Mixed Race Studies

Scholarly perspectives on the mixed race experience.

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  • A Strange Emblem for a (Not So) White Nation: La Morocha Argentina in the Latin American Racial Context, c. 1900–2015

    A Strange Emblem for a (Not So) White Nation: La Morocha Argentina in the Latin American Racial Context, c. 1900–2015

    Journal of Social History
    DOI: 10.1093/jsh/shw018
    First published online: 2016-06-01

    Ezequiel Adamovsky

    This article explores the origins of La morocha argentina as an unofficial national emblem, the personification of the quintessential Argentinean woman, from its emergence in the early twentieth century to the present. A typical character of vernacular popular culture, the Argentinean “morocha” is compared to the “morenas” featured in other Latin American countries, to find similarities and differences. The racial uncertainty of the “morochas”—who, unlike the “morenas,” were not always marked as being of dark complexion—helped undermine the official discourses of the Argentinean nation, which described it as racially white and ethnically European. The ambivalence of the “morocha argentina” was crucial in contexts in which open challenges of that myth were still unfeasible. Thus, despite claims of racial exceptionalism, the making and trajectory of this emblem proves that Argentina’s racial regime is a variant of the Latin American “color-continuum” racial formations. By analyzing the Argentinean case in comparative perspective, this article also seeks to contribute to a better understanding of nonbinary racial models and, more generally, of ethnicity “beyond groupism”—to put it in Roger Brubaker’s terms. In other words, it aims to reconsider ethnicity as a process, the outcome of group-making projects, rather than (only) as the expression of preexisting ethnic entities.

    Read or purchase the article here.

  • Bridging Asian and Asian American Studies through Critical Mixed Race

    Bridging Asian and Asian American Studies through Critical Mixed Race

    UCLA International Institute
    Asia Institute
    2016-05-25

    Samantha Fletcher (UCLA 2016)

    Professor Emma Teng of MIT recently examined mixed-race identities in the U.S., China and Hong Kong as part of the Taiwan Studies Lecture Series of the Asia Institute.

    UCLA International Institute, May 25, 2016 — The most recent UCLA Taiwan Studies Lecture examined a wide range of ideas, laws and constructs that were instrumental in shaping mixed-race identities in the United States, China and Hong Kong.

    On May 10, 2016, Professor Emma Teng of the Massachusetts Institute of Technology delivered the presentation, “Traversing Boundaries: Bridging Asian and Asian American Studies through Critical Mixed Race.” The event was jointly sponsored by UCLA’s Asia Institute and Dean of Humanities, with funding from the Taipei Economic and Cultural Office in Los Angeles. The Center for Chinese Studies cosponsored the event.

    Professor Teng shared issues raised by critical and mixed race theory that are detailed in her recent book, “Eurasian: Mixed Identities in the United States, China and Hong Kong, 1842–1943” (University of California, 2013).

    Teng’s book explores the place of mixed-race children in Chinese society by examining the stories of their families and patterns of labor migration among merchants and students between China and the United States. The endpoint of her study is 1943, when the Chinese Exclusion Act was lifted in the U.S — a time when China and the U.S. were allied against Japan in World War II…

    Read the entire article here.

  • Becky and Mia – Belonging and Not Belonging

    Becky and Mia – Belonging and Not Belonging

    The Listening Project: It’s surprising what you hear when you listen
    BBC Radio 4
    2016-06-03

    Fi Glover introduces a conversation about the surprising challenges facing a mixed race family at home and abroad. Another in the series that proves it’s surprising what you hear when you listen.

    The Listening Project is a Radio 4 initiative that offers a snapshot of contemporary Britain in which people across the UK volunteer to have a conversation with someone close to them about a subject they’ve never discussed intimately before. The conversations are being gathered across the UK by teams of producers from local and national radio stations who facilitate each encounter. Every conversation – they’re not BBC interviews, and that’s an important difference – lasts up to an hour, and is then edited to extract the key moment of connection between the participants. Most of the unedited conversations are being archived by the British Library and used to build up a collection of voices capturing a unique portrait of the UK in the second decade of the millennium. You can learn more about The Listening Project by visiting bbc.co.uk/listeningproject.

    Producer: Marya Burgess.

    Listen to the story here.

  • Mixed Student Union Hosts Fourth Annual Heritage Conference

    Mixed Student Union Hosts Fourth Annual Heritage Conference

    Pacific Ties
    University of California, Los Angeles
    2016-05-13

    Ayesha Sheikh

    UCLA’s Mixed Student Union (MSU) hosted their fourth annual Mixed Heritage Conference on April 30 in the James West Alumni Center. The organization’s goal for hosting the conference on campus, according to the organization’s co-director Ariel Pezner, was to spread awareness of mixed identity among student audiences within UCLA as well as circles of mixed groups outside UCLA.

    The reach of the organization’s efforts go well beyond the campus, with its connections to several other student organizations such as those at the University of Southern California. Chelsea Strong, co-director of MSU alongside Pezner, shared that the conference was the biggest event hosted by the organization to attract students, staff, and faculty of all backgrounds “to get a chance to learn critically about mixed heritage.” To manifest the appropriate space for this exchange of ideas and learning, prominent speakers from various mixed backgrounds were invited to speak.

    The keynote Speaker Dr. Velina Hasu Houston, who wrote her senior thesis at UCLA and received her doctorate from USC, is recognized locally and internationally for her analytical playwriting on genres of mixed heritage, a topic often overlooked as “too uninteresting” for the arts.

    The conference brought into projection the importance of using art as a medium to communicate beyond the subjects of the composition itself. Among Dr. Houston’s most renowned works is “Tea, with Music” and “Cinnamon Girl.” She is a leadership force for many organizations such as HapaSC, a mixed heritage organization at USC, and Multiracial Americans of Southern California (MASC), whose mission statement is “to advocate for and foster multiracial community and identity.”….

    …Some of the other organizations’ representatives in attendance included Dr. Chandra Crudup, from One Drop of Love and the co-director of Mixed Roots Stories (MRS), who sponsored the conference. In addition to teaching at Arizona State University, Dr. Crudup is also a social worker. She said, “Race is in the face a lot more than in the past,” and that there needs to be a healthy way to deal with social justice issues. She spoke on what a healthy lifestyle looks like, a survival guide to not getting “jaded out by issues that affect life at work and socially.”…

    Read the entire article here.

  • Interview with 39.4 Editor, Chelene Knight

    Interview with 39.4 Editor, Chelene Knight

    Room: Literature, Art, and Feminism Since 1975
    May 2016

    Interview by Rebecca Russell


    Chelene Knight

    The Room Collective is very excited to have you on board as the new Managing Editor. How are you adjusting to the new role?

    I was super excited when I was asked to step up as Managing Editor at Room. The mentoring I received from the previous Managing Editor, Rachel Thompson, has been the most amazing experience. She is one talented woman, and has done a lot to make Room such a great place for women to raise their voices. The entire Room Collective has been super supportive and I can honestly finally say I am doing what I love. This transition isn’t easy, that’s for sure! It’s been a big learning curve for me but there are also certain aspects of the job that are pretty darn rewarding, like working with such a talented group of women who all share a passion for the literary arts. The role itself is all encompassing and I feel like a huge tree with a million branches shooting out in multiple directions, and I am finally being challenged—this is a good thing…

    …What can you tell us about the collection you’re currently working on, Dear Current Occupant?

    It seems as though Dear Current Occupant has been in the works all my life. I had what you could call a “tough childhood,” and I wanted to write about it as a way of healing and as a way of setting things free into the world. It turned out to be a mixed-genre compilation of sonnets, prose, short story, erasure, and more. My first book, Braided Skin (Mother Tongue Publishing, 2015), told a story of race and the struggles of being of mixed-ethnicity, and focused on belonging and place in the racial/family sense, whereas Dear Current Occupant tackles the need for “home” and “place” in terms of the physical house. In the book, the narrator is a young adult looking back on the thirty homes she’s lived in as a child. She writes to the “current occupants” of these places to reflect on her own experiences when she was living there. She learns a lot about her “self” through this process. She opens doors, she unlocks and digs up things that were buried. The book also includes photos of the actual houses in various perspectives. The photography was done by Jade Melnychuk, and Rich Riordan. I am happy to say the manuscript is in my publishers’ hands as we speak…

    Read the entire interview here.

  • I’m mixed race. That doesn’t mean you can ask me, “What are you?”

    I’m mixed race. That doesn’t mean you can ask me, “What are you?”

    The Tempest
    2016-05-21

    Maya Williams

    I’m not your exotic half-breed toy, so don’t treat me, or anyone else, like one.

    “Which parent is white?” many have asked me.

    That question tends to bother me as much as the “What are you?” question, if not more on some days. Especially when people attempt to soften the blow with the statement “You’re so good looking” right before it.

    My mother has a father of white descent and a mother of black/Cherokee descent. My father has a father of black descent and a mother of black, white, and Chickahominy descent. My mother identifies as biracial in most situations, and my father identifies as black in most situations. All three of my siblings and I identify as multiracial in most situations. Therefore, I find it unsettling that multiracial identity is “cool” when whiteness is in the mix, and especially when there are those so desensitized from mixed race people to the point of immediately asking, “Which parent is white?” They don’t understand that multiraciality is a thing – that there doesn’t have to be a sole white parent to look the way I do.

    As exciting as it is to meet other mixed race people, I always get the most excited when I meet second generation mixed race people, especially if we have similar heritage breakdowns. When I was in middle school, I met this one girl who made me laugh when she said, “Yay, we’re mixed-ded-ded!”

    However, my story and my experiences as a mixed race person are not important unless my identity is placed in a binary. My interactions with black, white, biracial, and multiracial people in my family are not as newsworthy or intriguing. Second generation mixed people are an afterthought…

    Read the entire article here.

  • On Becoming Black, Becoming White and Being Human: Rachel Dolezal and the Fluidity of Race

    On Becoming Black, Becoming White and Being Human: Rachel Dolezal and the Fluidity of Race

    Truthdig
    2015-06-18

    Channing G. Joseph


    Library of Congress

    For decades, no one knew my cousin Ernest Torregano was black. At least, no one who mattered in his new life.

    Not the clients or associates of the prominent bankruptcy law firm with which he had built his reputation and his fortune. Not the other members of the San Francisco Planning Commission, of which he had been president. And certainly not the mayor, Elmer Robinson, with whom Ernest had been close since their days as fresh new lawyers in the city. It is quite likely, I think, that Ernest never admitted, even to Pearl, his second wife of 30 years, that she had married an African-American man.

    Few understood the true extent of my cousin’s labyrinth of secrets until he was already dead and buried. By then, he had successfully “passed for white” for more than 40 years.

    When his only child, Gladys Stevens, learned that her father had not died in 1915 but had been alive until 1954, she filed suit to claim her share of his estate—worth about $300,000 then, or about $2.6 million today. After a protracted legal battle to prove she really was Ernest’s daughter, she won. Meanwhile, her story—and Ernest’s—made national headlines for nearly seven years. One Oklahoma newspaper announced: “Widow Claims Rich Lawyer Was Really Her Negro Father.” A Connecticut paper proclaimed: “Daughter’s Suit Reveals Double Life of Man Who Passed Over Color Line.” But Newsweek magazine’s headline captured the essence of the story in just three words: “The Second Man.”

    Born into a mixed-race family in New Orleans in 1882, the First Man was the fair-skinned son of a white father and a mixed-race mother. And because he so loved to sing and to laugh and to travel, he joined a touring minstrel troupe, performing in blackface makeup for cheering crowds across the South. In that show, he met Viola, who played the guitar, and they married. After their daughter, Gladys, was born, the First Man took a job as a Pullman porter on the Southern Pacific Railroad line from New Orleans to San Francisco—to make a better living for his new family. But at some point along the way—perhaps as he gazed through a train car window at the countryside rolling by or as he wandered along Market Street among white people who did not sneer at him or call him “boy”—he decided he would never return home. (According to one account, his mother, who supported the idea of his passing, convinced him that Viola and Gladys had been killed and that he should forget them forever.)…

    Read the entire article here.

  • The Greatest, Muhammad Ali, was very proud of his Irish roots

    The Greatest, Muhammad Ali, was very proud of his Irish roots

    Irish Central
    2016-06-04

    Niall O’Dowd, Founder


    Muhammad Ali arrives at Turnpike Road in Ennis, County Clare, the location of the birthplace of his great grandfather Abe O’Grady, with his wife Yolanda (lonnie) right, in 2009. Photo by: Photocall Ireland/Eamonn Farrell/RollingNews.ie

    The death of boxing legend Muhammad Ali at 74 from Parkinson’s will bring back many glorious memories of the greatest athlete of our times.

    At his height Ali was the most graceful, talented and brilliant heavyweight boxers who ever stepped inside the ropes.

    Though incapacitated by Parkinson’s in later life, he always managed to retain the star power and unique presence that always distinguishes the greatest…

    …Ali was more than a boxer of course, he was a fighter who refused to become cannon fodder in the Vietnam War the greatest mistaken war America entered until the invasion of Iraq. He was also a poet, a showman, a lover of many women, a devout Muslim, simply a legend.

    Ali’s stance to end the Vietnam War when he refused to be drafted cost us the best years of his sporting life. He came back still a brilliant boxer, but the man who could float like a butterfly could never quite recover that greatness.

    Still the fights with Joe Frazier the” rope a dope” that saw him defeat George Foreman in Zaire in the “Rumble in the Jungle” will forever enshrine his name in history.

    The astonishing fact that he had Irish roots, being descended from Abe Grady, an Irishman from Ennis, County Clare only became known later in life…

    Read the entire article here.

  • This web series asks black women around the world to explain what beauty means to them

    This web series asks black women around the world to explain what beauty means to them

    Fusion
    2016-06-02

    Tahirah Hairston


    Courtesy of Un-Ruly

    They say beauty is in the eye of the beholder, but that’s not the impression you’d get from flipping through a fashion magazine. The images we see in mainstream media every day suggest that there’s only one way to be beautiful: white skin, blonde hair, blue eyes, thin body. Not only do these ideals exclude women of color altogether, but they also reinforce the troubling idea that you should change your hair, skin color, or body to be a part of the club.

    But thanks to social media and the internet, there are new gatekeepers changing the conversation about what it means to be beautiful, practicing inclusive representation, and creating places to explore, talk, and educate. Antonia Opiah is one of them. In 2013, she started launched her hair blog and e-commerce site Un-ruly, which has everything from hair commentary, styling tips and recommendations for products to buy. It was in creating this website that Opiah became comfortable in her own skin and hair…

    Read the entire interview here.

  • Social-practice art challenges the status quo

    Social-practice art challenges the status quo

    The Winnipeg Free Press
    2016-05-30

    Alison Gillmor, Writer – Arts and Life


    From KC Adams’ Perception series, 2014-15.

    Adams’ portraits blend personal, political

    Even if you don’t regularly visit art galleries, you probably saw some of KC Adams’ work in the weeks following the notorious Maclean’s magazine article that labelled Winnipeg “Canada’s most racist city.”

    Perception, a photographic series the visual artist started in 2014, was all over the place, challenging stereotypes about indigenous people from bus shelters, billboards, and across social media.

    Using black-and-white photographic diptychs, Adams shot each of her subjects twice. In the first image, the faces are accompanied with ugly words such as “Squaw,” “Victim” and “Government Mooch.” In the second image, the subjects — usually looking much happier — offer up their own descriptions of themselves (“golfer,” “homeowner,” “taxpayer,” “father,” “mother,” “sundancer”). The two-part images are straight-up, immediate and effective.

    Adams, who is of Cree, Ojibway, Scottish, and English descent, was thrilled to see the works on city streets, where average Winnipeggers might view them while waiting for a bus, grabbing some lunch or going to a Jets game. “(Perception) is not geared toward the art world,” Adams explains. “It’s geared toward the public.”…

    Read the entire article here.