Mixed Race Studies

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?