Mixed Race Studies

Germany gets first ever black mayor

The Local: Germany’s News in English
Berlin, Germany
2012-06-02

John Ehret, a black German who used to work for the Bundeskriminalamt (BKA), Germany’s equivalent of the FBI, is Germany’s first black mayor.

The 40-year-old Ehret, whose father was an African-American soldier and mother a native German, took over running the village of Mauer near Heidelberg, southern Germany on Friday, Der Spiegel reported on his inauguration.
 
Despite almost no campaigning, he picked up slightly more than 58 percent of the vote, beating out a civil servant in the village of about 4,000 residents. Observers said Ehret profited from a so-called “Obama” effect, though the trained police inspector didn’t seek the comparison…

…At six he was adopted by the Ehret family from Mauer. John became a star in the village and was the village’s only black resident. He was known as Pelé, after the Brazilian legend, at the club where he played football. John’s new dad was a respected Social Democratic Party member on the local council…

…Ehret, who insists he’s never experienced discrimination in Germany, is now in an odd position in which black Germans want him to be an example to others. But he’s not interested in that role.
 
“For that I feel I’m too German,” he said.

Read the entire article here.

The ‘Other’ from within: Afro-Germans as Scapegoats for the post-WWII German Society

Postgraduate History Conference: Creating the ‘Other’
Department of History, University of Essex
2011-09-20

Antje Friedrich
Department of English Literature
University of Bayreuth, Bayreuth, Germany

The theme of the graduate conference this year was ‘Creating the ‘Other’’ throughout history.  We were very pleased to welcome a large and diverse group delegates and presenters from a number of institutions who made for an engaging and lively audience.  We were also very happy to welcome Dr. John Bulaitis, of Canterbury Christchurch University, to provide the keynote address to the conference.  Contributions were arranged into four panels, which explored the relevance of historical processes of ‘Othering’ to the realms of national identity, crime, gender and colonialism.  Papers presented covered a multitude of topics, periods and contexts, ranging from the construction of persons of colour as servants in late 19th and early 20th century France, Germany and the United States, to the origins of sub-cultural cannabis-use in mid-20th century London, the utilisation of humour in the construction of masculinities during the English Civil Wars, and the introduction of the Contagious Diseases Act in the governance of the colonial ‘other’ in British-controlled Hong Kong in the late-19th century.  It is intended that a selection of papers presented shall form the basis of this years’ working papers series issued by the Department of History later on in 2011.  We would like to thank the Department for their generosity in funding this event.

For a long time in the collective German national memory, Afro-Germans had only been a side note to which little attention was paid. With the emergence of autobiographical works representing the perspective of Afro-German people, their struggle in society gained a public face. This article focuses on Ika Hügel-Marshall’s work Invisible Women: Growing up Black in Germany and the representation of her social struggle in post-WWII German society. Her depiction of the impact institutions had on her life – institutions that were meant to support the child’s development, but in her case prolonged the construction of the ‘Other’ as an outsider of society – will be accentuated.

The youth welfare office responsible for her, the orphanage she was sent to and the school she attended, represented the social spirit of the post-WWII era during which the anger of having lost the war and being under the control of the Allied Powers was projected onto people like Hügel-Marshall, who in the eyes of many Germans constituted the ‘Other’. Thus, this paper aims to highlight those social processes that constituted barriers for the development of the self and the mechanisms which helped Hügel-Marshall to finally break through and lead a self-determined life in a German society that often took the outward appearance as a decisive feature for creating an “in” and “out” group.

Read the entire paper here.

To discuss the perspective of race in contemporary German literature, it is worthwhile to focus on those writers associated with the programmatic efforts of the Afro-Germans, a heterogeneous, biracial group of individuals usually of German and African or African American heritage and born since 1945. In 1984 the late feminist author and scholar Audre Lorde presented a lecture and workshop in Berlin that apparently struck a resonant chord among the biracial women present. Lorde’s topic was African American and feminist literature. Allegedly the confrontation with African American literature and history led those present to call themselves “Afro-German” and to record “their-story.” The result has been organizational and publishing initiatives as well as a series of texts that include such disparate genres as lyric, film, essay, and rap. Perhaps the most interesting aspect in the evolution of Afro-German literature is the reception of the African American experience.

Leroy T. Hopkins, “Speak, So I Might See You! Afro-German Literature,” World Literature Today,Volume 69, Number 3, Multiculturalism in Contemporary German Literature (Summer, 1995): 533-538.

Toxi

DEFA Film Library
University of Massachusetts, Amherst
1952
85 minutes, b/w (English subtitles)
West Germany

Robert A. Stemmle, Director

A five-year-old girl suddenly appears on the doorstep of a well-to-do Hamburg family. The members of the multi-generational, white household react differently to the arrival of Toxi, who is black, the daughter of an African-American G.I. and a white German woman who has died. Eventually Toxi works her way into the hearts of this German family, but then her father returns, hoping to take Toxi back to America with him.

In West Germany at the time of the film’s release, there were nearly 100,000 children of Allied paternity born since WWII; of these, fewer than 5,000 were of colored paternity. Toxi was the first feature-length film to explore the subject of “black occupation children” in postwar Germany. It premiered in 1952 as part of a plan to raise public awareness, as these children began entering German schools. Known for his unique blend of social realism and melodrama, Robert A. Stemmle—one of in West Germany’s most popular directors—brought together an exceptionally renowned group of classic German actors with very diverse experiences of the Nazi era, including Paul Bildt, Johanna Hofer and Elisabeth Flickenschildt.

Special Features

• Biographies & Filmographies
• Audio commentary, by film scholars Angelika Fenner & Tobias Nagel
• “Toxi and the Story of Race after Nazism,” by historian Heide Fehrenbach
• Trailer: Brown Babies: The Mischlingskinder Story (2011, Dir. Regina Griffin)
• Original film flyer, with English translation
• Books on the movie

Race under Reconstruction in German Cinema: Robert Stemmle’s Toxi

University of Toronto Press
June 2011
288 pages
Cloth ISBN: 9781442640085

Angelica Fenner, Associate Professor of German and Cinema Studies
University of Toronto

Race Under Reconstruction in German Cinema investigates postwar racial formations via a pivotal West German film by one of the most popular and prolific directors of the era. The release of Robert Stemmle’s Toxi (1952) coincided with the enrolment in West German schools of the first five hundred Afro-German children fathered by African-American occupation soldiers. The didactic plot traces the ideological conflicts that arise among members of a patrician family when they encounter an Afro-German child seeking adoption, herein broaching issues of integration at a time when the American civil rights movement was gaining momentum and encountering violent resistance.

Perceptions of ‘Blackness’ in Toxi demonstrate continuities with those prevailing in Wilhelmine Germany, but also signal the influence of American social science discourse and tropes originating in icons of American popular culture, such as Uncle Tom’s Cabin, Birth of a Nation, and several Shirley Temple films. By applying a Cultural Studies approach to individual film sequences, publicity photos, and press reviews, Angelica Fenner relates West German discourses around race and integration to emerging economic and political anxieties, class antagonism, and the reinstatement of conventional gender roles.

Black German Cultural Society of New Jersey 2012 Annual Convention: Call for Papers

Black German Cultural Society of New Jersey
2012-01-31

Building on the success of the inaugural 2011 conference, the second annual convention of the Black German Cultural Society of New Jersey (BGCSNJ) will be held at Barnard College in New York City on August 10-11, 2012.  This year’s convention will focus on the theme of “What Is the Black German Experience?” The conference will feature a keynote address by Yara Colette Lemke Muniz de Faria, screenings of the films “Hope in My Heart: The May Ayim Story” and “Audre Lorde – The Berlin Years 1984-1992,” and readings by Black German poet-performers Olumide Popoola and Philipp Khabo Köpsell.

The BGCSNJ Review Committee invites proposals for papers that engage the multiplicity and diversity of the experiences of Blacks of German heritage and on Blackness in Germany. We welcome submissions for twenty-minute presentations on three academic panels and two sessions devoted to life writing, oral history and memoir. To participate please send a one-page abstract and a CV or short biographical statement to: bgcsinc@gmail.com. Deadline for proposals: March 15, 2012

For more information, click here.

Berlin marks Black History Month but the struggle goes on

Deutsche Welle
2012-02-16

Anne Thomas

Berlin has become more diverse and the situation for Afro-Germans has improved, but it’s still hard to get a job or an apartment. Black History Month highlights the challenges faced by over 2 percent of the population.

A black Portuguese friend of mine once dated an African-American guy she had met in her favorite bar. “We were so surprised to see another black person, we instantly gravitated towards each other,” they told me, laughing. They were able to joke, but for many Afro-Germans, it has been a lonely struggle.

Although I live in Neukölln—reportedly Berlin’s most diverse district with inhabitants from 160 countries—I am always struck by how white the city seems compared to other European capitals. I have never seen a black doctor, civil servant, yoga teacher, ticket collector, bus driver, pharmacist, plumber, policewoman, librarian… Most of the black people I know are from the US, UK, Nigeria, Senegal, Brazil or Portugal.
 
As a white foreigner in Germany, I sometimes find it difficult here and am very aware of my differences. However, I cannot really imagine what it must be like to constantly be considered exotic, just because of a different skin color.

Remembering May Ayim

So this year’s Black History Month in Berlin has been especially fascinating. The Initiative of Black People in Germany (ISD) introduced this annual event in 1990, the year of German reunification, which Afro-German poet and activist May Ayim described as a celebration “without immigrants, refugees, Jewish or black people.”

To date, many in Germany maintain the country has a very insignificant colonial history and racism is not an issue. Ayim (1960 – 1996), whose father was Ghanaian and mother German, suffered from this ignorance and co-founded the ISD to change attitudes and work towards a non-racist Germany…

…Introducing Afro-Germans

Micosse-Aikins also praised the fact that Berlin had changed for the better as a result of the work of May Ayim and her fellow panelist, the historian and activist Katharina Oguntoye, who was born in Zwickau to a white German mother and a black Nigerian father.

When Caribbean-American writer, poet and activist Audre Lorde arrived in Berlin in 1984, she looked for other black women and found mainly isolated individuals, including Ayim and Oguntuye. She encouraged them to write a book.

“She said we should introduce ourselves to each other and to the world,” recalled Oguntoye, adding that this was an extremely daunting task for two women in their early 20s, but one they felt equipped to perform.

The result was “Showing Our Colors: Afro-German Women Speak Out,” a groundbreaking combination of historical analysis, interviews, personal testimonies and poetry that explored racism in Germany and was published in German in 1986…

Read the entire article here.

Audre Lorde – The Berlin Years 1984 to 1992

Third World Newsreel
2012
84 minutes
Germany
English/German with English Subtitles

Dagmar Schultz

2012 marks the 20th anniversary of Audre Lorde’s passing, the acclaimed Black lesbian feminist poet and activist. Throughout the 70s and 80s, Lorde’s incisive writings and speeches defined and inspired the women of color, feminist and LGBT social justice movements in the United States.

Audre Lorde – The Berlin Years 1984 to 1992  explores a little-known chapter of the writer’s prolific life, a period in which she helped ignite the Afro-German Movement and made lasting contributions to the German political and cultural scene before and after the fall of the Berlin Wall and the German reunification.

Lorde mentored and encouraged Black German women to write and publish as a way of asserting their identities, rights and culture in a society that isolated and silenced them, while challenging white German women to acknowledge their white  privilege. As Lorde wrote in her book Our Dead Behind Us: Poems, “It is not our differences that divide us. It is our inability to recognize, accept, and celebrate those differences.”

Audre Lorde – The Berlin Years 1984 to 1992 contains previously unreleased audiovisual material from director Dagmar Schultz’s personal archive, showing Lorde on and off stage. With testimony from Lorde’s colleagues, students and friends, this film documents Lorde’s lasting legacy in Germany.

See the Audre Lorde – The Berlin Years 1984 to 1992 Study Guide here.

Hope in My Heart: The May Ayim Story

Third World Newsreel
1997
28 minutes
Germany
German with English Subtitles

Maria Binder

A moving documentary about the life and untimely death of Ghanaian-German poet, academic and political personality May Ayim. Ayim was one of the founders of the Black German Movement, and her research on the history of Afro-Germans, but also her political poetry, made her known in Germany and other countries.

Ayim wrote in the tradition of oral poetry and felt a strong connection to other black poets of the diaspora. Poetry gave her an opportunity to confront the white German society with its own prejudices.

Interviews and poems reveal the search for identity, how and why the term Afro-German was introduced. An insightful look at how a young black woman experiences the German reunification.

In the foreword to Ayim’s Blues in Schwarz Weiß (Blues in Black and White), Maryse Conde wrote “… With the unmistakable sound of her voice her poems spoke to me of her, told of others that are like her and yet so unlike her in Germany, in Africa, in America. These poems held passion and irony … In May’s voice I found the echo of other voices from the diaspora.”

The New Black

The National Post
Toronto, Canada
The Afterword: Postings from the literary world
2012-02-03

Donna Bailey Nurse

The day after the Giller Awards I had breakfast with a friend at the Four Seasons Hotel in Toronto. The ceremony had been held there the night before and as I savoured my bagel and lox we discussed Esi Edugyan’s thrilling win for Half-Blood Blues.
 
“She seemed genuinely surprised,” said my friend, who was describing the event, for she had attended the gala and I had not. “She looked gorgeous. Her dress was amazing. Oh look,” she broke off, “there she is!”
 
I turned in my chair to see Edugyan and her husband, Steven Price, being seated at the table behind me. What good luck. I had been hoping to catch up with her at some point to congratulate her in person. Happily, here she was…

…Half-Blood Blues, like Lawrence Hill’s The Book of Negroes, has become a bestseller. Some critics are surprised by the wide appeal of these two books, but it makes sense to me. Black stories are popular because they touch on two concerns close to every human heart: the desire for acceptance, to feel as though we belong; and the desire to be free to be who we are meant to be. Black Canadian stories feel quintessentially Canadian. The early novels of Austin Clarke, for example, started a vigorous discussion of hyphenated identities — the idea that we are either Irish-Canadian or Italian-Canadian or black-Canadian or Asian-Canadian, and that being Canadian means being two things (at least) at once.
 
As a literature of the diaspora, black Canadian novels are destined to make their mark: They articulate a language for black experience in an ostensibly post-racial world. Currently, African-American writers and black British writers — and black writers practically everywhere — are attempting to express what it means to be black in a world that claims race doesn’t matter. In this, black Canadian writers have been given a huge head start: Canada has always professed colour blindness…

…Bi-racial heritage is emerging as this literature’s dominant theme. Half-Blood Blues, Lawrence Hill’s Any Known Blood and Kameleon Man are all titles that allude to its significance. Even The Polished Hoe concerns a heroine that is black but looks white. Nearly every major character in Half-Blood Blues is mixed race; not only Afro-German Heiro, but also Sid, who is undoubtedly descended from a slave woman and her master. Chip, as it turns out, may possess Native-American blood.
 
Mixed heritage proves a wonderfully fruitful symbol. It is sometimes used to scrutinize the bi-racial dilemma of being caught between duelling cultures. Or it may address the anxiety fair-skinned blacks may feel about whether or not to pass for white. It can symbolize the struggle of black Canadians to reconcile the African and European aspects of their culture. A turbulent interracial romance may represent the overall challenges of race relations. Bi-racial anxiety and alienation lie at the heart of Half-Blood Blues. Altogether,  the title refers to a song the band records, the characters themselves, and a world where few accept that we are all at least two things at once…

Read the entire article here.