Mixed Race Studies

Why Barack is black and Megan is biracial

Media Diversified
2018-06-28

Olivia Woldemikael, Ph.D. Candidate in Political Science
Harvard University

Olivia Woldemikael discusses the differences in how Megan Markle and Barack Obama present themselves racially and asks what it means for blackness as an identity

The exclusivity and purity of the racial categories, black and white, is a myth, and a destructive one. Yet, it is continuously perpetuated in national discourse and family conversations. As the personalities of celebrities and politicians continue to be venerated in America, the racial identity of public figures such as Barack Obama and Meghan Markle are important sites for changing our ideas about race.

It’s no surprise to me that Barack Obama was considered America’s first black president and Meghan Markle is considered the biracial princess of England. The two are similarly “light-skinned” in racial parlance. Yet, the manner in which each of them has constructed signifiers of their race explains the difference in public perception. While perception alone does not diminish either’s proximity to whiteness and privilege, which may help explain their success. It does, however, draw attention to the way individuals are able to exercise agency in determining their racial identity, undermining the monolithic American racial ideology. The divergent public personas that Obama and Markle have cultivated demonstrate the fragility of racial categories and hierarchies, as well as highlight the need for a paradigmatic shift in the way we discuss and represent race in the media…

Read the entire article here.

When a white person tells me ‘you’re basically white’, what I really hear is repudiation for wanting to identify with blackness. When my own racial integrity is undermined with this statement, I am told that I should allow myself to be classified by the oppressor. When the history of my ancestors is erased, I ask myself why I should not be allowed to explore the entirety of my history whilst white people alter theirs to pander to their own self-denial. And I fail to understand why they will tell me that I am ‘basically white’ sometimes, but implicitly or explicitly emphasise that I’m ‘brown’ the next.

Sam Kaner, “‘You’re basically white’: my blackness on debate,” Media Diversified, September 11, 2017. https://mediadiversified.org/2017/09/11/youre-basically-white-my-blackness-on-debate.

‘You’re basically white’: my blackness on debate

Media Diversified
2017-09-11

Sam Kaner
Oxford, England

Sam Kaner talks about experiences of racialization as a person of mixed heritage

‘You’re basically white’

A phrase I frequently heard from white students at my school. They would tell me this after I had crossed a particular threshold in my relationship with them where their racialization of me as Other would soften. It was the point at which they questioned whether they should confer the same amount of respect to me as their white friends, operating under the assumption that being a light-skinned biracial person, I would receive their newfound perception of me as a compliment.

I recently fell into an argument with a white person because they had insisted to me that Mariah Carey couldn’t be black; she didn’t look black, she wouldn’t be racialized as black, and therefore, she should stop claiming to be something she’s not.

I find it concerning how white people will repeatedly make attempts to determine and declare who may claim blackness and who may not; and I wonder, in doing so, if they have ever instead critically considered how this interjection recalls the colonial imposition of blackness as something non-negotiable and as a marker of subjugation…

Read the entire article here.

Caramel queen or white man’s whore: #HashtagLightie, the play exploring the realities of modern mixed-race lives

Media Diversified
2017-02-10

Zahra Dalilah

Women and men of mixed heritage, especially black/white, are often called upon in media to provide an inoffensive face of diversity, a fetishized vision of exotic beauty or simplistically characterised as inherently confused halves of one thing or the other. The play #HashtagLightie – which recently sold out the Arcola Theatre, London before rehearsals had even begun – effortlessly defies these restrictions with a story that is relatable in its specificity and genuine in its relationships.

The show, written by Lynette Linton and directed by Rikki Beadle-Blair, centres on an Irish/Bajan family who become the targets of racial abuse on social media. Although issues of colourism and the impact of social media on young lives are not exactly new, #HashtagLightie interweaves these with a fresh look at the identities and perceptions of mixed-race women and men in British society…

Read the entire review here.

We are not “belligerent,” “dark” or “bitter”

Media Diversified
2016-11-29

Tele Ogunyemi, Co-founder
Diaspora Philes

Yasmin Alibhai-Brown’s recent article ‘Blend it like Britain’ is a masterpiece in how to simultaneously erase and fetishize people of colour. Published on 6th November 2016 in the Sunday Times Magazine to promote Amma Asante’s new film ‘A United Kingdom’, the article is littered with racist or otherwise problematic assertions about people of colour, and their role in creating a modern multicultural Britain. Alibhai-Brown’s article seeks to explore the role of white women in building a ‘multicultural’ Britain, but is laced with rhetoric that casually dehumanizes people of colour. [Chief amongst these lazy tropes are toxic portrayals of an exotic and dangerous black masculinity in contrast to a pristine, “middle class” white womanhood.

Yasmin Alibhai-Brown writes that ‘miscegenation goes way back and deep down in Great Britain. Much of this integration is thanks to an unsung history of white British women who defied social norms to follow their hearts.’

We do not doubt that white women in relationships with men of colour played a part in this demographic change in society. However, by placing white British women at the centre of a narrative about multicultural nationhood, Alibhai-Brown erases the contributions of millions of immigrants who have come to the UK and done the difficult work of integrating into a new society whilst enriching Britain with the best elements of their cultures…

Read the entire article here.

A United Kingdom: Love In The Time Of The British Empire

Media Diversified
2016-11-28

Shane Thomas

Once the year in film began with #OscarsSoWhite, was it coincidence that 2016 is closing – and 2017 beginning – with a raft of movies featuring people of colour? We have Hidden Figures, Lion, Fences, and the magnificent Moonlight to come. We recently had the release of Queen of Katwe, and last Friday saw A United Kingdom, Amma Asante’s follow-up to Belle, appear in cinemas.

The story focuses around the true-life romance between Seretse Khama and Ruth Williams (played by David Oyelewo and Rosamund Pike). Seretse, who is studying in London in 1947, meets and falls in love with Ruth while in England. Normally this would set the table for a garden variety rom-com. But there’s no chance of any “com”, due to the complications the relationship brings. Seretse is the dauphin to the throne of Bechuanaland (a place under British control, before it was known as Botswana), and he is black, while Ruth is white…

Read the entire review here.

White is Right, But Light-Skin is the Next Best Thing

Media Diversified
2016-05-23

Shane Thomas

The arrival of summer means a number of things: Intermittent sunshine, music festivals where at least one white person gets their cultural appropriation on; and superhero movies. Lots of superhero movies. Box-office takings are the engine of established Western cinema, and few things fuel that engine more than a superhero tale.

Last week saw the release of the latest adventure in the rebooted X-Men series; X-Men: Apocalypse, which introduced Ororo Munroe to the franchise, better known to comicbook fans as Storm – one of the few black women characters in the mainstream superhero oeuvre.

A black woman at the hub of a major Hollywood movie should be cause for us to break out our best Sophina DeJesus impersonation, but one’s joy has to be rationed, as Alexandra Shipp was cast as (the discernibly dark-skinned) Storm. Shipp is black, but dark-skinned she is not…

Read the entire article here.

Zwarte Piet is a product of the Netherlands’ long involvement in the slave trade

Media Diversified
2016-05-05

Karen Williams

The first time that I saw a photograph of the Zwarte Piet celebrations in the Netherlands, the door to questions of slavery in my own life swung wide open. There – right there – looking back at me was the representation of my personal history, and the long history of Dutch slavery that incorporates South Africa and the rest of the world.

Yes, there was the sambo figure in blackface with the signature gold hoop earrings signifying an enslaved African person, but Zwarte Piet was more: an invisible thread to my own history given human form and also contradicting the myth that I have descended from people who were born from benign white and black sexual relationships. Picking up the thread has led me here, astonished at the long silenced history of slavery not only in South Africa, but also across Asia.

Zwarte Piet is not a metaphor combining Dutch Christmas myth with American racial idiomatic expression: the figure comes out of a very real, documented history of slavery perpetrated by the Netherlands. At the same time, focusing on Zwarte Piet solely as a troubling racist figure will ultimately erase and silence discussions on the history that birthed him and maintained his place as a cultural necessity in the Netherlands…

Read the entire article here.

Among A Race Of Others: An Overview Of Western Racial Classification And Colourism

Media Diversified
2016-04-01

Anthony Anaxagorou

Recently, a friend asked what makes someone a ‘person of colour’. For many White people and for many people of colour too, the term can seem strangely ambiguous. The ongoing refugee crisis has seen thousands of displaced people trying to enter Europe from the Middle East or East Africa adding yet another dimension of complexity to race politics.

My friend argued that people of colour can only be Black or Asian because Levantine and Middle Eastern people could in places pass for White, if Whiteness was simply measured by skin colour. He remarked how many Syrians had blonde hair and blue eyes; the same went for Northern Afghan, Lebanese and Palestinian groups. He mentioned how half of Turkey was geographically in Europe and its history with Greece, then claimed Cypriots consisted of either Greeks (from Greece) or Turks (from Turkey), refusing to acknowledge them as a densely heterogeneous race…

…Equal opportunity forms ask people to specify their ethnicity yet fail at being inclusive. I myself am not White, nor am I Black or Asian. I am not mixed-race either – that’s if mixed-race is assumed as being half African or Asian and half European. I am Cypriot so throughout my life I’ve had to tick ‘other’. On paper I’ve always lived among a race of ‘others’. In 2011 British Arabs were officially recognised in the UK census but still not many forms feature the option. Another misleading point here is that aside from the Arabs of Arabia there is no such racial group with the association being more linguistic; however, it’s become an easy point of aggregation…

Read the entire article here.

Too Black to be Arab, too Arab to be Black

Media Diversified
2016-01-16

Leena Habiballa, Co-Editor
Qahwa Project

Edited by: Mend Mariwany, Middle East & North Africa Editor

Within every Sudanese diasporan is an unceasing internal dialogue about where we fit in the dominant racial order. Sudan is one of the most ethnically, culturally, linguistically and religiously diverse places on the African continent. It was also home to some of the most ancient civilisations in African memory. But today it suffers from the brutal legacy of Arab slavery, Ottoman imperialism and British colonialism.

My early childhood was spent living in various Arab countries, where I learnt from a young age that my darker skin tone threatened my claim to Arabness. To be authentically Arab, it wasn’t enough to speak Arabic or have facets of Arab culture syncretised into my own. My Blackness needed to be invisible. My identity as an Arab was, therefore, always contested and fraught, though nevertheless an important part of my being and, ultimately, self-evident. When others denied my Arabness I felt its existence affirmed, for how could something be stripped off if it didn’t exist?

It wasn’t until my mid to late teens that I was forced to see Blackness and Arabness as ontologically separate. This was the result of being introduced to the Western concept of race. Being racialised within this schema gave me a new sense of self, one which was innately linked to my skin colour and its difference to others. I had previously equated ‘Arab’ with Arab culture, and ‘Black’ with skin tone, not an identity. The concept of race, however, meant not only that I now saw Black and Arab as representing very different racial identities but also as invariably competing and mutually exclusive. I came to embody these two irreconcilable racial categories, and my body had become the site of a visceral and daily contradiction.

Too Black to be Arab, too Arab to be Black. This is the daily discourse that I grappled with. I was racially perplexed and traumatised…

Read the entire article here.