Mixed Race Studies

Shifting Racial Subjectivities and Ideologies in Brazil

Socius: Sociological Research for a Dynamic World
First Published 2018-09-20
12 pages
DOI: 10.1177/2378023118797550

Stanley R. Bailey, Professor of Sociology
University of California, Irvine

Fabrício M. Fialho, Postdoctoral Research Fellow
Centre de Recherches Internationales, Sciences Po Paris, France

Census ethnoracial categories often reflect national ideologies and attendant subjectivities. Nonetheless, Brazilians frequently prefer the non-census terms moreno (brown) and negro (black), and both are core to antithetical ideologies: racial ambiguity versus racial affirmation. Their use may be in flux as Brazil recently adopted unprecedented race-targeted public policy. We examine propensities to self-classify as moreno and negro before and after the policy shift. Using regression modeling on national survey data from 1995 and 2008 that captured self-classification in open and closed formats, we find moreno is highly salient but increasingly constricted, while negro is restricted in use, though increasingly popular. Negro’s growth is mostly confined to the darker pole of Brazil’s color continuum. Education correlates in opposing directions: negative with moreno and positive with negro. Our findings proxy broad ideological shift from racial ambiguity to negro racial affirmation. They suggest race-targeted policy is transforming racial subjectivities and ideologies in Brazil.

Read the entire article here.

Black Mixed-Race Men: Transatlanticity, Hybridity and ‘Post-Racial’ Resilience

Emerald Publishing Limited
2018-08-06
230 pages
152 x 229mm
Hardback ISBN: 9781787565326

Remi Joseph-Salisbury, Senior Lecturer in Education Studies
Leeds Beckett University, Leeds, United Kingdom

Whilst scholarship has increasingly moved to consider mixedness and the experiences of mixed-race people, there has been a notable lack of attention to the specific experiences of mixed-race men. This is despite growing recognition of the particular ways race and gender intersect. By centring the accounts of Black mixed-race men in the United Kingdom and United States, this book offers a timely intervention that extends the theoretical terrain of race and ethnicity scholarship and of studies of gender and masculinities.

As it treads new and important ground, this book draws upon theories of performativity and hybridity in order to understand how Black mixed-race men constitute and reconstitute complex and multiplicitous identities. ‘Post-racial’ conditions mean that Black mixed-race men engage in such processes in a context where the significance of race and racism is rendered invisible and denied. By introducing the theoretical concept of ‘post-racial’ resilience, this study strives to capture and celebrate the contemporary, creative and innovative ways in which Black mixed-race men refuse the fragmentation and erasure of their identities. As it does so, the author offers a corrective to popular representations that have too readily pathologized Black mixed-race men.

Focusing on the everyday through a discussion of Black mixed-race men’s racial symbolism, experiences of racial microaggressions, and interactions with peers, Black Mixed-Race Men: Transatlanticity, Hybridity and Post-Racial Resilience offers an in-depth insight into a previously neglected area of scholarship.

Contents

• Introduction
• Chapter 1. Multiplicitous Black Mixed-Race Men and ‘Post-Racial’ Resilience: Double-Consciousness, Hybridity and the Threat of Racial Mismatch
• Chapter 2. Constituting and Performing Black Mixed-Race Masculinities: Hybridizing the Exotic, the Black Monster, and the ‘Light-Skin Softie’
• Chapter 3. Racial Symbolism and the Stylization of Identities: Dress, Speech, Hair and Music
• Chapter 4. Black Mixed-Race Men and PRR in the Face of Racial Microaggressions
• Chapter 5. Black Mixed-Race Men, Friendships, Peer Groups, and Black Regulatory Ideals
• Conclusion. A Critical (Mixed) Race Theory of ‘Post-Racial’ Resilience (PRR)

An Honest Woman: Poems

Talonbooks
2017
104 pages
6 W × 9 H × 1 D inches
Paperback/Softback ISBN: 978177201144

Jónína Kirton

An Honest Woman by Jónína Kirton confronts us with beauty and ugliness in the wholesome riot that is sex, love, and marriage. From the perspective of a mixed-race woman, Kirton engages with Simone de Beauvoir and Donald Trump to unravel the norms of femininity and sexuality that continue to adhere today.

Kirton recalls her own upbringing, during which she was told to find a good husband who would “make an honest woman” out of her. Exploring the lives of many women, including her mother, her contemporaries, and well-known sex-crime stories such as the case of Elisabeth Fritzl, Kirton mines the personal to loosen the grip of patriarchal and colonial impositions.

An Honest Woman explores the many ways the female body is shaped by questions that have been too political to ask: What happens when a woman decides to take her sexuality into her own hands, dismissing cultural norms and the expectations of her parents? How is a young woman’s sexuality influenced when she is perceived as an “exotic” other? Can a woman reconnect with her Indigenous community by choosing Indigenous lovers?

Daring and tender in their honesty and wisdom, these poems challenge the perception of women’s bodies as glamorous and marketable commodities and imagine an embodied female experience that accommodates the role of creativity and a nurturing relationship with the land.

Naomi Osaka, a New Governor and Me

The New York Times
2018-10-06

Motoko Rich, Tokyo Bureau Chief

The Japanese newspaper Yomiuri Shimbun printed a special edition when Naomi Osaka won the United States Open tennis championship in September. Yomiuri Shimbun, via Associated Press

Is Japan becoming more welcoming to mixed-race people?

TOKYO — Just over 40 years ago, when my family moved from California to Tokyo, the fact that my mother was Japanese did not stop schoolchildren from pointing at me and yelling “Gaijin!” — the Japanese word for foreigner — as I walked down the street.

After seeing my red-haired, blue-eyed father, a shopkeeper in the suburb where we lived asked my mother what it was like to work as a nanny in the American’s house.

When we moved back to California two years later, I entered fourth grade and suddenly, I was the Asian kid. “Ching chong chang chong ching!” boys chanted on the playground, tugging at the corners of their eyes. Classmates scrunched their noses at the onigiri — rice balls wrapped in dried seaweed — that my mother packed in my lunch bag. When our teacher mentioned Japan during a social studies lesson, every head in the class swiveled to stare at me.

Now, back in Tokyo as a foreign correspondent for this newspaper, I am no longer pointed at by people on the street. But I am incontrovertibly regarded as a foreigner. When I hand over my business card, people look at my face and then ask in confusion how I got my first name. My Japanese-ness, it seems, barely registers.

In the past few weeks, covering local reaction to the tennis champion Naomi Osaka, the daughter of a Japanese mother and Haitian-American father, and Denny Tamaki, who is the son of a Japanese mother and a white American Marine and was elected governor of Okinawa last weekend, I have wondered whether Japanese attitudes toward identity are slowly starting to accommodate those of us with mixed heritages…

Read the entire article here.

Album review: ‘Picture in Black and White’

Rochester CITY Newspaper
Rochester, New York
2018-09-24

Ron Netsky

Concept albums are common in rock, but rare in the jazz realm. Tessa Souter’s “Picture in Black and White“—set for release on October 5—breaks that mold. Souter, a Rochester favorite after multiple jazz festival appearances, has created an exquisite musical exploration of her identity. At the age 28, she discovered that her birth father was black and her roots reached from Africa to the Caribbean, from Celtic Britain to Andalusian Spain. Musical strains from all of these places permeate the album….

Read the entire review here.

Biracial in ethnic derivation, nonbinary in gender identification, gay in sexual orientation, multi-hyphenate in creative aspiration, [Amandla] Stenberg embodies a similar blurring of boundaries. She grew up in Los Angeles with her African American mother and Danish father, commuting from their modest Leimert Park neighborhood to the far tonier Wildwood School. Her first movie role was in “Colombiana,” as a young version of Zoe Saldana. “The Hunger Games” — just her second film — was seen by tens of millions of people around the world. But it was a video she made for history class in 2015 that became a watershed: Called “Don’t Cash Crop My Cornrows,” the 4-minute-30-second tutorial explained the most offensive dynamics of cultural appropriation. After Stenberg posted the video on Tumblr, it became a viral sensation.

Ann Hornaday, “Her way. The new way.” The Washington Post, October 4, 2018. https://www.washingtonpost.com/graphics/2018/lifestyle/amandla-stenberg-looks-a-lot-like-the-future-of-celebrity.

“It Represents Me:” Tattooing Mixed-Race Identity

Sociological Spectrum
Published online: 2018-10-04
DOI: 10.1080/02732173.2018.1478351

Jennifer Patrice Sims, Assistant Professor of Sociology
University of Alabama, Huntsville

Research on tattoos reveals that desire for something to “mark their bodies with indelible symbols of what they see themselves to be” has become a main driver behind contemporary tattoo acquisitions (Sanders 1989:61). One identity that researchers have recently begun to investigate with regard to expression via tattoos is race; however, exploration considering those with multiple racial heritages, that is, mixed-race people, is lacking. This article begins to illuminate this lacuna by drawing on in-depth interviews with mixed-race people in the United States and United Kingdom to examine the practice and meaning behind their tattoos. Finding both similarities and differences, both between mixed- and single-heritage individuals and between mixed-race people of different heritages, this study adds to scholarly knowledge of the ways in which various identities are being expressed, or not, via tattooing.

Read or purchase the article here.

The Notorious, Mixed-Race New Orleans Madam Who Turned Her Identity Into a Brand

Zócalo Public Square
2018-10-01

Emily Epstein Landau, Teacher [and author of Spectacular Wickedness: Sex, Race, and Memory in Storyville, New Orleans]
Georgetown Day School, Washington, D.C.

Lulu White, the most notorious madam in the turn-of-the-century Big Easy. Courtesy of the Collections of the Kinsey Institute at Indiana University. All rights reserved.

By Repackaging the Myths of the Tragic Octoroon and the Self-Made Woman, Lulu White Crafted a Persona That Haunts Beyoncé’s “Formation“

In 2016, music and pop-culture idol Beyoncé released the album Lemonade to rapturous reviews. As a historian of New Orleans, I was especially intrigued by the video for one of the songs on the album, “Formation.” The video includes iconic images of the city: Katrina flood waters and post-flood graffiti; “second-lines”; marching bands; crawfish eating; and even a dancing “Mardi Gras Indian.” As we move through various neighborhoods, we visit a church service, a St. Charles Avenue mansion, and, in what appears to be a move through time into the city’s past, a bordello.

The bordello scenes in the video recall famous photographs from Storyville, New Orleans’s notorious red-light district, which flourished from 1898 to 1917. And while the song is clearly about Beyoncé, the persona she embodies in it resonates with an earlier iconic black female: Lulu White, the self-styled “Diamond Queen” of New Orleans’s turn-of-the-century demimonde. Knowing Lulu White’s story helps us see Beyoncé’s artistic creation within a complex historical framework, for in it are woven together threads of American history: stories of sexual slavery and prostitution; revolution and exile; and, not least, capitalism and the American Dream.

Lulu White was the most notorious madam in Storyville. She earned fame and fortune as the “handsomest octoroon” in the South, and her bordello, Mahogany Hall, featured “octoroon” prostitutes for the pleasure of wealthy white men during one of America’s most virulently—and violently—racist periods. It was also the dawn of consumer culture and the beginning of modern advertising. Thus, Lulu White crafted a persona for herself through stories that had long circulated in New Orleans; she repackaged those stories to create what today we would recognize as her brand…

Read the entire article here.

Picture in Black and White

NOA Records
2018-10-05

Tessa Souter

1. Kothbiro
2. Contemplation (Ancestors)
3. A Taste of Honey
4. Dancing girl/Where the Streets Have No Name
5. Ana Maria’s Song (Ana Maria)
6. Child of Love
7. Picture in Black and White
8. You Don’t Have To Believe
9. Reynardine
10. Siren Song
11. Lonely Woman
12. Nothing Will Be As It Was

with Yotam Silberstein (guitar), Yasushi Nakamura (bass), Keita Ogawa (percussion), Adam Platt (piano), Dana Leong (cello), Billy Drummond (cymbals and drums)

Maija DiGiorgio’s IncogNEGRO, My-a Life The Musical

The Complex Theater
6468 Santa Monica Boulevard
Los Angeles, California 90038
Thursday, 2018-10-18, 19:00-20:30 PDT (Local Time)

by Jeffery Husbands

For some it’s a comedy,..for others it’s a horror. You never know who’s lurking among us. Wanna end racism? Come down and get some hilarious notes from the passing. This ethnically ambiguous comedian shares the faux pas and mishaps in her lifelong journey of mistaken identity. Do not miss this hilarious show with Maija DiGiorgio.