Mixed Race Studies

Viola Desmond: Her Life and Times

Roseway Publishing (an imprint of Fernwood Publishing)
October 2018
128 pages
Paperback ISBN: 9781773631233
Kindle ISBN: 9781773631257
ePub ISBN: 9781773631240

Graham Reynolds, Professor Emeritus and the Viola Desmond Chair in Social Justice
Cape Breton University, Sydney, Nova Scotia, Canada

with Wanda Robson

Teacher’s Guide for Viola Desmond: Her Life and Times

Many Canadians know that Viola Desmond is the first Black, non-royal woman to be featured on Canadian currency. But fewer know the details of Viola Desmond’s life and legacy. In 1946, Desmond was arrested for refusing to give up her seat in a whites-only section of a movie theatre in New Glasgow, Nova Scotia. Her singular act of courage was a catalyst in the struggle for racial equality that eventually ended segregation in Nova Scotia.

Authors Graham Reynolds and Wanda Robson (Viola’s sister) look beyond the theatre incident and provide new insights into her life. They detail not only her act of courage in resisting the practice of racial segregation in Canada, but also her extraordinary achievement as a pioneer African Canadian businesswoman. In spite of the widespread racial barriers that existed in Canada during most of the twentieth century, Viola Desmond became the pre-eminent Black beauty culturist in Canada, establishing the first Black beauty studio in Halifax and the Desmond School of Beauty Culture. She also created her own line of beauty products.

Accessible, concise and timely, this book tells the incredible, important story of Viola Desmond, considered by many to be Canada’s Rosa Parks.

Viola Desmond $10 bill wins international banknote of the year design award

CBC News
2019-04-30

Cassie Williams, Reporter/Editor

In March 2018, the federal government unveiled the vertical banknote design featuring Desmond’s portrait and a map of her north-end Halifax neighbourhood. The bill went into circulation in November. (Bank of Canada)

Canadian banknote tops designs from Switzerland, Norway, Russia, Solomon Islands

A Canadian $10 bill featuring Nova Scotia civil rights pioneer Viola Desmond has been named the best in the world.

The International Bank Note Society has announced the Desmond bill won the coveted Bank Note of the Year Award for 2018, beating out top designs from places like Switzerland, Norway, Russia and the Solomon Islands.

In March 2018, the federal government unveiled the vertical banknote design featuring Desmond’s portrait and a map of her north-end Halifax neighbourhood. The bill went into circulation in November.

Desmond played a seminal role in Canada’s civil rights movement when, on Nov. 8, 1946, she went to see a movie at the Roseland Theatre in New Glasgow, N.S., while her car was getting fixed.

Desmond, 32, was dragged out of the theatre by police and jailed for defiantly sitting in the “whites only” section of the film house. At the time, black people could only sit in the balcony.

Her ensuing legal fight against that injustice helped end segregation in Nova Scotia. In 2010, she was posthumously awarded an apology and a pardon…

Read the entire article here.

BOOK REVIEW: “White Like Her” by Gail Lukasik, Reviewed By C. Ellen Connally

Cool Cleveland
2019-07-16

Former Clevelander and author Gail Lukasik named her recently published memoir White Like Her. Subtitled My Family’s Story of Race and Racial Passing, Lukasik tells the story of her mother, Alvera Frederic Kalina, who changed her racial identity from black to white when she married in 1944 and moved to Cleveland. With that move, she abandoned her black family and racial heritage and in her mind, became white like the man she married.

Alvera hid her secret from the world until her daughter made the discovery when she was tracing her family tree. Her mother’s birth certificate and that of her grandfather and other relatives ,along with census records, showed that her mother and other relatives were black. When confronted with such concrete evidence, Alvera refused to admit her mixed-race heritage. In her mind, her life as a black person was over when she married and left New Orleans, the city of her birth. She begged her daughter not to reveal her secret. For 17 years, until her mother’s death, Lukasik continued her research but did not reveal her findings outside her immediate family.

Stories of passing — a term used to define the process of abandoning one’s cultural identity and adopting another — are traditionally associated with a light-skinned black person who assumes a white identity. People of color living as white have been the theme for many literary works in the late 19th and 20th century. Clevelander Charles W. Chesnutt, a black man who could have easily passed for white, wrote a significant number of stories about black people passing for white around the turn of the 20th century. Many of the stories take place in Cleveland which he fictionalized to be Groveland, Ohio…

Read the entire review here.

Mixed Race and the Media: Notes from a Workshop

Afropean. Adventures in Black Europe
2019-05-09

Nina Camara

Multiracial people are very visible in popular culture, however, what picture(s) does it paint?

As someone who grew up in a culture where people of colour are a small minority, I always felt ambiguous about the attention directed at us as a result of our difference. I longed to find out about the experiences of other mixed-race individuals. Living in London finally enabled me to explore this collective experience and create a space to have these discussions. In order to do so, I facilitated an informal workshop which brought together people of mixed-race origins to reflect upon our portrayals in various media outlets and their wider impact.

The group consisted of 8 individuals with heritages spanning many cultures, including the Middle East, Britain, Eastern Europe, India, Jamaica, the US (including Native American heritage) and Nigeria. Through a series of activities, we explored our self-perceptions, examples of how the mixed-race experience is represented across various media outlets and popular beliefs that are pervasive in wider society about mixed-race people. Upon reflection, it was a good learning curve and a fun way to ponder the complexity of mixed-race experience on a relaxed Sunday afternoon. Here is a quick summary of our conversation…

Read the entire article here.

“How Does It Feel to Be Born a Problem?”

Contexts
First Published 2019-07-29
DOI: 10.1177/1536504219864959

Whitney N. Laster Pirtle, Assistant Professor of Sociology
University of California, Merced

Born a Crime: Stories from a South African Childhood by Trevor Noah, Spiegel & Grau, 2016, 304 pages

How does it feel to be a problem? W.E.B. Du Bois posed this question over a century ago to critique American institutions that constructed being American as White, and therefore, made being Black an inherent problem in White America. Du Bois’s question was also a demand: that we reflect on and critique a system of racial oppression that teaches those in subjugated positions that their very being is problematic.

Interestingly, this is also a question that Trevor Noah, South African comedian and host of Comedy Central’s award-winning newscast The Daily Show, engages in his highly acclaimed memoir, Born a Crime: Stories from a South African Childhood. Though Noah is not a trained sociologist, he uses the complexity and absurdity of his life to tease out numerous sociological concepts. Throughout his odyssey, he places issues of race and identity at the forefront. The most salient question is what does it mean to be born a problem?

The book begins with an excerpt from South Africa’s 1927 Immorality Act, which deemed any “European” person who had intercourse with a “native” person “guilty of an offence and liable on conviction to imprisonment.” It is no accident that Noah begins his memoir by citing this linchpin legislation that set in motion the apartheid regime in South Africa. During this period, distinct racial lines were drawn in order to enforce a rigid racial hierarchy privileging a small White ruling class and disadvantaging all others. If a society is to be structured along distinct racial lines, those lines cannot be blurred. As Noah puts it, “[b]ecause a mixed person embodies that rebuke to the logic of the systems, race-mixing becomes a crime worse than treason” (p. 21). Thus, when Noah’s African mother decided to have a child with a White Swiss-German man in 1984, their son’s birth was, in fact, a crime…

Read the entire review in HTML or PDF format.

When it Comes to Latinidad, Who Is Included and Who Isn’t?

Remezcla
2019-07-30

Janel Martinez

At the top of November 2018, an Instagram meme created by writer Alan Pelaez Lopez went viral. The Afro-Indigenous (Zapotec) activist placed the term Latinidad on a car making a sharp right turn at an exit. At the top of the image, the road sign that points ahead lists, “admitting racism & anti-Blackness exists & a commitment to build solidarity with Black and Indigenous people.” The arrow pointing right notes, “mestiza supremacy & your insistence that your great-great-great-great grandmother was Black.” The car, which moved in the latter direction, symbolizes the ideologies of Latinidad.

A few days later, Pelaez posted on their Instagram account that “Latinidad is canceled.”

With each repost or share, Latinxs, a large percentage identifying as Afro-Latinx and/or Indigenous, championed Pelaez Lopez’s meme and called for cancellation. Others, many who would be racialized as white or mixed-raced (mulatto or mestizo) Latinxs, contested the message.

Though positioned as an all-inclusive cultural identity, Latinidad has historically proven to be a term beneficial to a select few. Gauging one’s proximity to whiteness – gender, sexual preference and able-bodied privileges included – Latinidad incites the question, who is included and, ultimately, excluded from its definition?…

Read the entire article here.

water/tongue

University of Chicago Press (Distributed for Omnidawn Publishing, Inc.)
April 2019
72 pages
4 halftones
6 x 9
Paperback ISBN: 9781632430656

mai c. doan

Grappling with the shock of her grandmother’s suicide, mai c. doan undertook a writing project that might give voice to her loss as well as to grapple with memory, and the challenge of articulation and of documentation, in all of their contradictions and (im)possibilities. In the poems that comprise water/tongue, doan conjures visceral and intuitive elements of experience to articulate the gendered and intergenerational effects of violence, colonialism, and American empire. Breaking the silence surrounding these experiences, doan conjures a host of voices dispersed across time and space to better understand the pain that haunted her family—made tragically manifest in her grandmother’s death. Looking not only to elements of Vietnamese history and culture, but to the experience of migration and racism in the United States, this book charts a path for both understanding and resistance. Indeed, doan does not merely wish to unearth the past, but also to change the future. If we want to do so, she shows, we must commune with the voices of sufferers both past and present. doan demonstrates how even the form of a work of poetry can act as a subversion of what a reader expects from the motion of the act of reading a line of type or a page of text. doan disarms and unsettles the ways a reader is led to levels of comprehension, and thus disrupts what “comprehension” might mean, as the reader follows the flow of a work, providing an opportunity to sense, and to confront hierarchies that structure ordinary reading and writing. doan brings a reader to conscious appraisal of the hierarchies that affect us, and how these hierarchies can constrain our insights and our mobility. water/tongue is a critical read for anyone interested in the long effects of gendered and cultural violence, and the power of speech to forge new and empowering directions.

How I Learned to Love My Natural Hair

The Walrus
2019-07-30

Chelene Knight

The Walrus

I’ve spent thousands of dollars trying to turn my hair into anything but what it is: black and curly

“Beauty was not simply something to behold; it was something one could do.”
― Toni Morrison, The Bluest Eye

When I was fifteen years old, I remember going to one of the many hair salons inside what was then called the Metrotown Centre mall, located in Burnaby, British Columbia. I wanted somebody to fix my amateur, home-dyed, white-blond hair. I’ll never forget the way the stylist looked me up and down like she was assessing the situation, assessing the damage. She paused for a millisecond with her white hand on her hip before blurting out that they couldn’t “do my kind of hair” at this salon and that I might want to try something across the street. Before she even said which salon, I assumed she meant I should go to Abantu, a salon that specialized in braids, weaves, and fades—or, as the stylist put it, “the Black salon.”

I froze. Shouldn’t I be able to go to any salon I wanted? Why was she trying to make this choice for me? My reaction in that moment consisted of a blank stare, disappointment, and confusion. At first, I assumed she was reluctant to fix my homemade hair mistake because maybe it was unfixable. But that didn’t make sense. Her words cut deep. When she said, “My kind of hair,” it was the word kind that punched me in the stomach. My thoughts raced. I never heard of someone turning away a customer—a paying customer—for not having the right type of hair. I decided that I wasn’t going to take no for an answer…

Read the entire article here.

The Biracial Identity: Being Grey in a Black & White America

Her Campus at UCD
2018-03-05

Adrien York, UCD Contributor
University of California, Davis

Image courtesy of the author

With Black History Month — the shortest month of the year — being over, I find myself reflecting even more than usual on my racial identity. I have a white mom and a black dad; I’m black and white, or white and black, or mixed, or whatever the heck I’m supposed to call it.

I wish I could call it grey and have people know what I mean, because being mixed paradoxically feels like being both and neither at the same time. It always feels like I’m not “black enough” or not “white enough” to be accepted by either. For a long time this was a weight on my existence, but I’ve recently come to the conclusion that being black and being white are not mutually exclusive.

And I love living in the middle…

Read the entire article here.

If anything, the public debate around race and science has sunk into the mud. To state even the undeniable fact that we are one human species today means falling afoul of a cabal of conspiracy theorists. The “race realists,” as they call themselves online, join the growing ranks of climate change deniers, anti-vaxxers and flat-earthers in insisting that science is under the yoke of some grand master plan designed to pull the wool over everyone’s eyes. In their case, a left-wing plot to promote racial equality when, as far as they’re concerned, racial equality is impossible for biological reasons.

Angela Saini, “The Internet Is a Cesspool of Racist Pseudoscience,” Scientific American, July 29. 2019. https://blogs.scientificamerican.com/voices/the-internet-is-a-cesspool-of-racist-pseudoscience/.