Mixed Race Studies

The Rediscovery of Florence Price

The New Yorker
2018-01-29

Alex Ross

How an African-American composer’s works were saved from destruction.

In 2009, Vicki and Darrell Gatwood, of St. Anne, Illinois, were preparing to renovate an abandoned house on the outskirts of town. The structure was in poor condition: vandals had ransacked it, and a fallen tree had torn a hole in the roof. In a part of the house that had remained dry, the Gatwoods made a curious discovery: piles of musical manuscripts, books, personal papers, and other documents. The name that kept appearing in the materials was that of Florence Price. The Gatwoods looked her up on the Internet, and found that she was a moderately well-known composer, based in Chicago, who had died in 1953. The dilapidated house had once been her summer home. The couple got in touch with librarians at the University of Arkansas, which already had some of Price’s papers. Archivists realized, with excitement, that the collection contained dozens of Price scores that had been thought lost. Two of these pieces, the Violin Concertos Nos. 1 and 2, have recently been recorded by the Albany label: the soloist is Er-Gene Kahng, who is based at the University of Arkansas.

The reasons for the shocking neglect of Price’s legacy are not hard to find. In a 1943 letter to the conductor Serge Koussevitzky, she introduced herself thus: “My dear Dr. Koussevitzky, To begin with I have two handicaps—those of sex and race. I am a woman; and I have some Negro blood in my veins.” She plainly saw these factors as obstacles to her career, because she then spoke of Koussevitzky “knowing the worst.” Indeed, she had a difficult time making headway in a culture that defined composers as white, male, and dead. One prominent conductor took up her cause—Frederick Stock, the German-born music director of the Chicago Symphony—but most others ignored her, Koussevitzky included. Only in the past couple of decades have Price’s major works begun to receive recordings and performances, and these are still infrequent.

The musicologist Douglas Shadle, who has documented the vagaries of Price’s career, describes her reputation as “spectral.” She is widely cited as one of the first African-American classical composers to win national attention, and she was unquestionably the first black woman to be so recognized. Yet she is mentioned more often than she is heard. Shadle points out that the classical canon is rooted in “conscious selection performed by individuals in positions of power.” Not only did Price fail to enter the canon; a large quantity of her music came perilously close to obliteration. That run-down house in St. Anne is a potent symbol of how a country can forget its cultural history…

Read the entire article here.

University of Maryland Medical System drops race-based algorithm officials say harms Black patients

The Washington Post
2021-11-17

Ovetta Wiggins, Local reporter covering Maryland state politics

Uchenna Ndubisi was blown away when she first noticed the “African American” notation on a diagnostic test designed to show doctors how well her kidneys are working.

What did her race have to do with the toll lupus was taking on her body? The answer left her more resigned than surprised: an equation used to estimate how well a person’s organs filter waste included a decades-old racist assumption about Black bodies.

In this case, clinicians assumed Ndubisi had more muscle mass than a White patient would. For many Black kidney patients, like Ndubisi, the equation overestimates how well their kidneys are functioning, leading to the loss of critical time for necessary treatment.

“It’s being Black in America,” said Ndubisi, 35, who lives in Prince George’s County. “Another reminder . . . that there’s hurdles into health care for African Americans in this country.”…

Read the entire article here.

The ways Afro-Indigenous people are asked to navigate their communities

High Country News
2021-10-28

Alaina E. Roberts

Two leading scholars discuss the complex relationship between Black and Native people.

African American history and Native American history have long been considered kindred by those who see the original sin of the United States as twofold, a dual theft by European settlers: the taking of Indigenous lives and land, and the seizure of Black bodies and labor. Both groups suffered the loss of language, culture and freedom.

There are many ways the two peoples’ histories have overlapped since they first came into contact over 500 years ago. In African American popular culture, those early interactions often take the form of romanticized tales: Native people working with Black people to battle the colonial system, or a Native ancestor who sheltered runaway slaves and bequeathed her long straight Black hair to her descendants. But there are others who seek to center Black lives by overlooking the shared historical experiences of the two groups and ignoring the modern-day Native encounter with issues of poverty, racism and police violence. Meanwhile, in many Native American communities, African Americans are viewed through a prejudicial lens similar to the kind that many white Americans use: as a people who may have been hurt by racism through enslavement, at one point, but who refuse to pull themselves up by their bootstraps, as it were.

The real history between African Americans and Native Americans is complex and requires acknowledging both the times and places in which they joined together to resist oppression as well as the times they participated in that oppression. It’s these deep complexities that shape the ideas Black and Native people have of one another today…

Read the entire interview here.

I’ve Been Here All the While: Black Freedom on Native

University of Pennsylvania Press
2021
224 pages
10 b/w
6 x 9
Cloth ISBN: 9780812253030

Alaina E. Roberts, Assistant Professor of History
University of Pittsburgh, Pittsburgh, Pennsylvania

Winner of the Phillis Wheatley Book Award, in the Historical Era category, granted by the Sons and Daughters of the United States Middle Passage

Perhaps no other symbol has more resonance in African American history than that of “40 acres and a mule“—the lost promise of Black reparations for slavery after the Civil War. In I’ve Been Here All the While, we meet the Black people who actually received this mythic 40 acres, the American settlers who coveted this land, and the Native Americans whose holdings it originated from.

In nineteenth-century Indian Territory (modern-day Oklahoma), a story unfolds that ties African American and Native American history tightly together, revealing a western theatre of Civil War and Reconstruction, in which Cherokee, Choctaw, Chickasaw, Creek, and Seminole Indians, their Black slaves, and African Americans and whites from the eastern United States fought military and rhetorical battles to lay claim to land that had been taken from others.

Through chapters that chart cycles of dispossession, land seizure, and settlement in Indian Territory, Alaina E. Roberts draws on archival research and family history to upend the traditional story of Reconstruction. She connects debates about Black freedom and Native American citizenship to westward expansion onto Native land. As Black, white, and Native people constructed ideas of race, belonging, and national identity, this part of the West became, for a short time, the last place where Black people could escape Jim Crow, finding land and exercising political rights, until Oklahoma statehood in 1907.

Argentine movement tries to make Black heritage more visible

The Associated Press
2021-11-26

Christiana Sciaudone

BUENOS AIRES, Argentina (AP) — It wasn’t until Julia Cohen Ribeiro moved to Argentina that she discovered she was Black.

Her hair was curly, but her skin was light. She had never identified as anything other than Brazilian in her country of birth. Then 11, she was shocked when people on the street and in school in Buenos Aires insisted that she was Black.

“I was never told I was Black growing up,” said Ribeiro, now a 25-year-old film student at the University of Buenos Aires. The daughter of a white mother and Black father, she has since embraced that identity and joined a burgeoning Afro-Argentine movement that seeks to eliminate the persistent myth that there are no Black people in the country and to combat discrimination against them.

The 2010 census recorded about 150,000 people of African descent in Argentina, a nation of 45 million, but activists estimate the true figure is closer to 2 million following a surge of immigration — and because many Argentines have forgotten or ignore African ancestry…

Read the entire article here.

Making Mixed Race: A Study of Time, Place and Identity

Routledge
2021-11-24
208 pages
Hardback ISBN: 9780367462918

Karis Campion, Legacy in Action Research Fellow
Stephen Lawrence Research Centre
De Montfort University, Leicester, United Kingdom

By examining Black mixed-race identities in the city through a series of historical vantage points, Making Mixed Race provides in-depth insights into the geographical and historical contexts that shape the possibilities and constraints for identifications.

Whilst popular representations of mixed-race often conceptualise it as a contemporary phenomenon and are couched in discourses of futurity, this book dislodges it from the current moment, to explore its emergence as a racialised category, and personal identity, over time. In addition to tracing the temporality of mixed-race, the contributions show the utility of place as an analytical tool for mixed-race studies. The conceptual framework for the book – place, time, and personal identity – offers a timely intervention to the scholarship that encourages us to look outside of individual subjectivities and critically examine the structural contexts that shape Black mixed-race lives.

The book centres around the life histories of 37 people of Mixed White and Black Caribbean heritage born between 1959 and 1994, in Britain’s second-largest city, Birmingham. The intimate life portraits of mixed identity, reveal how colourism, family, school, gender, whiteness, racism, and resistance, have been experienced against the backdrop of post-war immigration, Thatcherism, the ascendency of Black diasporic youth cultures, and contemporary post-race discourses. It will be of interest to researchers, postgraduate and undergraduate students who work on (mixed) race and ethnicity studies in academic areas including geographies of race, youth identities/cultures, gender, colonial legacies, intersectionality, racism and colourism.

Table of Contents

1. Introduction
2. Introducing Birmingham
3. The making of mixed-race in place
4. From bun down Babylon to melting pot Britain: the manifestations of mixed-race over time
5. Mixed-race privilege and precarious positionalities: the personal politics of identity
6. The making of mixed-race families: past, present and future
7. Conclusion

New Film “Whole” Looks at Daily Struggles of Mixed-Race Japanese

Nippon.com: Your Doorway to Japan
2021-11-25

Matsumoto Takuya

As the population of mixed-race Japanese—popularly called hāfu—grows, entertainers and athletes with bicultural backgrounds are increasingly prominent. However, most of those considered hāfu in Japan live normal, private lives, struggling daily with curiosity, prejudice, and their own identity conflicts. Whole, a new short film, takes up the issues facing just such people through the story of two young men. We spoke with the director, writer, and leading actor about the film…

Read the entire interview here.

‘Florence Price: Symphonies Nos. 1 & 3’ Nominated For Grammy Award

uDiscover Music
2021-11-24

Sharon Kelly

Yannick Nézet-Séguin and The Philadelphia Orchestra’s recording of ‘Florence Price: Symphonies Nos. 1 & 3’ has been nominated for a Grammy Award.

Conductor Yannick Nézet-Séguin and The Philadelphia Orchestra’s critically acclaimed Deutsche Grammophon recording of Florence Price: Symphonies Nos. 1 & 3 has been nominated for Best Orchestral Performance for the 2022 Grammy Awards. The Grammy, which celebrates both artistic and technical achievement, is the recording industry’s most prestigious award.

“We’re honoured that the Recording Academy continues to recognise our work,” said Dr Clemens Trautmann, President Deutsche Grammophon. “Over the past year our artists have released some extraordinary recordings, from monuments of the repertoire such as Mahler’s ‘Symphony of a Thousand’ to the recently rediscovered symphonies of Florence Price. They have connected with new audiences around the world and demonstrated the life-enhancing spirit of classical music in all its forms. I’m delighted that their achievements are reflected in the nominations for the 2022 GRAMMY Awards.”…

Read the entire article here.

An Overdue Ovation for Florence Price

Little Rock Soirée
2021-09-29

Heather Honaker

“I am a woman, and I have some Negro blood in my veins – and you will understand some of the difficulties that confront one in such a position. Please judge my music on its own merit,” wrote Florence Price to Boston Symphony conductor Serge Koussevitzky in 1943.

Price was born a Little Rock native in 1887 into a mixed-race family at 2100 Broadway. Her father was the only Black dentist in town, and her mother was a music teacher. She began playing the piano and composing music at 3 years old, and at 11, published her first work. She graduated valedictorian of Capitol Hill High School at the age of 14 and went on to study at the New England Conservatory of Music in Boston at 16.

One of only three Black students at the conservatory, Price was counseled by her mother to list her hometown as Pueblo, Mexico, to conceal her race. She graduated with honors in three years with a double-major in organ performance and piano teaching.

After school, she came home to teach at Cotton Plant Academy and then Shorter College before moving to Atlanta to become head of the Clark College Music Department. In 1912, she returned to Little Rock to marry attorney Thomas Price and raise a family.

Racial tensions caused them to move to Chicago in 1927, and it wasn’t long before she and her husband divorced. There, she attended classes to perfect her craft, played the organ for silent film screenings and wrote songs for radio ads…

Read the entire article here.

My Boyfriend’s Parents Are Ignorant About Race. Why Should I Have to Teach Them?

The New York Times
2021-11-25

Philip Galanes

Miguel Porlan

A reader seeks advice on dealing with people who undermine her experience as a mixed-race woman.

I am a mixed-race college student and identify as Black. For a year, I’ve been dating a white guy. We’ve never had an issue with race — until now. When I met his parents for the first time, ahead of the family’s big Thanksgiving feast, his father told me that being mixed race is “the best of both worlds.” I didn’t follow. So, he explained: You’re “really white,” but you get the advantages of being Black in college admissions and diversity hiring. I was stunned! My boyfriend, on the other hand, doesn’t see the problem. He says his parents are clueless about race, and it’s our job to help them understand. But I’m not interested in that job. I canceled my Thanksgiving visit, and now my boyfriend is mad at me. Advice?

TRACEY

Your boyfriend and his dad both owe you apologies, for different offenses…

Read the entire letter here.