Mixed Race Studies – Page 185 – Scholarly perspectives on the mixed race experience.

It’s time to recognize Sally Hemings as a first lady of the United States

2019-01-05

It’s time to recognize Sally Hemings as a first lady of the United States

The Los Angeles Times
2019-01-04

Evelia Jones

A man reads a plaque about Sally Hemings at Monticello, Thomas Jefferson’s estate in Charlottesville, Va., on Saturday, June 16, 2018. (Steve Ruark / Associated Press)

It is now widely understood that my ancestor Sally Hemings, an enslaved black woman, was the intimate companion of Thomas Jefferson for nearly four decades.

Monticello, the Virginia plantation operated as a museum by the Thomas Jefferson Foundation, acknowledged as much with a new exhibit last year: Hemings’ living quarters. The exhibit presents as fact that Hemings gave birth to at least six of Jefferson’s children.

Much about their relationship remains lost to history. We know that Hemings was Jefferson’s property, and that in America she did not have the right to refuse sexual advances from her owner. We also know that Hemings was able to negotiate freedom for her children and “extraordinary privileges” for herself, and that she occupied a central place in Jefferson’s life…

Read the entire article here.
What Makes Me Black? What Makes You White?

2019-01-04

What Makes Me Black? What Makes You White?

The Hedgehog Review: Critical Reflections on Contemporary Culture
Volume 20, Number 2 (Summer 2018)

Mr. Prejudice (detail), 1943, by Horace Pippin (1888–1946); gift of Dr. and Mrs. Matthew T. Moore/ Philadelphia Museum of Art/Art Resource, NY; © estate of Horace Pippin.

W. Ralph Eubanks, Visiting professor of English and Southern Studies
University of Mississippi

The obelisk bearing the chiseled gray-granite face of a Confederate soldier enters my field of vision each morning as I stroll across campus. After forty years away from Mississippi, I returned last year to teach at my alma mater, Ole Miss. Having entered the University of Mississippi in 1974, only twelve years after James Meredith shattered the color barrier, I was one of about fifty black students in a freshman class of more than 800, African Americans then making up less than 5 percent of the entire student body.

During my time as a student at Ole Miss, the culture, heritage, and traditions of the university stood as obdurate barriers to a black person attempting to feel part of the university, much less at home in it. And though Ole Miss and the state of Mississippi more broadly have since made certain commendable strides in reckoning with the past, the statue is a reminder of how the forces of race and history remain in constant collision, and of how the misinterpretation of the past can sometimes overshadow historical reality.

“Most white Americans are obviously and often all too unconsciously committed to White Anglo-Saxon Protestant supremacy,” wrote the essayist and critic Albert Murray more than forty years ago in his enduring reflections on our nation’s “mulatto” culture, The Omni-Americans.¹ What we are witnessing today, however, is quite conscious. I don’t mean here simply ugly and even violent displays, such as the now infamous Unite the Right rally in Charlottesville last summer, but something more insidious. This new iteration of racialized politics is one that dares not say its name. It even pretends that race-based discrimination and white supremacy are things of the past, issues well behind us. More brazenly—one might even say cynically—this new politics appropriates the language of the civil rights movement, and does so precisely to undercut some of the movement’s signal accomplishments (including voting rights), or at least to prevent some its goals (including equal as well as integrated schools) from being fully achieved…

Read the entire article here.
Jean Toomer’s ‘Cane’ and the Ambiguity of Identity

2019-01-04

Jean Toomer’s ‘Cane’ and the Ambiguity of Identity

NYR Daily
The New York Review of Books
2018-12-28

George Hutchinson, Newton C. Farr Professor of American Culture
Cornell University, Ithaca, New York

A drawing of a sugar cane field in South Carolina, by Edouard Riou, late nineteenth century
Veneranda Biblioteca Ambrosiana, Milan, Italy/De Agostini Picture Library/Bridgeman Images

Jean Toomer’s Cane was greeted in 1923 by influential critics as the brilliant beginning of a literary career. Many stressed the “authenticity” of Toomer’s African Americans and the lyrical voice with which he conjured them into being. His treatment of black characters contrasted starkly with both the stereotypes of earlier work by (mostly) white authors and the then current limitations of African-American problem fiction. As Montgomery Gregory pointed out for the new black magazine Opportunity, Toomer had avoided “the pitfalls of propaganda and moralizing on the one hand and the snares of a false and hollow race pride on the other hand.” Waldo Frank wrote, in the foreword to the book, “It is a harbinger of the South’s literary maturity: of its emergence from the obsession put upon its mind by the unending racial crisis—an obsession from which writers have made their indirect escape through sentimentalism, exoticism, polemic, ‘problem’ fiction, and moral melodrama. It marks the dawn of direct and unafraid creation.”

The unusual features and effectiveness of Cane can be attributed to the fact that its author was in rapid transition, vocationally, geographically, socially, and intellectually, between different identities. His unsettled position derived from both a complicated personal history and the unusual cultural moment in which he emerged as an artist. Born just two years after his famous grandfather, P.B.S. Pinchback—a former governor of Louisiana during Reconstruction—had moved from a palatial home in New Orleans to a smaller, though fashionable, house in Washington, Toomer never really knew the father for whom he was originally named. His mother, Nina, gave birth to him just nine months after a wedding of which her father disapproved and then found herself abandoned when Nathan Pinchback Toomer (as Jean was first named) was only a year old. Nina moved back to her autocratic father’s home, on the condition that she change the boy’s surname to Pinchback and his first name to anything other than Nathan (her husband’s name). Eventually, the first name became Eugene, after a godfather; but friends called the boy “Pinchy.” His mother called him Eugene Toomer and his grandparents, Eugene Pinchback. Ambiguity of identity and a strong intuition of the arbitrary nature of social labels came early to Toomer…

Read the entire article here.
A Century Later, a Novel by an Enigma of the Harlem Renaissance Is Still Relevant

2019-01-04

A Century Later, a Novel by an Enigma of the Harlem Renaissance Is Still Relevant

Books of The Times
The New York Times
2018-12-25

Parul Sehgal

Sonny Figueroa/The New York Times

He is American literature’s greatest, most enduring enigma.

In 1923, Jean Toomer — highborn but an orphan and a drifter, a young man with secrets — published the single, slender novel upon which his reputation rests. In bursts of poetry and prose, “Cane” tells of black life in the lethal rural South and in the loveless cities of the North. The narration has a kind of cosmic consciousness, entering the world of the characters, the whispering pine trees, the falling dusk, the soil. It is oracular, delirious and American — rich with the intensities of Melville, the expansiveness of Whitman and Toomer’s own bedeviling preoccupation with color.

Many stories meander through “Cane” (including one autobiographical section featuring a Northern writer in the South), but at its core the book is about six Southern women, including beautiful, chaotic Karintha; Carma, who slays her jealous husband; Becky, white and an outcast, the mother of two black sons. Their lives are brief, vivid, doomed — but each “a wild flash that told the other folks just what it was to live.”

“Cane” sold modestly but exerted a powerful influence over the Harlem Renaissance; it was, according to the sociologist Charles S. Johnson, “the most astonishingly brilliant beginning of any Negro writer of his generation.”…

…A fleeting feeling. Toomer forbade his publisher to mention his race in the marketing for “Cane.” (“My racial composition and my position in the world are realities which I alone may determine.”) Nor would he allow his work to be included in black anthologies, insisting he was part of a new, emergent race, simply called American…

Read the entire article here.
Congress votes to end blood quantum requirement, applies to five tribes

2019-01-04

Congress votes to end blood quantum requirement, applies to five tribes

KFOR-TV
Oklahoma City, Oklahoma
2018-12-26

OKLAHOMA CITY — A bill ending a blood quantum requirement awaits President Donald Trump’s signature after it unanimously passed the U.S. House and Senate.

HR2606, also known as the Stigler Act Amendments of 2018, was authored by Congressman Tom Cole (OK-04) and co-sponsored by Congressman Markwayne Mullin (OK-02). The legislation amends a 1947 law and would remove the one-half degree Native American blood quantum restriction for holders of tribal allotment land.

The legislation specifically impacts citizens of five Oklahoma tribes: the Chickasaw, Cherokee, Muscogee (Creek), Choctaw and the Seminole nations…

Read the entire story here.
It doesn’t matter how dark or fair someone’s skin is or if they grew up in a family that struggled or one of privilege. There is no such thing as being Indigenous enough.

2018-12-31

It doesn’t matter how dark or fair someone’s skin is or if they grew up in a family that struggled or one of privilege. There is no such thing as being Indigenous enough.

Charla Huber, “Charla Huber: Every Indigenous person is Indigenous enough,” The Times Colonist, December 30, 2018. https://www.timescolonist.com/opinion/columnists/charla-huber-every-indigenous-person-is-indigenous-enough-1.23566435.
“Historically, in the United States, if you had one drop of black blood, you were defined as black. You had various names for people who looked as white as their master, but they were defined as black. I didn’t grow up identifying as black because of that — for me it was more about pride, culture and my parents’ politics.”

2018-12-31

“Historically, in the United States, if you had one drop of black blood, you were defined as black. You had various names for people who looked as white as their master, but they were defined as black. I didn’t grow up identifying as black because of that — for me it was more about pride, culture and my parents’ politics. But Maria, like me, walks into a room and people don’t see that she’s black. She deals with that as a conflict more than just the fact of being mixed. If you pass as white in the world but know yourself not to be white, you’re privy to all those uncensored comments about black people that other black people sort of in liberal circles are shielded from. You’re constantly aware of this kind of mask falling away.” —Danzy Senna

Eleanor Wachtel, “Danzy Senna’s darkly comic take on racial identity,” Writers & Company with Eleanor Wachtel, CBC Radio, June 15, 2018. https://www.cbc.ca/radio/writersandcompany/danzy-senna-s-darkly-comic-take-on-racial-identity-1.4707804.
Danzy Senna’s darkly comic take on racial identity

2018-12-31

Danzy Senna’s darkly comic take on racial identity

Writers & Company with Eleanor Wachtel
CBC Radio
2018-06-15

Eleanor Wachtel, Host

Danzy Senna’s novel New People follows graduate student Maria through bohemian Brooklyn in the 1990s as she wrestles with her identity and her future. (Mara Casey)

American novelist Danzy Senna draws on her experience growing up in an interracial family in her edgy, prize-winning fiction. In her latest novel, New People, she writes with insight and subversive humour about what it means to be half-black and half-white.

Senna was born in Boston in 1970 to parents from very different worlds, who wed a year after interracial marriage became legal. Her mother, the poet and novelist Fanny Howe, came from a privileged background, with English/Irish family roots going back to the Mayflower. Her father, the African-American editor and academic Carl Senna, grew up in poverty in the South, the son of an orphaned black mother and absent Mexican father. In her 2009 memoir, Where Did You Sleep Last Night? A Personal History, Senna traces her father’s family story and her own complicated upbringing following her parents’ breakup when she was five years old. Raised with an acute black consciousness, during a time when, as Senna describes it, “‘mixed’ wasn’t an option; you were either black or white,” she brings to all her writing an awareness — and astute analysis — of class, race and identity…

Read the entire story here. Listen to the full episode (00:54:47) here.
Charla Huber: Every Indigenous person is Indigenous enough

2018-12-31

Charla Huber: Every Indigenous person is Indigenous enough

The Times Colonist
Victoria, British Columbia, Canada
2018-12-30

Charla Huber, Communications and Indigenous Relations
M’akola Group of Societies

Devan Cronshaw, left, Riley McKenzie and Alita Tocher are all urban Indigenous people in the capital region.
Photograph By Charla Huber, Times Colonist

So often, we hear the words reconciliation and decolonization, and lately I have been wondering if people really understand their meanings. The more I read, learn and listen, the more important these words become to me.

I am a product of the Sixties Scoop and was adopted and raised by a non-Indigenous family. Being adopted and having no knowledge of or connection to my birth family growing up, I really held onto being Indigenous. It was the only thing that I ever knew about myself for sure.

Because I wasn’t raised in Indigenous culture, I have often wondered if I am Indigenous enough. This is especially heightened because I am half. I am very open about my heritage and my adoption, but I do struggle saying: “My family is from Fort Chipewyan and I have Inuit roots.” I’ve never set foot on my ancestors’ traditional territory…

Read the entire article here.
Shirley Segree Cuffee (July 16, 1932 – November 10, 2018)

2018-12-31

Shirley Segree Cuffee (July 16, 1932 – November 10, 2018)

Beyond The Dash
2018-12-28

Shirley G. Segree Cuffee was born on Saturday, July 16, 1932 in the woodlands of Varina, in Henrico county, Virginia. She was born in her grandmother’s house on her 140 acre farm, to Native American (Powhatan/ Arrohateck, Cherokee) and African-American parents.

Her mother, Inez Selena Baugh was indigenous to that land and her father, James Bethea, was born in Cherokee, North Carolina.

Shirley was her mothers second eldest daughter (first daughter, Thelma “Nuni” Baugh [deceased]); and the eldest of her parents three children together. Before turning 2 years old, she moved to New York City with her parents where her younger brothers James Bethea, Jr., and Cleave Bethea where born.

In 1937, she and her family moved into the first, then “experimental” project in New York City, the ‘Harlem River Houses‘ located along the Harlem River Drive between 151st and 153rd streets in Harlem, New York…

Read the entire obituary here.

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