence as a professor of classics and the first Jewish dean of faculty at Athena College, a small liberal arts school in New England with a mostly white faculty and student body. Near the end of the novel, Coleman’s sister affirms that his black-to-Jewish-to-white passing is out of place in the post-Jim Crow era of liberal multiculturalism and affirmative action: “Today, if you’re a middle-class intelligent Negro and you want your kids to go to the best schools, and on full scholarship if you need it, you wouldn’t dream of saying that you’re not colored. That would be the last thing you’d do” (326). Her claim that passing is no longer profitable in contemporary America is also arguably affirmed by the twist in Coleman’s plot: near retirement, he uses the word “spooks” to refer to two students who have been absent from his class all semester; the students turn out to be black, Coleman is accused of racism by his politically correct colleagues, and he resigns amid the ensuing scandal. This plot twist seems to turn Coleman’s racial passing plot into an ironic tragedy about the shifting…

Will Multiracial Kids End Racism? | Decoded | MTV

MTV
2018-01-31

Hosted by: Franchesca “Chescaleigh” Ramsey
Produced by: http://www.kornhaberbrown.com
Episode Written By: Zeba Blay
Directed by: Andrew Kornhaber
Make Up By: Delina Medhin
GFX By: Matthew Rainkin & Sarah Van Hoove
Editing By: Linda Huang

It’s been frequently suggested that in the near future, the massive increase in the number of multiracial children across America will help end racism. But is that actually true? Well no. And in today’s episode, we’re going to explain why ending racism is going to be quite a bit more complicated than making babies with someone of another racial background.

Review: With ‘Dougla,’ Dance Theater of Harlem Recalls Past Glory

The New York Times
2018-04-08

Brian Seibert

Alicia Mae Holloway, center, and fellow members of Dance Theater of Harlem performing in “Dougla.” Andrea Mohin/The New York Times

The enthusiastic applause for Dance Theater of Harlem’s revival of “Dougla,” at the New York City Center on Friday, started as soon as the curtain rose. The opening image was of a stage full of proudly posed men and women, all in floor-length skirts decorated with little red pom-poms. More of those pom-poms crowned their heads like rooster combs.

Geoffrey Holder, who choreographed “Dougla” in 1974 (and died in 2014), also designed its costumes, and the dance is largely a costume pageant. But it wasn’t just the spectacle that people were cheering.

Long a staple of Dance Theater of Harlem’s repertory, “Dougla” has not been performed by the company since 2004. That year, debt forced the troupe into hiatus, and when the company re-emerged in 2013, its roster had shrunk by more than half…

…“Dougla” is a rather old-fashioned work. The title is a word used, especially in Mr. Holder’s native Trinidad, to label people of mixed South Asian and African descent. As part of its representation of such people, the choreography indulges in a kind of cartoon imitation of Indian dance. While wood blocks crack, heads nod and wobble like the tops of bobblehead dolls. The motion is theatrically effective — that’s why it’s repeated even during the bows — but close to caricature…

Read the entire review here.

hapa.me: 15 Years of the Hapa Project

Japanese American National Museum
100 North Central Avenue
Los Angeles, California 90012
2018-04-07 through 2018-10-28

The word “hapa” is the Hawaiian transliteration of the English word “half.” Much of its current usage derives from the phrase hapa haole, meaning “half white.” The phrase was originally coined by native Hawaiians to describe the mixed offspring resulting from encounters between islanders and White settlers. In subsequent years, hapa (or Hapa) has come into popular usage away from the islands, most frequently embraced by Asian/Pacific Islander Americans of mixed descent.

Artist Kip Fulbeck created The Hapa Project in 2001, traveling the country to photograph over 1,200 volunteers who identified as Hapa. The Hapa Project’s goal was to promote awareness and recognition of the millions of Hapas in the United States; to give voice to multiracial people and other previously ignored ethnic groups; to dispel myths around exoticism, hybrid superiority, and racial homogeneity; and to foster positive identity formation in multiracial children. In 2006, Fulbeck published the first book and premiered kip fulbeck: part asian, 100% hapa, the first museum exhibition to explicitly explore Hapa identity. That exhibition remains one of the most popular in the history of the Japanese American National Museum, setting attendance records before traveling throughout the US and abroad. The exhibition broke new ground in exploring identity through photographic portraits of mixed-race subjects, paired with the participants’ handwritten responses to the typically posed question, “What are you?”…

Read more here.

New York Times journalist comes to talk about multiracial identity for Black History Month

Iowa State Daily
2018-02-23

Naye Valenzuela

Journalist Walter Thompson-Hernandez came to Iowa State on Feb. 22 to speak to students about what it’s like being multicultural and speaks about how to define ones identity. Megan Petzold/Iowa State Daily

As the lights went down and as the crowd hushes to a silence, a man gets up and walks to the podium. He opens his laptop and presents a PowerPoint. The first slide presents a graffiti on a blue brick wall in Los Angeles.

The graffiti says “black power, brown pride – Tupac,” which led to the man’s first question.

“What Tupac song is this from?” He asks the crowd.

A student jumps up right away and proudly states the song is “To Live and Die in L.A.”

Walter Thompson-Hernandez, the guest presenting, is shocked, to realize a lecture attendee in Ames was the first to get it right.

Most known for his work called “Blaxicans of L.A.,” where his photos and videos talk about people in South Central Los Angeles and their experience with their multiracial identity of being both black American and Mexican in the United States, Thompson-Hernandez talks about the history of Blaxicans and what could be the future of multiracial identities in the future…

Read the entire article here.

Slavery Unseen: Sex, Power, and Violence in Brazilian History

Duke University Press
2018-04-06
272 pages
9 illustrations
Cloth ISBN: 978-0-8223-7116-8
Paperback ISBN: 978-0-8223-7129-8

Lamonte Aidoo, Andrew W. Mellon Assistant Professor of Romance Studies
Duke University, Durham, North Carolina

In Slavery Unseen, Lamonte Aidoo upends the narrative of Brazil as a racial democracy, showing how the myth of racial democracy elides the history of sexual violence, patriarchal terror, and exploitation of slaves. Drawing on sources ranging from inquisition trial documents to travel accounts and literature, Aidoo demonstrates how interracial and same-sex sexual violence operated as a key mechanism of the production and perpetuation of slavery as well as racial and gender inequality. The myth of racial democracy, Aidoo contends, does not stem from or reflect racial progress; rather, it is an antiblack apparatus that upholds and protects the heteronormative white patriarchy throughout Brazil’s past and on into the present.

Table of Contents

• Acknowledgments
• Introduction. Secrets, Silences, and Sexual Erasures in Brazilian Slavery and History
• 1. The Racial and Sexual Paradoxes of Brazilian Slavery and National Identity
• 2. Illegible Violence: The Rape and Sexual Abuse of Male Slaves
• 3. The White Mistress and the Slave Woman: Seduction, Violence, and Exploitation
• 4. Social Whiteness: Black Intraracial Violence and the Boundaries of Black Freedom
• 5. O Diabo Preto (The Negro Devil): The Myth of the Black Homosexual Predator in the Age of Social Hygiene
• Afterword. Seeing the Unseen: The Life and Afterlives of Ch/Xica da Silva
• Notes
• Bibliography
• Index

26a

Vintage
2006-03-02
240 Pages
129mm x 198mm x 15mm
170g
Paperback ISBN: 9780099479048
eBook ISBN: 9781409079620

Diana Evans

• Winner of the Orange Award for New Writers
• Winner of the deciBel Writer of the Year Award
• Shortlisted for the Whitbread First Novel Award
• Shortlisted for the Guardian First Book Award
• Shortlisted for the Commonwealth Best First Book Award
• Shortlisted for the Times/Southbank Show Breakthrough Award
• Recipient of a Betty Trask Award
• Longlisted for the International IMPAC Dublin Literary Award

Identical twins, Georgia and Bessi, live in the loft of 26 Waifer Avenue. It is a place of beanbags, nectarines and secrets, and visitors must always knock before entering. Down below there is not such harmony. Their Nigerian mother puts cayenne pepper on her Yorkshire pudding and has mysterious ways of dealing with homesickness; their father angrily roams the streets of Neasden, prey to the demons of his Derbyshire upbringing. Forced to create their own identities, the Hunter children build a separate universe. Older sister Bel discovers sex, high heels and organic hairdressing, the twins prepare for a flapjack empire, and baby sister Kemy learns to moonwalk for Michael Jackson. It is when the reality comes knocking that the fantasies of childhood start to give way. How will Georgia and Bessi cope in a world of separateness and solitude, and which of them will be stronger?