Scholarly perspectives on the mixed race experience.
Yet having populated North America for nearly four centuries, mixed-race people are far from being a recent phenomenon in the United States. Their early presence has been recorded to greater and lesser degrees in legal records, literature, and historical documentation. As far back as the 1630s and 1640s, colonial records attest to the punishment of interracial sexual unions and the regulation of mulattoes’ slave status (Williamson, 1980). Dictionaries chart 16th-century English usage of the word mulatow (Sollors, 2000), although the meaning of this term has varied over time (Forbes, 1993). Finally, mixed-race people have long populated American literature, particularly since the early 19th century (Sollors, 2000). In sum, the multiracial community is not a new, 20th century phenomenon but rather a long-standing element of American society.
Though I am younger than Ms. Harris by six years, in her Blackness, I recognize my own. It is a Blackness born not in slavery but much later, in a whole other context, in the wake of the civil rights and Black Power movements, when there was no mixed-race category. You were either Black or white. To claim whiteness as a mixed child was to deny and hide Blackness. Our families understood that the world we were growing into would seek to denigrate this part of us and we would need a community that was made up, always and already, of all shades of Blackness. The big secret I knew — and Ms. Harris surely knows it as well — is that our Blackness was born not out of something lost but out of something gained.
Comments Off on You were either Black or white. To claim whiteness as a mixed child was to deny and hide Blackness. Our families understood that the world we were growing into would seek to denigrate this part of us and we would need a community that was made up, always and already, of all shades of Blackness.
We seem to be beginning yet another season of a perennially popular American spectacle, “How Much Is That Mulatto in the Window?” I frequently think that, after 400 years, this show is about to go off the air — jump the shark, as it were. But then it returns, with ever more absurd plot lines. Yet even as a so-called mulatto myself, I can’t stop watching.
The Hollywood pitch goes something like this: Put racially ambiguous Black people in the public eye — Kamala, Meghan, Barack. Have them declare themselves Black. Count down the minutes before the world erupts into outrage, distress and suspicion. People scream their confusion and doubt, accusing the figures of lying about who they really are. It makes for good TV.
On last week’s episode, Donald Trump got his cameo, accusing Vice President Kamala Harris of switching races. “She was Indian all the way, and then all of a sudden she made a turn and she became a Black person,” he said during an appearance in front of the National Association of Black Journalists. His staged bewilderment, implying that she was practicing some sort of sinister racial sorcery, felt wild for 2024, when mixed-race people are everywhere, visually overrepresented in Target commercials and Kardashian family reunions. Yet even in the midst of our fetishization, a stubborn strain of mulattophobia remains widespread. And no matter what answer we give to the ubiquitous question — What are you? — someone, somewhere, will accuse us of lying, of being a grifter trying to impersonate another race, a more real race.
Multiracial, mulatto, mixed-nuts, halfies — whatever you want to call us today, we remain the fastest-growing demographic in our country. When we enter the spotlight, we are often treated as specimens, there to be dissected, poked, debated, disputed and disinherited. We are and always have been a Rorschach test for how the world is processing its anxiety, rage, confusion and desire about this amorphous construction we call race…
Illustration by The New York Times; Photo: Erin Schaff/The New York Times
During his interview before the National Association of Black Journalists this week, Donald Trump was asked if he would call upon his fellow Republicans to refrain from labeling Vice President Kamala Harris a “D.E.I. candidate” for the presidency. Rather than condemn his party’s increasingly troubling language on the topic, Mr. Trump took the opportunity to question Ms. Harris’s racial identity.
“She was always of Indian heritage, and she was only promoting Indian heritage,” he said. “I didn’t know she was Black, until a number of years ago, when she happened to turn Black, and now she wants to be known as Black. So I don’t know, is she Indian or is she Black? I respect either one, but she obviously doesn’t.”
This is all clearly untrue. Ms. Harris graduated from Howard University, a historically Black university, and she is a member of Alpha Kappa Alpha, a historically Black sorority. Her biographies and self-descriptions throughout her career have cited both her Black and Indian identities.
My wife is white, so we have multiracial children. Depending on the context, they can refer to themselves as Black or multiracial. When my children describe themselves using the latter term, they are acknowledging that their mother is a part of their story as well. Does Mr. Trump really expect interracial people to deny half of their families?…
Kamala Harris has long resisted attempts by others to categorize her identity. “I am who I am,” she once said. “I’m good with it. You might need to figure it out, but I’m fine with it.” Erin Schaff/The New York Times
Even as Trump plays up racial divisions, many Americans said they would rather not dwell on race or identity. “We can all see that you’re Black.”
“Obviously, we have eyes.”
That was the somewhat jaded response by Larhonda Marshall, a 42-year-old health care worker from Chicago, about all the attention being paid to Vice President Kamala Harris’s racial identity.
As a Black woman herself, Ms. Marshall said that the symbolism of a Harris victory would surely be on her mind as she considers her vote for president. But it was not the most important factor at all, she said. And she wishes the Harris supporters who keep mentioning it would drop it.
“I’m tired of hearing it,” Ms. Marshall said. “That’s not an issue. I just want what’s best for the country.”
This week, after former President Donald J. Trumpclaimed falsely that Ms. Harris “happened to turn Black” only recently, the vice president did not attempt to clarify the obvious: that she has, in fact, been Black all her life…
Kamala Harris spoke during the virtual Asian Pacific American Heritage Month Unity Summit in 2021. Erin Scott for The New York Times
Some Asian American leaders are rooting for Kamala Harris to become the first Asian American president. But she is not widely known as Asian American, reflecting the complexity of the identity.
Daniel Chiang can remember one Asian American who ran for president in 2020: Andrew Yang, a Taiwanese American entrepreneur. But he was surprised to learn last week that there was another person running for president then, and in 2024, who counted herself an Asian American: Kamala Harris.
“I never got that impression,” said Mr. Chiang, 38, a Taiwanese American from Connecticut.
Ms. Harris, the vice president and likely Democratic nominee for president, is known widely as the first Black woman to be elected vice president.
But Ms. Harris, whose mother emigrated from India and whose father emigrated from Jamaica, is less known as an Indian American and Asian American. Asked to name a famous Asian American, only 2 percent of Americans said Kamala Harris, according to a recent survey by The Asian American Foundation…
At age 3, Shane McCrae was taken from his Black father by his white grandparents — a rupture he explores in a new memoir.
“The weird thing about growing up kidnapped,” Shane McCrae, the 47-year-old American poet, told me in his melodious, reedy voice one rainy afternoon in May, “is if it happens early enough, there’s a way in which you kind of don’t know.”
There was no reason for McCrae to have known. What unfolded in McCrae’s childhood — between a June day in 1979 when his white grandmother took him from his Black father and disappeared, and another day, 13 years later, when McCrae opened a phone book in Salem, Ore., found a name he hoped was his father’s and placed a call — is both an unambiguous story of abduction and a convoluted story of complicity. It loops through the American landscape, from Oregon to Texas to California to Oregon again, and, even now, wends through the vaster emotional country of a child and his parents. And because so much of what happened to McCrae happened in homes where he was beaten and lied to and threatened, where he was made to understand that Black people were inferior to whites, where he was taught to hail Hitler, where he was told that his dark skin meant he tanned easily but, no, not that he was Black, it’s a story that’s been hard for McCrae to piece together.
“My grandparents,” McCrae explained in a somewhat gloomy, book-laden office at Columbia University, where he teaches poetry in its M.F.A. program, “were so actively keeping my father away from me — they didn’t want me to investigate him at all — it was just normal.” Normal, McCrae explained, because the story he had been told by his grandparents was that McCrae’s father, whose name he didn’t even know, abandoned him before he was born. “They had been doing it my whole life,” McCrae said matter-of-factly. “I didn’t think of it as, Oh, this is pretty strange.”…
The pianist André Watts at his home in Manhattan in 1968. “There’s something beautiful about having an entire audience hanging on a single note,” he once said. Neal Boenzi/The New York Times
One of the first Black superstars in classical music, he awed audiences with his charisma and his technical powers.
André Watts, a pianist whose mighty technique and magnetic charm awed audiences and made him one of the first Black superstars in classical music, died on Wednesday at his home in Bloomington, Ind. He was 77.
The cause was prostate cancer, said his wife, Joan Brand Watts.
Mr. Watts was an old-world virtuoso — his idol was the composer and showman Franz Liszt — with a knack for electricity and emotion. He sometimes hummed, stomped his feet and bobbed his head while he played, and some critics faulted him for excess. But his charisma and his technical powers were unquestioned, which helped fuel his rise to the world’s top concert halls.
“My greatest satisfaction is performing,” Mr. Watts told The New York Times in 1971, when he was 25. “The ego is a big part of it, but far from all. Performing is my way of being part of humanity — of sharing.”
“There’s something beautiful,” he added, “about having an entire audience hanging on a single note.”.
Mr. Watts, whose father was Black and whose mother was white, was a rarity in a field where musicians of color have long been underrepresented. While he preferred not to speak about race, he was celebrated as a pioneer who defied stereotypes about classical music and helped open doors for aspiring artists of color…
Patrick Mahomes is the first Black quarterback to win the MVP twice. He also won after the 2018 season, his first as a starter. Kevin C. Cox/Getty Images
Mahomes, Kansas City’s quarterback, won football’s top honor for the second time, establishing his place atop a new generation of passing talent.
PHOENIX — Patrick Mahomes, the Kansas City Chiefs quarterback, won his second Most Valuable Player Award on Thursday night, for his work in perhaps the most challenging season of his career, cementing himself as the leader of a new wave of talented young quarterbacks.
Mahomes is the first Black quarterback to win the league’s highest individual honor twice, having previously won the award after the 2018 season, his first as a starter.
In the past 20 seasons, the award has been won by the generation-defining quarterbacks Peyton Manning, Tom Brady and Aaron Rodgers 12 times, with no other player repeating as M.V.P. With the retirements of Manning, in 2016, and Brady this season, Mahomes leads an emerging class of young passers defining the N.F.L...
Ruth Ann Koesun, a principal dancer in American Ballet Theater who epitomized the company’s early eclectic profile by excelling in roles that ranged from Billy the Kid’s Mexican sweetheart to the “Bluebird” pas de deux from “The Sleeping Beauty,” died on Feb. 1 in Chicago. She was 89.
Her death was confirmed by her goddaughter, Ellen Coghlan.
Because of her lyrical style in ballets like “Les Sylphides,” Ms. Koesun was often cast as a Romantic ballerina. But she could also show dramatic ferocity, as the evil antiheroine Ate in Antony Tudor’s “Undertow,” which depicts a young murderer’s development.
Contemporary ballet makers favored her. In 1950, Herbert Ross, a new choreographer and future film director, cast her in his “Caprichos,” based on Goya’s etchings. She portrayed a dead woman who is tossed around by her partner in choreographed movements that suggested she was inert…
…Ruth Ann Koesun was born on May 15, 1928, in Chicago to Dr. Paul Z. Koesun, a Chinese physician in Chicago’s Chinatown, and the former Mary Mondulick, who was of Russian descent…
Indigenous chiefs in traditional regalia during a powwow in July, where Pope Francis apologized for the Catholic Church’s role in abuse in the residential school system. Ian Willms for The New York Times
Some Canadian universities now require additional proof to back up Indigenous heritage, replacing self-declaration policies.
Since announcing discoveries of evidence last year that hundreds of Indigenous children were likely buried in unmarked graves at church-run residential school sites, Indigenous groups in Canada have captured more national attention.
So, too, has a growing group of Canadian public figures, mostly within academia, who have been accused of falsely claiming to be Indigenous.
Earlier this week, an investigation published by Canada’s national broadcaster, the C.B.C., found that the claims to Cree ancestry of a prominent scholar and former judge, Mary Ellen Turpel-Lafond, did not align with historical records and interviews…
