Mixed Race Studies

Did Obama Inspire A Big Debate On Identity? You Weighed In

Code Switch: Frontiers of Race, Culture and Ethnicity
National Public Radio
2016-02-23

Leah Donnella

Laurie Avocado/Flickr Creative Commons

Last week, Code Switch raised the curtain on “The Obama Effect,” our quest to understand what the nation’s first black president has to do with the big national conversations on identity and inclusion swirling in full force right now.

That quest began with you. On Friday, we took to Twitter with the hashtag #NPRObamaEffect and asked you to weigh in: If somebody else had come into office on Jan. 20, 2009, do you think we’d be having all these conversations about identity? Has the way you identify yourself as a person of color — or as a white person — changed over the last eight years? Have your personal politics around race shifted post-Obama?

Some people said yes, but weren’t lining up to credit Obama:…

Read the entire article here.

America Is Obsessed With Identity. Thanks, Obama?

Code Switch: Frontiers of Race, Culture and Ethnicity
National Public Radio
2016-02-17

Alicia Montgomery

Annette Elizabeth Allen for NPR

When Barack Obama won the presidency in 2008, there was a lot of talk about “The Obama Effect”: how the nation’s first black president signaled a new era of racial harmony and understanding.

That didn’t happen. But what did? The Obama family’s tenure in the White House has overlapped a revolution in the way Americans deal with identity. From race to religion, from gender to sexual orientation and beyond, marginalized groups that historically worked and waited for “a seat at the table” increasingly demanded their share of cultural power.

And people who once assumed that they could define what it means to be American were called on to defend their ideas and “check their privilege…

Read the entire article here.

People Of Color With Albinism Ask: Where Do I Belong?

Code Switch: Frontiers of Race, Culture and Ethnicity
National Public Radio
2015-12-07

Anjuli Sastry

Growing up, Natalie Devora always questioned how she fit into her African-American family.

“Everyone was brown, and then there was me,” Devora says. “I’m a white-skinned black woman. That’s how I navigate through the world. That’s how I identify.”

Devora has albinism, a rare genetic expression that leads to little or no melanin production. No matter what race or ethnicity someone with albinism is, their skin and hair appear white because of a lack of pigment. It is estimated that one out of every 18,000 to 20,000 people born in America each year has some form of albinism, according to the National Organization for Albinism and Hypopigmentation.

Devora grew up in Oakland, Calif., where, every so often, strangers would ask her mother about her “white” child. It made Devora question where she belonged…

…That brings us back to the original question. In a society where race is intrinsic to the fabric of our society — leaving aside the myths of post-racialism and colorblind politics — where do people of color, but without color, fit? Do they need to fit? And how should everyone else change their own perceptions about albinism?…

Read the entire article here.

Privilege And Pressure: A Memoir Of Growing Up Black And Elite In ‘Negroland’

Code Switch: Fronties of Race, Culture and Ethnicity
National Public Radio
2015-09-08

Terry Gross, Host
Fresh Air

Growing up in the 1950s, Margo Jefferson was part of Chicago’s black upper class. The daughter of a prominent doctor and his socialite wife, Jefferson inhabited a world of ambition, education and sophistication — a place she calls “Negroland.”

That afforded her many opportunities, the Pulitzer Prize-winning cultural critic says. But life was also undercut by the fear that her errors and failures would reflect poorly on her family and, subsequently, her race.

“It was very important that you show yourself a bright, lively, well-spoken person,” Jefferson tells Fresh Air’s Terry Gross. “If you go back and read editorials in black magazines — even in white magazines — watch television, this attitude is everywhere: ‘Jackie Robinson, he’s advancing the race!’ ‘Marion Anderson, she’s advancing the race!’ This was the way America … [viewed] blacks: The individual was a collective symbol.”

In her memoir, Negroland, Jefferson describes the social pressures of her upbringing, as well as the sense of separation that it engendered. She writes that she and other members of the black elite thought of themselves as a “Third Race, poised between the masses of Negroes and all classes of Caucasians.”

Ultimately, it was the Black Power movement that led Jefferson to question some of the tenets that she had grown up with: “Black Power was really a major challenge to the social privileges and structures of the kind of privilege that I had grown up with,” she says. “That whole belief … that you will only be able to advance if you are perfectly behaved, if you present yourself as what white people would consider an ideal of whiteness … all of that just began to burst open.”…

Listen to the story (00:34:47) here. Download the story here. Read the transcript here.

Tony Gleaton: Photographing The African Story Across The Americas

Code Switch: Frontiers of Race, Culture and Ethnicity
National Public Radio
2015-08-23

Karen Grigsby Bates

Photographer Tony Gleaton died last Friday after struggling with a particularly aggressive cancer for 18 months. He was working, signing prints, talking to museums (several have his work in their collections, including the Brooklyn Museum, the Field Museum of Natural History in Chicago, Yale’s Peabody Museum of Natural History, and the Schomburg Center for Research in Black Culture in Harlem) and checking in with his friends right up to the last day. I admired his work, but also treasured his friendship.

For many years, Tony often showed up on my Los Angeles doorstep with a huge sack of dirty laundry slung over his shoulder and a box of contact sheets under one arm.

“Here,” he’d say, placing the box in my hands, and walking through the door. “Look at these. I’m gonna do some laundry, okay?”…

…In the beginning, he got a lot of pushback. “Why do you want to take our picture?” the villagers would ask, warily. “We have no money to pay you.”

When Tony would explain that he was documenting the African Diaspora around the world, and that they and he were both part of it, the conversation often became even harder.

“You want to take pictures of black people?” they’d ask.

“Yes, like you and me … ” he’d begin

“Well,” they’d respond, looking at his fair skin, light hair and blue-green eyes. “You’re not black. And we’re certainly not black. So you need to do that somewhere else.”

Eventually he learned to refine his approach and tell the villagers he wanted people in the States to see how beautiful people in the villages were. “I just gave up on the black connection. It was important to me, but not to them. They see race differently than we do. And it’s only a social construct anyway.”

There is still stigma to acknowledging blackness in many parts of Mexico, and Tony’s work raised the profile of Latinos with what is sometimes called “the Third Root” — Spanish, Indian, African — in Latino culture. His work eventually expanded across the Americas to form an exhibit called Tengo Casi 500 Anos (I Have Almost 500 Years) — Africa’s Legacy in Mexico that explores the African presence in the Americas. He’s also chronicled black, Indian and Mexican cowboy culture, as well as life in American Samoa and the Mississippi Delta…

Read the entire article here.

Dark-Skinned Or Black? How Afro-Brazilians Are Forging A Collective Identity

Code Switch: Frontiers of Race, Culture and Ethnicity
National Public Radio
2015-08-12

Lulu Garcia-Navarro, South America Correspondent

Sisters Francine and Fernanda Gravina have German, Italian, African and indigenous ancestry. (Lourdes Garcia-Navarro/NPR)

If you want to get a sense of how complex racial identity is in Brazil, you should meet sisters Francine and Fernanda Gravina. Both have the same mother and father. Francine, 28, is blond with green eyes and white skin. She wouldn’t look out of place in Iceland. But Fernanda, 23, has milk chocolate skin with coffee colored eyes and hair. Francine describes herself as white, whereas Fernanda says she’s morena, or brown-skinned.

“We’d always get questions like, ‘How can you be so dark skinned and she’s so fair?'” Fernanda says. In fact, the sisters have German, Italian, African and indigenous ancestry. But in Brazil, Fernanda explains, people describe themselves by color, not race, since nearly everyone here is mixed.

All of that is to say, collecting demographic information in Brazil has been really tricky. The latest census, taken in 2010, found for the first time that Brazil has the most people of African descent outside Africa. No, this doesn’t mean that Afro-Brazilian population suddenly, dramatically increased. Rather, the new figures reflect changing attitudes about race and skin color in Brazil…

…”We should see the history of Brazil as a history of racial inequality,” Heringer says — and that’s a fairly new idea. For a long time, Brazilians have believed in what’s been called “the myth of racial democracy,” she explains. Part of that myth-building was a controversial survey that the government conducted the 1970’s. It asked people to describe their skin color, and the answers varied a lot. All together, respondents used at least 134 different terms…

Read the article here. Listen to the story (00:05:38) here. Download the story here.

As A White Mom, Helping My Multiracial Kids Feel At Home In Their Skin

Code Switch: Frontiers of Race, Culture and Ethnicity
National Public Radio
2015-07-24

Kristen Green

Last year, after months of watching — and re-watching — the movie Frozen, my daughter Selma, who is 6, announced she didn’t want to be brown. “I wish my skin was white,” she told me one day in our living room, where we were hanging out after school.

I knew she idolized the film’s alabaster-skinned heroines, and it made my heart ache. Our daughters started picking up on the differences in our family’s skin color at a very young age — I’m a white-skinned woman raised in the South, my husband, Jason, is part-white, part-American Indian, with medium-brown skin, and, depending on the season, both of our girls look more brown than white. There’s research showing that children can recognize differences in race as early as infancy, and can develop racial biases as early as 3.

Knowing all this, we’ve tried to raise our daughters to be comfortable in their skin, making sure they’re in schools with other black and brown children, searching out books and movies with black and brown main characters. I had even tried, unsuccessfully, to steer her away from the snowy princesses.

But our attempts clearly weren’t foolproof. “You’re beautiful the way you are,” I told Selma, stroking her long hair and trying to mask my sadness. “I love your brown skin.” She wasn’t convinced. “I wish it was like yours,” she told me…

Read the entire article here.

In The Writer’s Room, One Woman Quietly Makes Late Night History

Code Switch: Frontiers of Race, Culture and Ethnicity
National Public Radio
2015-07-12

Eric Deggans, TV Critic

How do you write jokes for a TV comedy about race and culture when there are riots over how police treat black suspects, and a gunman just shot down nine people in a black church?

If you’re Robin Thede, head writer for The Nightly Show with Larry Wilmore, you think carefully about where you focus the joke.

“The thing about tragedy, is that it causes people to react in a myriad of ways … [and] some of them are very hilarious,” Thede says, laughing. “You don’t make fun of the actual tragedy. You make fun of the ridiculous ways people react to it.”

Her example: The way some news outlets focused on the involvement of the gang Black Guerilla Family when rioting broke out in Baltimore last April.

“You’ve got people on the news saying ‘Black Guerilla Family’ 4,000 times because they get a kick out of saying ‘gorilla’ when connected to black people,” she says…

…That voice first emerged in January, when Wilmore’s Nightly Show debuted in the timeslot originally held by Stephen Colbert’s Colbert Report.

Wilmore made a bit of history then as the only black man hosting a major late night talk show.

And Thede also made history: She’s the first black woman to serve as head writer for such a show. But she’s quick to counter the notion that The Nightly Show is just a parody of Meet the Press centered on jokes about race…

Read the entire article here. Listen to the story (00:04:09) here. Download the story here. Read the transcript here.

Mr. Spock, Mixed-Race Pioneer

Code Switch: Frontiers of Race, Culture and Ethnicity
National Public Radio
2015-03-01

Steve Haruch

At a time when the mere sight of Petula Clark touching Harry Belafonte’s arm held the potential to upset delicate sensibilities, the half-human, half-Vulcan character Mr. Spock embodied an identity rarely acknowledged, much less seen, on television: a mixed-race person.

Sure, the mixing of races was allegorical in Spock’s case, as was the brilliantly subversive mode for social commentary on Star Trek. But that doesn’t mean it didn’t resonate.

In 1968 — the year Clark made contact with Belafonte, and the same year the Star Trek episode “Plato’s Stepchildren” caused much consternation for network executives who feared backlash against the interracial kiss between Captain Kirk and Lieutenant Uhura — a young girl wrote a letter to Spock, care of FaVE magazine. In the letter, she makes the connection between Spock’s fictional identity and her own very real situation:

“I know that you are half Vulcan and half human and you have suffered because of this. My mother is Negro and my father is white and I am told this makes me a half-breed. In some ways I am persecuted even more than the Negro. The Negroes don’t like me because I don’t look like them. The white kids don’t like me because I don’t exactly look like one of them either.”

Leonard Nimoy, who played Spock, wrote a long and thoughtful response that reads, in part:

“Spock learned he could save himself from letting prejudice get him down. He could do this by really understanding himself and knowing his own value as a person. He found he was equal to anyone who might try to put him down — equal in his own unique way.

You can do this too, if you realize the difference between popularity and true greatness.”

Spock certainly knew what “true greatness” was all about. You didn’t have to be mixed-race to feel this kind of connection to Spock, though…

Read the entire article here.

One Playwright’s ‘Obligation’ To Confront Race And Identity In The U.S.

Code Switch: Frontiers of Race, Culture and Ethnicity
All Things Considered
National Public Radio
2015-02-16

Jeff Lunden

Playwright Branden Jacobs-Jenkins may be only 30 years old, but he’s already compiled an impressive resume. His theatrical works, which look at race and identity in America, have been performed in New York and around the country. Last year, Jacobs-Jenkins won the best new American play Obie Award for two of his works, Appropriate and An Octoroon.

An Octoroon is currently playing at Theater for a New Audience in New York…

…Over the past five years, the young playwright has written a trilogy of highly provocative and fantastical explorations of race in America. In Neighbors, a family of minstrels in blackface moves in next to a contemporary mixed-race family. In Appropriate, a white family discovers their dead father belonged to the KKK. His latest, An Octoroon, is a loose adaptation of a play written more than 150 years ago that deals with identity and race.

“They are all kind of like me dealing with something very specific, which has to do with the history of theater and blackness in America and form,” he says. “And also, my obligation, as a human being with regards to any of these themes.”

It is Jacob-Jenkins’ self-examination that drove Ben Brantley, the chief drama critic for The New York Times, to rank An Octoroon on the top of his best pays list last year. He saw it at Soho Rep, a tiny off-Broadway theater.

“[Jacobs-Jenkins] starts off from self-consciousness, which you would think would be a crippling place for a playwright to begin,” Brantley says.”But his self-consciousness isn’t just particular; it’s national, it’s universal. And it’s the self-consciousness of realizing that we don’t have the vocabulary, the tools to discuss race.”

The play, based on a 1859 melodrama by the Irish-Anglo playwright Dion Boucicault, tells the story of a young man who’s about to inherit a plantation and falls in love with a woman who is an octoroon — seven-eighths white, one-eighth black.

Director Sarah Benson points out that, in the original, all the parts had to be played by white actors…

Read the entire article here. Listen to the story here. Download the audio here. Read the transcript here.