Mixed Race Studies

Q&A with artist and author Laura Kina

Book Q&As with Deborah Kalb
2013-07-11

Deborah Kalb

Laura Kina, the Vincent de Paul associate professor of Art, Media, and Design at DePaul University, is the co-editor of the new book War Baby/Love Child: Mixed Race Asian American Art and the co-curator of an accompanying art exhibit. She lives in Chicago.

Q: How did you select these particular authors and artists to include in the book?

A: I’m a visual artist, a painter, and much of my work has been about Asian American and mixed race identity and history. As a result, I’m tapped into a network of artists, scholars, and activists working on similar topics. My co-editor Wei Ming Dariotis and I also teach classes on mixed race and Asian American studies so we were also both seeking out work by relevant artists and authors to share with our students.

This is actually how we met. She was using my art in her classes at San Francisco State University and I was using her articles on “hapa” mixed Asian American identity in my classes at DePaul University.

The kernel for our book and the related traveling exhibition happened organically over several years of research and teaching and involvement with community multiracial organizations such as MAVIN in Seattle and iPride and Hapa Issues Forum in San Francisco and then later working together with my colleague Camilla Fojas to found the Critical Mixed Race Studies biennial conference at DePaul University in Chicago…

Read the entire interview here.

Naked Bodies, Bodies of History

Hyphen Magazine: Asian America Unabridged
2013-06-27

Jenny Lee

“She mimics the speaking. That might resemble speech. (Anything at all.) Bared noise, groan, bits torn from words…From the back of her neck she releases her shoulders free.  She swallows once more.”

So begins the story of the halting diseuse, or female storyteller, of Theresa Hak Kyung Cha’s genre-defying text Dictée, first published just over three decades ago in 1982. Organized in nine parts named after the Greek Muses, Dictée has been described in mythic terms – a Korean Odyssey, a rewriting of the Hesiodic Catalogue of Women, a theatrical ritual, a shamanistic exorcism.  Above all, however, Cha’s work interrogates history, refracting the history of Korea in the twentieth century through the themes of exile, the displacement of colonized bodies, and the lost – and resurrected – bodies and voices of women…

…I must have had Dictée on the brain, because I thought of Cha’s work again a few weeks ago when I dropped by the DePaul Art Museum to see the exhibit War Baby/Love Child: Mixed Race Asian American Art, curated by DePaul and San Francisco State University professors  Laura Kina and Wei Ming Dariotis. The exhibit is part of a larger project that features visual media produced by nineteen artists who hail from the rapidly expanding community of 2.6 million Americans (and counting) who identify as Asian American plus one or more ethno-racial groups. While the exhibit blurb explains that the show “examines the construction of mixed heritage Asian American identity in the United States,” this actually doesn’t do justice to its ambitious range, which not only investigates the historical origins of these identities (U.S. wars in Asia, colonialism, transnational adoption, the 1967 Supreme Court decision Loving v. Virginia outlawing laws against interracial marriage) but breaks down insidious present-day theories about “post-racialness,” while also featuring work by a younger generation of artists who seem to stay out of the conversation completely.  

In an interview, Dariotis revealed that the title of the exhibit was inspired by her own experience fielding annoying questions about her background (which, incidentally, is Chinese, Greek, Swedish, English, Scottish, German, and Dutch). According to Dariotis, people would inquire whether her parents “met in the war.” “And I always ask myself, ha, I was born in 1969, we were not at war with China in 1969. Where did they get this image?” Dariotis’s story highlights persistent mainstream assumptions about mixed-race (if not mixed-ethnic) Asian Americans of a certain age as either/or – that is, either the product of military personnel and Asian women, or free-love hippies indulging in illegal interracial sex. If Young Jean Lee’s Untitled Feminist Show offers a critique of the sexualizing of women’s bodies, War Baby/Love Child draws attention to the cultural sexualization of specifically Asian (and mostly female) bodies through the bodies of their mixed-race offspring…

Read the entire article here.

You don’t have to be mixed-race to have a mixed identity

The Seattle Globalist: Where Seattle Meets the World
2013-06-24

Maggie Thorpe, Graduate student in Japan Studies
University of Washington

Editor’s note: Laura Kina, who is quoted throughout this post, disagrees with the representation of her perspective here. You can read her response in the comments.

A new exhibit at the Wing Luke museum is part of a growing movement that says our racial identity is a personal choice, not a fact of birth.

“Aren’t you insulted by that?”

Michael Tenjoma, 23, set down the rolled-out slab of Japanese noodle dough and looks at the blackboard specials beside him in the Seattle restaurant.

“What?” asked the fifth-generation Japanese-American from Hawaii.

“That!” The irate customer pointed at the words “Jap. Satsuma Potato.”

Tenjoma let out a chuckle.

“It has a period after the word ‘Jap’. There’s nothing insulting about it.”

The customer stormed away, irate.

“I’m not Japanese,” Tenjoma said after telling this story. “Whenever I was in Japan, everyone kept asking me what I really was. But I’d just answer that I’m American. It seemed to bother everyone that I couldn’t give them a straight reply. But when I’m in Hawaii, I’m Japanese. It all really depends on where I am.”

In 2000 the U.S. Census allowed Americans to identify themselves as being two or more races for the first time. According to National Journal, people who identify themselves as multiracial have risen from 9.2 percent in 2000 to 32 percent in 2010.

“Under My Skin” — a recently opened exhibit at the Wing Luke Museum — discusses the issues of race and identity through art. Each piece weaves an intricate story evoking introspection, whether through modern art installations or traditional oil paintings. It is a quiet place with all 26 artists’ emotions and perspectives prodding into each attendee as they view each display.

Laura Kina, a contributing artist to the exhibit, is mixed. Her father’s side of the family is from Okinawa, Japan and her mother is of mixed-European ancestry with origins in small town Washington…

Read the entire article here.

Panel Discussion: “Mixed Race Asian American Art and Identity”

DePaul University Art Museum
935 W. Fullerton
Chicago, Illinois 60614
Phone: 773-325-7506
Wednesday, 2013-05-29, 18:00 CDT (Local Time)

War Baby / Love Child: Mixed Race Asian American Art

Debra Yepa-Pappan, “Live Long and Prosper (Spock was a Half-Breed),” digital print.

Laura Kina, Vincent DePaul Associate Professor of Art, Media and Design
DePaul University

Camilla Fojas, Vincent DePaul Professor of Latin American and Latino Studies
DePaul University

Debra Yepa-Pappan, Jemez Pueblo and Korean Artist
Chicago, Illinois

This event is cosponsored by the Japanese American Service Committee, DePaul’s Office of Institutional Diversity and Equity President’s Diversity Series, and Latin American and Latino Studies.

For more information, click here.  Watch the video of the presentation here.

Representing Mixed Race: Beyond “What are you?”

Talking Race: A Digital Dialog
2013-05-28

Laura Kina, Vincent DePaul Associate Professor of Art, Media and Design
DePaul University

My 2011-12 oil paintings Issei, Nisei, Sansei, Yonsei, and Gosei are on view in “Under My Skin: Artists Explore Race in the 21st Century” at the Wing Luke Museum of the Asian Pacific American Experience in Seattle May 10-November 17, 2013. The Japanese language titles mark the first, second, third, fourth, and fifth generations from my father’s lineage to live in the United States.

Issei is a ghostly indigo blue portrait of my great grandmother, who came in 1919 through the “picture bride” system of arranged marriage from Okinawa, Japan to the Big Island of Hawai’i to work on a sugar cane plantation in Pi’ihonua (near Hilo). Her image flickers in front of a row of female sugar cane workers dressed in protective work clothes made from repurposed kasuri kimono fabrics. Nisei features a similarly blue tinged portrait of my grandmother in front of a steamship, the Kamakura Maru, circa 1937-39 when she was sent back to Okinawa for high school. Sansei is a sepia toned image based on my mom and dad’s engagement photo from 1968. Next to their image is a colorful patchwork quilt made from vintage Aloha shirts. Yonsei features my own black and white wedding portrait rendered on top of an auspiciously celebratory red enameled background. I wore a white kimono and constructed Japanesque identity and my husband, who is Ashkenazi Jewish, looked like a young Sean Penn in his black tuxedo. Gosei is a portrait of our daughter Midori wearing a Hello Kitty t-shirt, the ubiquitous consumer sign of global Japaneseness. I painted her during the first weeks of September 2012. She is standing on the beach at once a little girl, my baby, and on the cusp of tweendom and about to enter her Hebrew school education. Midori’s expression and the formal composition directly reference the viewer back to Issei while the exaggerated blueness of her eyes and lightness of her skin signal her potential passing into whiteness…

…I identify as hapa (half Asian), yonsei (fourth generation), Uchinanchu (Okinawan diaspora), and more generally and politically as Japanese American, Asian American, and mixed race. I’m also white but in Chicago, where I live, I am usually read as “Latina” but I have yet to embrace a Hispanic identity (I do have a Mexican American stepdaughter though). I live in an urban South Asian/Orthodox Jewish immigrant community. I’m a convert to Judaism, but no one ever guesses I’m Jewish. I don’t look the part. I’m more likely to be mistaken as Indian, vaguely reminiscent of the Bollywood movie actress Preity Zinta. My father is Okinawan and grew up on a sugar cane plantation on the Big Island of Hawai’i and my mother is from Kingston, Washington, where her family ran a roadside motel near the Kingston ferryboat landing. Her mom was a seamstress from a Basque-Spanish agricultural family and she grew up speaking Spanish in Vallejo, California. Her father was French, English, Scotch-Irish, and Dutch heritage (aka “white”) and hailed from Wacko, Texas, by way of cotton fields in Tennessee. He was a descendent of James Knox Polk, the eleventh president of the United States, as well as Major General George Pickett, whose infamous charge was the last battle of Gettysburg. Sometimes I think it’s funny that I’m simultaneously eligible to claim membership as a Daughter of the American Revolution and to throw my lot in history as a descendent of a Japanese “picture bride.”…

Read the entire article here.

DePaul Art Minute – War Baby/Love Child exhibition

DePaul Newsroom
DePaul Art Museum
2013-05-16

DePaul University Associate Professor Laura Kina discusses how art featured in the “War Baby/Love Child” exhibit helps to tell the story of mixed race Asian Americans and the complexities of their mixed-heritage identities, in the third installment of the DePaul Art Minute, which provides a forum for DePaul professors to relate their expertise to artwork at the DePaul Art Museum.

Local Artists Collaborate on Asian Heritage Art Exhibits at DePaul

Vocalo Morning Amp
Vocalo 90.7 FM
Chicago, Illinois
2013-05-16

Brian Babylon and Molly Adams, Hosts

The exhibit War Baby/Love Child at the DePaul Art Museum highlights the work of mixed race artists who share Asian heritage in their identities. Curator Laura Kina and artist Mequitta Ahuja joined AMp hosts Brian Babylon and Molly Adams in the studio this morning and discussed their personal family lineage, the stereotype stamped on mixed children whose roots came from Asian countries where the United States was involved in, and how kinship is formed among “war babies” through artistic expression and exhibits.

Download the story here.

Artists explore the image of mixed race Asian-Americans in DePaul exhibit

Medill Reports, Chicago
2013-04-18

Zhiyu Wang

Medill Reports is written and produced by graduate journalism students at Northwestern University’s Medill school.

In college, Wei Ming Dariotis used to want a T-shirt with “war baby” on the front and “love child” on the back. That way whenever people asked her “what are you?” she could just point to the T-shirt and say, “take your pick.”

Now her imaginary T-shirt has turned into an actual exhibition. The “War Baby/Love Child” show at DePaul University features artworks from 19 contemporary artists, all of whom are of mixed heritage, meaning either they are mixed-raced or they are transracial adoptees.

“This is part of a beginning that people can see visually what it means to be mixed raced,” said Debra Yepa-Pappan, a Jemez Pueblo and Korean artist who lives in Chicago.

The title “War Baby/Love Child” comes from the experience Dariotis, co-curator and associate professor of Asian-American studies at San Francisco State University, had when she was young. When she said her mom is Chinese and her father is Greek /Swedish /English /Scottish /German /Pennsylvania Dutch, people would always ask, “did your parents meet in the war?”…

Read the entire article here.

Opening 4/25: “War Baby / Love Child: Mixed Race Asian American Art”

DePaul Art Museum
Chicago, Illinois
2013-04-16

CHICAGO — The DePaul Art Museum explores the construction of mixed-heritage Asian American identity in the United States with “War Baby/Love Child: Mixed Race Asian American Art,” which opens April 25.

“It gives visibility to the increasingly mixed generation coming of age by highlighting artworks that map personal biography and the construction of mixed heritage Asian American identity against U.S. and transnational histories,” said Laura Kina, exhibit curator. Kina is a Vincent de Paul Professor and founding member of Global Asian Studies at DePaul University, where she also is an associate professor of art, media and design in the College of Liberal Arts and Social Sciences.

An opening reception will be held from 6 to 8 p.m. April 25 at the museum, located at 935 W. Fullerton Ave., just east of the CTA’s Fullerton ‘L’ stop. The museum is free and open to the public every day. The exhibition runs through June 30.

“Through traditional media as well as video, installation and other approaches, artists explore a range of topics, including U.S. wars in Asia, multiculturalism and identity politics, racialization, gender and sexual identity, citizenship and nationality, and transracial adoption,” said Kina. She co-edited a book of the same title with Wei Ming Dariotis, an associate professor of Asian American studies at San Francisco State University.

Artists featured in the exhibition include Mequitta Ahuja, Albert Chong, Serene Ford, Kip Fulbeck, Stuart Gaffney, Louie Gong, Jane Jin Kaisen, Lori Kay, Li-Lan, Richard Lou, Samia Mirza, Chris Naka, Laurel Nakadate, Gina Osterloh, Adrienne Pao, Cristina Lei Rodriguez, Amanda Ross-Ho, Jenifer Wofford and Debra Yepa-Pappan…

Read the entire press release here.

Talkin’ Race with Laura and Wei Ming

The Magic Mulatto: Bringing the fine art of Race Talk straight to the people
2013-03-26

Brett Russell Coleman, Doctoral Student of Community & Prevention Research
University of Illinois, Chicago

“In 1969, we weren’t at war with China.”

If that sentence leaves you perplexed in any way, you need to do two things. First listen to the audio of the conversation I had with Laura Kina and Wei Ming Dariotis…

…The second thing you need to do is check out their project, War Baby / Love Child: Mixed Race Asian American Art, which investigates constructions of mixed heritage Asian American identity in the United States. This is a “multi-platform project (book, traveling art exhibition, website and blog) that examines how, or even if, mixed heritage Asian Americans address hybrid identities in their artwork, as well as how perspectives from critical mixed race studies illuminate intersections of racialization, war and imperialism, gender and sexuality, and citizenship and nationality.”…

Read the article and listen to the interview here.