Mixed Race Studies

Celtic Tiger, Hidden Dragon: exploring identity among second generation Chinese in Ireland

The Irish Migration, Race and Social Transformation Review
Volume 2, Issue 1 (Summer 2007)
pages 48-69

Nicola Yau, Independent Researcher

Through qualitative interviews, participant observation and an asynchronous group discussion on an Internet forum for second generation Chinese, this article explores identity among the second generation in ‘Celtic Tiger’ Ireland. The Chinese, while being one of the largest minority ethnic groups, are almost invisible in other ways. This article examines how the second generation self-identify by analysing the theory of double consciousness, the significance of experiencing identity in contrast to a search for ‘authentic identities’ and the limitations of an Irish-only identity which questions what it really means to be Irish. The diasporic nature of identity is also explored through a ‘homing desire’ in terms of ties to China and Hong Kong, as is representation due to the changing nature of racialisation in Ireland following the recent arrival of ‘new’ Mainland Chinese immigrants and the addition of an ‘ethnic’ question to the 2006 Census form.

Introduction

Identity in the age of modernity is always in process, leading Stuart Hall (1996a) to pose the question: who needs ‘identity’? Whether we are migrants ourselves or products of migration, identity at home and away is vital in locating ourselves in the world. In the age of migration, identity gains greater saliency. In this article, I explore identity among second generation Chinese in ‘Celtic Tiger’ Ireland. Identity formation has always played a significant part in my own life because my father is ethnic Chinese and I had often wondered who the other members of the second generation were and if they had similar experiences to my own. In my mind there was a ‘felt necessity’ (Stanley 1996: 48, original emphasis) to carry out this research because, while being one of the largest visible minority ethnic groups in Ireland, the Chinese are very much invisible in other ways. I believe it is also important to research self-identification among the second generation which will assist in understanding the wide variety of experiences making up the current ethnic diversity of the country.

I begin by looking at identity as a process, how the second generation self identify and how they feel they are perceived by mainstream Irish society. The diasporic nature of identity is explored through the idea of a ‘homing desire’ (Brah 1996), by examining ties to China and Hong Kong, and finally I use theories of home and belonging to look at how the second generation views Ireland and what it represents for them and their identities…

…When I asked my participants how they would describe their identity, answers varied depending on their own processes of identification. However, the sense of identification being a process, of becoming, of journeying was clear, for example, when Lucy said her identity was fragmented, fractured and belligerent. She explained this by saying:

Because you’re really on your own your parents aren’t really helping you out with that. I don’t think anyone can really help you out with that, you know what I mean…you kind of have to just, yeah, figure it out in your own head. It takes a few years…but then once you figure it out and are happy with what you figured out then it’s fine but up until that point it does give an awful amount of trouble.

It is clear that her identity was individual, that it was her journey and her sense of becoming. Identity to her was the process, not merely the label she chose to go by. It was only when I asked her how she would describe her national identity that she discussed labels, none of which she chose herself:

I think if you’re kind of half and half and in between I don’t know but maybe some people find it very easy in a country where there is a lot of other people like that, then it can be very easy to identify as being like say British or American, but in Ireland I don’t think you’re ever given the facility to do that. There just isn’t the, you know, there isn’t the acceptance here to do that; not that you need people’s acceptance but like that does have an influence on you, you know people’s reactions to you, so it doesn’t really mean that much, it’s a passport and it’s an accent and that’s about it. I think you can be yourself wherever you are, so you know you don’t have to be constantly identifying yourself as Irish to be like a person.

Lucy did not feel a particular affinity to being categorized as Irish. Her sense of becoming enveloped the process of identification as being a person of mixed-race origins. She highlighted the in-between nature of her identity and while her group of friends, all of whom are white Irish, would class her as Irish, she did not. Irish is an identity that is largely symbolic to her, which she reduces to an accent and a passport. Although she may be ethnically Irish and Chinese, she is racialised as Chinese which corresponds to Song’s (2003) statement that very often people are forcefully included in groups and attributed ethnic identities which are not the same as their own sense of identity…

…For those of mixed race origins there were additional elements in their identity processes. This was evident in how my participants reacted to me. When the issue of my visible Chineseness was raised, Ida drew attention to my dual heritage while Catherine, who is also of dual heritage, thought that I looked ‘obviously’ Chinese. This mirrors the idea that monoracial groups often question membership of mixed race people because they are not ‘fully’ of any one heritage (Song 2003). Therefore, self-perception and perception by others plays a significant role in identity formation. In the next section, I examine how the second generation feel they are perceived by mainstream Irish society…

…For some of my participants of mixed race origins the ethnicity question caused confusion. When discussing this with Jessica I asked her if she considered ticking the Other option, since it included those of a mixed race background. She came to the conclusion that:

I was going to tick it but then I thought well you know I do kind of identify as Chinese, so, and Asia is ok for me and it was a difficult one to fill in to be honest. It was the last question I filled in, in the whole census form because it doesn’t allow, I’m not a complicated background, race background and I had a dilemma of which of two to fill in.

Jessica’s decision to choose the Asian Irish option ahead of the Other category highlights her desire to stress both her identities, which the latter did not allow her to do. This reflects the opinions of Darryl Slater who is of dual heritage. He stresses his two ethnic identities, even though mainstream British society sees him only as Black. The mixed race lived experience adds a further dimension to the process of identification. As Song (2003) concludes, it is Slater’s experience of his parents and his family relationships, if nothing else, that is distinct from that of monoracial people.

This reflects Anderson’s (1991: 166) contention that ‘the fiction of the census is that everyone is in it, and that everyone has one—and only one—extremely clear place. No fractions’. On the contrary, there is uncertainty and there are fractions. This sentiment was further conveyed by Lucy:

I think that people who are, you know, mixed race and Chinese and Irish or brought up Irish like, you kind of fall down between the cracks really because you can’t, because you’re asked to identify yourself with one particular group but it’s kind of hard to do it because culturally you might be but racially you’re not really, still you’re not seen as the same, so eh, which is a bit ridiculous really because it doesn’t really matter…that’s Ireland though because in America you wouldn’t have that because it’s all just everyone, whatever, loads of different people you know you can all end up being American although you can have your separate identity but in Ireland it seems you have to be Irish and that’s it and if you don’t fit white Irish then you’re not really Irish…

Read the entire article here.

Phil Lynott: Famous For Many Reasons

Irish Migration Studies in Latin America
Volume 4, Number 3 (July 2006)
Published by The Society for Irish Latin American Studies

John Horan

Bronze statue of Phil Lynott on Harry Street, Dublin (by Paul Daly, cast by Leo Higgins, plinth hand-carved by Tom Glendon)

In view of the unique and colourful history of the ties between Ireland and Brazil that date back centuries, it is perhaps surprising that the most famous Irish-Brazilian was a mixed-race rock star from Dublin. Phil Lynott was one of Ireland’s first world-famous rock stars, and definitely the most famous black Irishman in the island’s history, long before the advent of a new era in the Republic that facilitated the immigration of people from various African nations from the 1990s. Lynott’s band, Thin Lizzy, was the first internationally successful Irish rock band, and Lynott himself was considered the biggest black rock star since Jimmy Hendrix.

Phil Lynott: THE ROCKER, a 2002 biography by Mark Putterford, begins with the sentence, “Phil Lynott was one of the most colorful and charismatic characters in the history of rock ‘n’ roll.” This sentence would be considered an understatement by those who knew him through all stages of his life. His family history was typical in some ways, but his mother’s personal history was anything but typical for Ireland in 1949, the year he was born.

Philomena Lynott was born in Dublin in 1930 to Frank and Sarah Lynott. She was the fourth of nine children, all of whom grew up in the working-class Crumlin district on the south side of Dublin. Economic hardships in the Republic prompted her to choose to move across the Irish Sea to Manchester to find work, while many of her friends went to Liverpool. Shortly after her arrival in Manchester, she was courted by a black Brazilian immigrant whose surname was Parris. To this very day, Philomena Lynott has never spoken publicly about her son’s father, so as to protect his privacy. She once said, “He was a fine, fine man, who did the decent thing and proposed marriage to me when I told him I was pregnant.” Philomena and her former boyfriend stayed in contact for five years after their son was born. However, when it became clear that marriage was no longer a possibility between the two, they drifted apart. It is said that Philip Lynott’s father returned to live in Brazil and started another family, which has always been the reason given for Philomena’s refusal to provide any information about the “tall, dark stranger” who was her son’s father, as she never wanted to disrupt his life with his new family. Several sources cite that the Brazilian made some level of financial contribution towards supporting his Irish son in the early years…

Read the entire article here.

In visit to Ireland, O’Bama seeks to reverse U.S. notions of race

The Philadelphia Inquirer
2011-05-25

John Timpane, Inquirer Staff Writer

President Obama’s one-day visit to Ireland was a masterly orchestration of three visuals – one imaginary, two very real.

Imaginary visual: the apostrophe in O’Bama. “My name is Barack Obama,” he said in Dublin, “of the Moneygall Obamas, and I’ve come home to find the apostrophe we lost somewhere along the way.” Anglo-Irish apostrophe, Kenyan last name, American tale…

…Obama was doing much more than playing to the folks at home, with a wink to Moneygall. He was doing no less than seeking to reverse American notions of race, origin, and ethnicity.

“Clearly, a political bet is being made here that this will make beautiful political theater for 2012,” says Matt Wray, assistant professor of sociology at Temple University. “But that isn’t where the conversation ends. There’s a performance here of race and ethnicity that does suggest the terms are changing in the U.S. These images of Obama quaffing Guinness as a son of Ireland really do strike even casual observers as historically new.”

Consider the irony of a man so long under fire for his origins, comes to Ireland to celebrate one strand of those origins. He is called black because in the United States, we are messed up about origins. Why not call him “Barack Obama, America’s 44th white president?” Or “America’s third Irish American president” (after Ronald Reagan and John Kennedy)? He is as much those things as its first black president. No? Never happen? Why not?

Charles Gallagher, chairman of the Sociology, Social Work and Criminal Justice Department at La Salle University, sees the notorious “one-drop rule” of U.S. social attitudes at work: “A single ‘drop of black blood’ negates your ability to reconnect back to Europe. Race trumps all other questions of ethnic origin. Yet we know that 80 percent of all African Americans have European ancestors. Their history, which includes slavery, has cut them off both from Africa and from Europe, from being able to reclaim that great-grandfather in Sicily or Eastern Europe.”…

…Obama’s speech in Dublin told of Fulmouth Kearney, his grandfather’s grandfather, who got out of tiny Moneygall in 1850, ended up in Ohio, bought land, and started a line of middling, obscure, working Americans. How was Kearney to know his line would braid with a Kenyan line, to run within an American (yes) president? An American tale.

Gallagher says, “What Obama did is fantastic. He’s telling the truth: that ethnicity is absolutely fluid, and you can reclaim the full spectrum of your identity. It’s further blurring of the color line, and it gives permission to Americans, many of whom have incredibly diverse origins, to explore them all.”

As Wray puts it: “It speaks to the fastest-growing segment of Americans—those of mixed race—starting to rewrite the script. Obama, in his blackness, is free to explore his whiteness.”

The circle won’t be closed, of course, until millions of white Americans embrace the Africa in their pasts. Forty million claim Irish roots. How many will claim African?…

Read the entire article here.

Barack Obama’s Irish Roots

The Daily Beast
2011-04-11

Tom Sykes

President Obama set down in Dublin Monday [2011-05-23] as part of a six-day European trip that will include a stop in Moneygall, the tiny town where his great-great-great grandfather was born. In anticipation, the 350 people who live there have painted their homes and opened a coffee shop called “Obama’s café.” Tom Sykes on the president’s Irish roots.

The great, but generally unvocalized, astonishment of the people of Moneygall is not so much that one of their descendants is president of the United States, but that one of their descendants is black. You see, a lad going off to America and doing well for himself … well, all the folks in the pub drinking their pints of Guinness can get their heads around that story; sure, wasn’t JFK the most famous Irishman of all?

But a black man? From Moneygall? What?…

…But the fact remains: Moneygall is very, very white. There are no black people living in the village, although there is a “very nice Indian family” living in the housing estate outside town. But Moneygall is not unusual in that respect; rural Ireland is very, very white. The 2006 census showed that just 1.06 percent of Irish citizens are black, and outside major city centers, black people are still a rarity. In the countryside, the presence of black people is usually commented on. Inadvertent racism pervades conversation and society, both polite and impolite. Mixed-race people, for example, are often referred to as “half-castes” or “half-and-halfs.”…

Read the entire article here.

The Truth About Dublin—An Unfair City

The Evening Herald
Dublin, Ireland
2010-10-02

Zélie Asava

The tradition of a big Irish welcome isn’t always evident to a mixed-race Irish woman in Dublin, writes Zélie Asava

“So where are you from?”

“Dublin .”

“No, like originally”

This is a conversation I have with people on average once every two days. I am a mixed-race Irish woman. But when I tell people that I’m Irish they ask: “Where are you really from?” Instead of red hair and freckles, I have brown hair and skin. Sometimes I tell people I’m from London. After that they don’t ask again because London—unlike Dublin—is regarded as a racial melting pot.

The alternative involves explaining why and how I am from Dublin—where I was born, where my mother is from, where I went to school, where my father is from, and of course, how he met my mother. This sparks other questions like: “How would a Kenyan ever meet an Irish woman?” And: “Are you from Africa?” Understandably, when you’re having the same conversation over and over again, this gets tiresome…

Read the entire article here.

“I’m Black an’ I’m Proud”: Ruth Negga, Breakfast on Pluto, and Invisible Irelands

Invisible Culture: An Electronic Journal for Visible Culture
Issue number 13 (Spring 2009): After Post-Colonialism
University of Rochester, New York

Charlotte McIvor, Lecturer in Drama
National University Ireland, Galway

This article examines Ethiopian-Irish actress Ruth Negga‘s performance in Neil Jordan’s 2005 Breakfast on Pluto in light of recent cultural, racial, and socio-economic shifts in Irish society. How does Negga’s identity as an Irish actress of color influence possible receptions of this film in post-Celtic Tiger Ireland and contest notions of Irishness that have typically been allied only with whiteness?

Roddy Doyle famously posited a relationship between the Irish and African-Americans thus in his 1987 novel The Committments:

–The Irish are the niggers of Europe, lads.
They nearly gasped: it was so true.
–An’ Dubliners are the niggers of Ireland. The culchies have fuckin’ everythin’. An’ the northside Dubliners are the niggers o’ Dublin. —–Say it loud, I’m black an’ I’m proud.
He grinned. He’d impressed himself again.
He’d won them. They couldn’t say anything.

Jimmy Rabitte, band manager, uses this turn of phrase to convince his motley crowd of Dublin Irish musicians to form a soul band, although the phrase was later reimagined in the film as, “The Irish are the blacks of Europe” [emphasis mine]….

…Negga’s performance models an ideal vision of Irish belonging that does not erase the co-mingling of Irish pasts and presents with histories of other peoples. Negga forces the audience towards a contemporary engagement with a transnational Irish history that illuminates the history of a “global Irish” who have now come to the island of Ireland either as returned white Irish emigrants or as would-be citizens who share colonial and European histories with their new neighbors, despite racial and cultural differences. Negga, in an article fittingly entitled, “Ruth Negga, a star without a label,” observes: “For the moment, I don’t have to worry about people trying to fit me into a box. Up until now, there were no mixed-race roles in Ireland. It’s not like in the UK, where these roles do exist and then you are typecast from then on.”…

Charlotte McIvor is a Ph.D. candidate in Performance Studies at University of California, Berkeley. Her research focuses on the production of Irish and Indian (Bengali) colonial and post-colonial nationalism and performance in their transnational and gendered contexts. McIvor’s dissertation is titled “Staging the ‘Global’ Irish: Transnational Genealogies in Irish Performance.” She is a graduate student instructor in the Department of Theater, Dance, and Performance Studies. She has directed several plays at UC Berkeley and in Allentown, Pennsylvania.

Read the entire article here.

‘The Nephew’ and ‘The Front Line’: black and mixed masculinities in Irish Cinema

Old Ireland, New Irish: ‘The same people living in the same place’: American Conference for Irish Studies 2009
‘Into the heartland of the ordinary’: Second Galway Conference of Irish Studies 2009

Hosted by
Centre for Irish Studies
National University of Ireland, Galway
2009-06-10 through 2009-06-13

Zélie Asava
University College Dublin

This paper explores representations of ethnicity and gender in The Nephew and The Front Line, Irish films which feature mixed-race and black male protagonists, and so reflect the changing face of the nation in Post-Celtic Tiger Ireland as well as reflecting contemporary concerns regarding the histories and transformations of Irish identity and tradition.

Historically the mixed/black body formed a canvas for Western conceptual theories of blackness, as Fanon noted: ‘I am overdetermined from without’.v In the last 20 years mixed/black actors have featured in several Irish films – Pigs, The Crying Game, Mona Lisa, Irish Jam, Breakfast on Pluto, Isolation and Boy Eats Girl – as prostitutes, single mothers, rappers and social contaminants. The transnational migratory bodies of The Nephew and The Front Line will be explored as revealing new directions in Irish cinema which attempt to deconstruct the mixed/black body, multiculturalism and the ‘new Irish’.

The discourses of ‘race’ and gender expressed in these two films portray ‘the possibility of a very differenced Ireland in the world’ which Gerardine Meaney observes may reconfigure the field of Irish Studies. They represent and reinvent public and private identities by projecting non-white Irish identity onto an Irish landscape in order to bring this social demographic from the margins to the centre of Irish visual culture.