Mixed Race Studies

The Erasure of People of African Descent in Nazi Germany

Black Perspectives
2017-04-19

Jaimee A. Swift
Howard University, Washington, D.C.

Afro-German during the Third Reich. Photo: Propaganda-Pravada.

Recently, Donald Trump’s press secretary Sean Spicer made some peculiar and offensive comments comparing Syrian leader President Bashar al-Assad’s chemical attacks to those of Nazi Germany leader Adolf Hitler. In attempts to justify Trump’s random missile strikes against Assad, Spicer asserted that what Assad did was completely inhumane—so inhumane that he claimed not even Hitler used chemical weapons against his own people, when in fact he did. Spicer would later on apologize for his Hitler comparison.

His comments were met with much backlash, and many have claimed they were disrespectful to the Jewish community and therefore diminished the horrible plight of the millions of innocent Jewish lives lost at the hands of Hitler and the Nazi regime. What is critical in understanding Spicer’s offensive statement is assessing not only his erasure of the violence enacted on the Jewish community during the Holocaust, but also the effacing of the experiences of Afro-Germans, African-Americans, and persons of African descent during the Nazi era. Both national and global discourses have excluded the narratives about and perspectives on Afro-Germans in German society. While the German constitution forbids racism, prejudice, and other forms of discrimination, there lacks a substantive and stable legal reform on combatting racism, as a “generally accepted definition of racism does not exist in Germany.” The intentional void of state-sanctioned discourses on race in Germany because of the legacy of the Nazi era ignores the historical remnants and current manifestations of systemic racism against Afro-Germans, which is embedded in every facet of German society…

…In their article “Making the Black Experience Heard in Germany,” authors Jamie Schearer and Hadija Haruna detailed how during World War II, thousands of African-American GIs occupied Germany and had relationships with German women, thus producing bi-racial or multiracial children. German professor Maria Hoehn also discussed the percentage of Black children birthed to African-American GIs and white women in Germany and how animosity arose from many Euro-Germans surrounding the presence of Black children or Besatzungskinder (occupation children) or “Rhineland bastards” in the country. Hoehn explained:

“They would always identify them as ‘Black Occupation children.’ Or as mischling kinder, or mixed-race children. In the immediate postwar period, there were over 90,000 babies born of American soldiers, and about three-and-a-half thousands of them were African American. What is interesting is that almost the whole focus of the debate on occupation children was on those black children rather than the larger group of children.”…

Read the entire article here.

Zadie Smith and Multiculturalism after Brexit

Black Perspectives
2017-04-11

Merve Fejzula
University of Cambridge

Perhaps more than other forms of criticism, outsiders often imagine literary criticism to be free from the vagaries of the present moment. American President Donald Trump and British politician Nigel Farage, the former leader of the United Kingdom Independence Party, may intrude on other aspects of life, but surely we can still enjoy the beauty of John Keats’s “Ode on a Grecian Urn” in relative peace. Yet aesthetic appreciation is as subject to Hamlet’s “slings and arrows of outrageous fortune” as anything else, and nowhere does this pliable relationship to literature assert itself more than in the critical reception of authors of color . An illustrative example of this dynamic might be charted through the work of Zadie Smith, presented by the literary world as the “mixed-raced” poster child for the cosmopolitan axis of London–Brooklyn…

Read the entire article here.

Race and Civil Rights Dramas in Hollywood

Black Perspectives
2017-03-24

Justin Gomer, Assistant Professor of American Studies
California State University, Long Beach

Katharine Houghton and Sidney Poitier in “Guess Who’s Coming to Dinner.” Photo: Columbia Pictures.

This year marks the fiftieth anniversary of Stanley Kramer’s Guess Who’s Coming to Dinner, starring the iconic Sidney Poitier. During the 1960s, when the film was released, Hollywood produced few movies about the political activism that comprised the civil rights movement. Instead, the movie industry turned to Sidney Poitier to offer representations of black middle-class respectability and colorblind racial discourse in hopes of changing the hearts and minds of whites across the country. Yet, Hollywood’s most celebrated civil rights drama debuted three years after the Civil Rights Act of 1964 and two years after the Voting Rights Act of 1965, amid a very different political climate. The film’s premiere in December 1967 was fourteen months after Huey Newton and Bobby Seale founded the Black Panther Party for Self Defense, and nearly eighteen months after Stokely Carmichael, director of the Student Nonviolent Coordinating Committee, began making calls for “Black Power.” James Baldwin, writing in July 1968, noted the contradiction between Hollywood’s images of black respectability vis-à-vis Poitier’s roles and the desires of the burgeoning Black Power movement, “white Americans appear to be under the compulsion to dream, whereas black Americans are under the compulsion to awaken.”

The 2016 Hollywood year wrapped up a few Sundays ago with the Academy Awards. While the record six black actor nominations and the Best Picture Oscar for the black queer film Moonlight is reason to celebrate, Baldwin’s assessment of the movie industry endures. Indexing Hollywood’s “diversity problem” strictly to volume fails to fully comprehend the movie industry’s problematic relationship with black lives broadly, and with black history explicitly…

Read the entire article here.

The Signifyin(g) Saint: Encoding Homoerotic Intimacy in Black Harlem

Black Perspectives
2017-03-14

James Padilioni Jr, Ph.D Candidate and Teaching Fellow in American Studies (Africana-affiliated)
College of William and Mary, Williamsburg, Virginia

On June 25, 1942, Edward Atkinson arrived at 101 Central Park West to sit for a photo shoot in the home studio of Carl Van Vechten. Van Vechten, author of the infamous 1926 novel Nigger Heaven, was a white patron of the Harlem Renaissance and amateur photographer who took hundreds of photographs of Black Harlem’s who’s who such as Paul Robeson, Billie Holiday, and James Weldon Johnson. Atkinson, an off-Broadway actor no stranger to playing a role, transformed himself into Martin de Porres (1579-1639), a Peruvian friar who became the first Afro-American saint when the Vatican canonized him in 1962 as the patron of social justice. I trace Martin’s iconography and ritual performances across Black communities in Latin and Anglo America to reveal the historical relations of power that structure and materialize the networks harnessed by Black peoples to mobilize resources in their varied yet persistent efforts to create meaningful lives out of the fragments of the Middle Passage…

Read the entire article here.