Mixed Race Studies

Patricia Park talks about her Korean American spin on Jane Eyre

The Los Angeles Times
2015-05-12

Steph Cha

Patricia Park, author of “Re Jane” (Allana Taranto/Viking)

What if Jane Eyre was a Korean American girl and Rochester was a English professor? Patricia Park on ‘Re Jane‘

Patricia Park’s debut novel, “Re Jane” (Pamela Dorman/Viking: 340 pp., $27.95), is a retelling of everyone’s favorite Gothic Victorian Brontë romance, “Jane Eyre,” transferred to New York and South Korea in the early 2000s. Her heroine, Jane Re, is a half-Korean orphan raised by her uncle’s family in Flushing, Queens, a neighborhood that feels “all Korean, all the time.” When a prestigious post-college job offer falls through thanks to the dot-com crash, Jane takes a job as an au pair in Brooklyn in order to escape Queens and her uncle’s grocery store.

Her employers are Ed Farley and Beth Mazer, two Brooklyn English professors with an adopted Chinese daughter. Ed, as you may have guessed, is brooding and manly, with a strong jawline and a Brooklyn accent—pure Kryptonite for our wide-eyed, 22-year-old Jane. He lives in the shadow of his older, more accomplished wife, an eccentric feminist scholar with an attic office, who takes it upon herself to educate their sheltered au pair.

With her mixed blood and her torn loyalties, Jane embodies the confusion of both young adulthood and the hyphenated American experience. Impressionable and accommodating at the start of the novel, she struggles to find her own identity as the places and people in her life try to claim her. Her journey is a pleasure to follow, immensely rewarding and speckled with humor and romance…

Read the entire interview here.

A young playwright’s quest to ask difficult questions about race, class and gender

The Los Angeles Times
2016-12-02

Margaret Gray

Leah Nanako Winkler’s new play “Kentucky” is a comedy about a Japanese American woman raised in the South. Like her protagonist Hiro, Winkler is half-Japanese and grew up in Kentucky. Like Hiro, she left  for New York and didn’t return for years. And like Hiro, Winkler found her sister’s embrace of evangelical Christianity puzzling and alarming.

“It was like she’d joined a cult,” recalls Winkler, who clarifies that she wasn’t entirely like the Hiro of her play.

“I didn’t actually try to stop my sister’s wedding,” she says with a laugh.

Speaking from the dressing room at East West Players’ theater in downtown L.A., where the West Coast premiere of “Kentucky” runs through Dec. 11, Winkler says the new work is “circumstantially autobiographical.”…

…Born in Japan, Winkler spent some of her childhood there before moving to Kentucky. She won’t say how old she was at the time. “I don’t like to answer that question because there’s a lot of judgment placed on that,” she says. “There’s a big difference if I say 2 or if I say 12. People like to peg you on how Japanese or how American you are, when you’re mixed race.”

She will say that she was old enough to experience “a double identity crisis.”

“In Japan I was a child model because of my Western looks,” she says. “I was considered gaijin, which means foreigner. But in America I was the girl from Japan.”…

Read the entire article here.

Genevieve Gaignard tackles race, class and identity at the California African American Museum

The Los Angeles Times
2016-11-17

Deborah Vankin, Contact Reporter

Genevieve Gaignard’s identity-bending “Extra Value (After Venus)” (2016). (Genevieve Gaignard / Shulamit Nazarian)

Growing up in the working-class mill town of Orange, Mass., Genevieve Gaignard wrestled with her identity. She was the fair-skinned daughter of a black father and white mother. She was the proverbial middle child. She struggled with body issues. Often, she says, she felt misunderstood, if not invisible.

Now 35 and living in Los Angeles, Gaignard has a strong sense of herself and her place in the world as a multidisciplinary artist. In “Smell the Roses,” the artist’s first museum show in Los Angeles, Gaignard tackles the big issues of race, class and, especially, identity.

The exhibition at the California African American Museum includes photography, video and assemblage works, but the nine large photographs, all richly colored performative self-portraits, are standouts. Like the artist Carrie Mae Weems, Gaignard uses the medium to explore the contemporary African American experience; like Cindy Sherman, she dons wigs and heavy makeup to create female caricatures that humorously embody societal stereotypes. The women she portrays are both anonymous and familiar — individuals steeped in aesthetics from pop culture, drag queen hyper-femininity, the working class, ’70s chic à la Netflix’s “The Get Down,” TV news and street fashion, among other influences…

Read the entire article here.

Hollywood has long shown discomfort with interracial couples, but change is happening

The Los Angeles Times
2016-11-10

Lewis Beale

Katherine Houghton puts a flower in Sidney Poitier’s hair in a scene from the film “Guess Who’s Coming To Dinner.” (Getty Images)

In 1967, the same year the Supreme Court case Loving vs. Virginia struck down laws banning miscegenation, Sidney Poitier starred in “Guess Who’s Coming to Dinner” as a black man romantically involved with blond Katherine Houghton.

Yet in both real and reel life, black-white romantic relationships were problematic, fraught with legal and social taboos. In the case of Loving, that meant rural Virginia couple Richard and Mildred Loving, who married in Washington, D.C., in 1958, were arrested in their home state, forced to move away or be jailed, and spent years fighting the racist law that affected them until the Supreme Court unanimously overturned it.

“The fact any miscegenation laws even existed, these are vestiges of slavery,” says Jeff Nichols, director of “Loving,” a new film based on the famous case starring Joel Edgerton and Ruth Negga. “All of this speaks to the institutionalized racism in the South.”

“Guess,” which was released six months after the Loving decision, was, in its own way, meant to be a liberal antidote to situations like this. In director Stanley Kramer’s film,  parents and friends of the romantic couple discuss the pros and cons of their romance in a civilized manner until the woman’s father (played by Spencer Tracy) gives his blessing to the relationship…

Read the entire article here.

One man’s quest for Loving Day, a holiday for multiracial Americans

The Los Angeles Times
2016-06-10

Jaweed Kaleem

Ken Tanabe founded Loving Day in 2004, and leads celebrations and workshops across the U.S. on being multiracial. (Pearl Shavzin-Dremeaux)

Forty-nine years ago on June 12, the Supreme Court struck down laws in 16 states that banned mixed-race marriages. The decision in Loving vs. Virginia overturned the conviction of Richard and Mildred Loving, an interracial couple from Caroline County, Va., who had been arrested, jailed and banned from their home state for violating its Racial Integrity Act.

It also ushered in a new era in the American family.

Today, the Pew Research Center counts 22 million multiracial Americans, about 6.9% of the U.S. population. Nearly 10% of married couple households — more than 5 million — are interracial or inter-ethnic, according to the U.S. census.

For 12 years, Ken Tanabe, a Japanese-Belgian freelance graphic designer living in New York, has been working to educate Americans about what he sees as one of the most significant civil rights cases through Loving Day, the unofficial holiday that cities across the country are slowly adapting to celebrate the lives of the fast-growing multiracial population.

Now Tanabe, whose organization has tracked and sponsored many of the dozens of dance and music festivals, film screenings, picnics and forums taking place across the country in June to commemorate Loving vs. Virginia, has launched a campaign to get the holiday recognized by the federal government…

Read the entire article here.

#myLovingDay: How the Lovings’ trials paved the way for today’s multiracial families

The Los Angeles Times
2016-06-03

Michelle Maltais

Mildred and Richard Loving, convicted in Virginia of marrying while interracial. (Associated Press)

I like to say that I am because of Loving. Mildred and Richard Loving.

In the early 1970s when my parents met, the only laws that really mattered in their relationship were the laws of attraction. But in 1958 when Mildred and Richard married, interracial marriage wasn’t just complicated, it was illegal. Since they couldn’t get married in their home state of Virginia (or 24 other states), they went to the District of Columbia and were wed on June 2, 1958…

…My own “Loving” story started in the early ’70s in Palm Desert, Calif. At that time, no one else in my neighborhood  —  or in my school —  looked like me. No one’s family looked like mine.

Was California in the early 1970s anything like the South of the ‘50s and ‘60s? Not at all…

Read the entire article here.

Mixed-race indigenous people should get benefits extended to those with Indian status, Canadian court rules

The Los Angeles Times
2016-04-14

Christopher Guly

For decades in Canada, people of mixed indigenous and European ancestry didn’t qualify for “Indian” status and were denied a host of benefits granted to other First Nations people, including government funding, free postsecondary education and health benefits, and hunting and fishing rights.

In a landmark ruling Thursday, that changed. The Canadian Supreme Court declared that hundreds of thousands of mixed-race indigenous people, known as Metis in Canada, along with non-status Indians living off reservations, should have access to the same government programs and services as those with Indian status.

“This is something that will impact about 600,000 people across the country who have been denied recognition or access to entitlements that they now have been declared by the court as having,” said Dwight Dorey, national chief of the Ottawa-based Congress of Aboriginal Peoples…

Read the entire article here.

What Obama’s visit means for Cuba’s national conversation about race

The Los Angeles Times
2016-03-21

Kate Linthicum, Contact Reporter

In recent years, Afro-Cuban intellectuals have started gathering in a cramped Havana apartment to discuss a topic long considered off-limits in Cuba: race.

Fidel Castro’s communist revolution 60 years ago promised to wipe out racial divisions and level the playing field for all Cubans, regardless of color or wealth. Yet racism persists in Cuba, and many say recent economic changes here have overwhelmingly favored the light-skinned elite.

The historic visit this week of an American president who happens to be black is of special significance to Afro-Cubans, who, like many minorities around the world, view President Obama as a symbol of what is possible. It’s of particular importance for the small but growing movement of black activists on the island, who have struggled for years under government pressure, and who hope that warming U.S.-Cuba relations will push Cubans toward greater race consciousness.

“Maybe without an enemy, everyone here can begin to look more closely at things inside our own country,” said activist Manuel Cuesta Morua, who said he is one of several Cuban dissidents, most of whom are not black, invited to meet with Obama on Tuesday. “We hope it will help people see the racism here with more clarity, and see that there is diversity, and diverse ways of thinking.”…

Read the entire article here.

Review ‘A Ballerina’s Tale’ follows Misty Copeland’s incredible rise in the ballet world

The Los Angeles Times
2016-02-08

Mary McNamara, Contact Reporter

Misty Copeland in the documentary “A Ballerina’s Tale.” (Oskar Landi / Sundance Selects)

If you think #OscarsSoWhite, consider the world of elite ballet. And if you want to understand why the current conversation over the lack of diversity among this year’s film academy nominees is just one thread of a much larger tapestry, watch Nelson George’s documentary “A Ballerina’s Tale: The Incredible Rise of Misty Copeland” on PBS on Monday night.

Watch too if you are a dance aficionado or a woman, if you have a daughter or for that matter a son, if you are a Southern California resident or just a thinking member of a culture that is changing, with various degrees of resistance, in almost every area.

It won’t take long, just 90 minutes that include several exquisite dance scenes, Copeland’s now-signature friendly frankness and none of the crazy-girl “Black Swan” pathology we have come to expect from tales of the dance world…

…”I think that people think that sometimes I focus too much on the fact that I’m a black dancer,” Copeland says in the film’s opening moments. “There’s never been a black principal woman … in the top companies of the world. In New York City Ballet, in New York City. I don’t think people realize what a feat it is, being a black woman. But that’s so much of who I am, and I think it’s so much a part of my story.”…

Read the entire review here.

Review ‘Democracy in Black’ is a bracing call to action for African Americans

The Los Angeles Times
2016-01-21

Kiese Laymon, Professor of English
Vassar College, Poughkeepsie, New York

Eddie S. Glaude Jr., Democracy in Black: How Race Still Enslaves the American Soul (New York: Crown, 2016)

“We laud our democratic virtues to others and represent ourselves to the world as a place of freedom and equality,” Eddie Glaude writes of the U.S. in his unflinching new book, “Democracy in Black,” “all while our way of life makes possible choices that reproduce so much evil, and we don’t see it happening — or worse, we don’t want to know about it.”

Glaude’s “Democracy in Black: How Race Still Enslaves the American Soul” is as narratively unrelenting as it is thematically percussive, calling for black Americans to take dramatic action in our lives, voting booths and on the streets to contend with a “value gap” that has left African Americans behind socially and economically.

On Jan. 13, Barack Obama, the first black president of the United States, delivered a boastful State of the Union rooted in American exceptionalism, the importance of political cooperation and predictably, what we have, will, and can do to our enemies with our big American guns. Eight days earlier, Obama had held a press conference during which he cried over the murders of 30 American children and countless others victims of citizens wielding small American guns.

I watched both political spectacles, knowing that while the violent, often racist American weight on President’s Obama’s back has been so terrifyingly heavy, the violent, exceptional American weight that he and all American presidents must abusively wield is heavier. “Democracy in Black,” one of the most imaginative, daring books of the 21st century, effectively argues that this weight — rooted in American exceptionalism — impedes a national reckoning of how the racial “value gap” in our nation sanctions black Americans terror while providing systemic unearned value to white Americans.

The book asks us to reconsider not simply what presidential tears for systemic violence initiated and condoned by our nation might look like, but what can a revolution fueled by politically active black Americans wholly disinterested in presidential tears, speeches or “post-racial” policy actually accomplish. In this way, the book is not just post-Obama; it is post-presidential…

Read the entire review here.