Mixed Race Studies

Where Are You Really From?

Culture Northern Ireland
2010-04-10

Joanne Savage

Race, republicanism and a mothers love in Tim Brannigan’s memoir

Peggy Brannigan met Michael Ekue at a dance in Belfast in 1965. She was from Beechmount; he was a medic from Ghana. Their eyes met, they danced and sparks flew. She was gorgeous and vivacious and republican. He was well groomed, educated and, exotically for Belfast in the 1960s, black. Both were married but swept away by each other. It was a passionate affair and the result was Tim.

His skin colour meant Peggy Brannigan had to go to extraordinary lengths to placate her husband and stave off the judgement of her devoutly Catholic neighbourhood. A black baby would have sent the busybodies fingering their rosary beads behind the net curtains into overdrive.

The little boy was smuggled from the hospital to St Joseph’s Baby Home. Peggy told everyone it had been a stillbirth. When the dust settled she began to visit her son in St Joseph’s, soon bringing him home on weekends. Eventually she would adopt him.

Meanwhile, Doctor Ekue did what so many philandering married men do. He stuck his head in the sand and carried on as usual, never contributing to his son’s education or upkeep. He returned to Ghana and left Peggy to do the rest.

Being black in the almost totally white working class area of Beechmount in the heart of west Belfast (an area this writer knows all too well), Tim obviously stood out. Narrow-minded people made stupid remarks, including the British soldiers lining the streets. Some classmates were unkind and Tim was increasingly aware that he was different from his four brothers. As he grew up he became embroiled in the republican struggle, despite backward men in bars insisting that it wasn’t his struggle or that, being black, he somehow couldn’t count as republican…

Read the entire review here.

Where Are You Really From? Kola Kubes and Gelignite, Secrets and Lies – The True Story of an Extraordinary Family

Blackstaff Press
2010-12-06
208 pages
5.4 x 0.5 x 8.4 inches
Paperback ISBN: 978-0856408533

Tim Brannigan

Tim Brannigan was born in Belfast in 1966, and spent the first year of his life in St Joseph’s Baby Home, before being adopted by his birth mother. Told here for the first time is Tim’s extraordinary story, describing in vivid detail what it was like growing up black in Belfast during the turbulent 1970s and 80s, his five-year stint as a republican prisoner, his coming to terms with the true circumstances surrounding his birth, and his desperate attempts to trace the father who abandoned him.

Late Night Woman’s Hour (2016-05-27)

Woman’s Hour
BBC Radio 4
2016-05-27

Lauren Laverne, Presenter

Lauren Laverne and guests discuss the origins and pitfalls of stereotypes of women.

• With Joanne Harris, best-selling author of Chocolat who has written about myth and fairy tales.
• Lisa Mckenzie, a sociologist at the London School of Economics, who has explored portrayals of working class women
• Emma Dabiri, teaching fellow at the School of Oriental and African Studies in London, who has studied what people mean by the term ‘mixed-race’ in Britain today.
• Jane Cunningham, founder of advertising and marketing consultancy Pretty Little Head.

Listen to the episode here. Download the episode 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.

Filipino Americans: Blending Cultures, Redefining Race

Code Switch: Race and Identity, Remixed
National Public Radio
2016-05-24

Renee Montagne, Host

There are over 3 million people of Filipino heritage living in the U.S., and many say they relate better to Latino Americans than other Asian American groups. In part, that can be traced to the history of the Philippines, which was ruled by Spain for more than 300 years. That colonial relationship created a cultural bond that persists to this day.

It’s the topic of the book The Latinos of Asia: How Filipino Americans Break the Rules of Race. Author Anthony Ocampo spoke about the book with Morning Edition’s Renee Montagne.

Read the interview highlights here. Read the transcript here. Download the interview here.

Recovering the Afro-Metropolis Before Windrush

Christian John Høgsbjerg
University of Leeds

Anthurium: A Caribbean Studies Journal
Volume 13, Issue 1 (The Caribbean Radical Tradition)
May 2016

Marc Matera, Black London: The Imperial Metropolis and Decolonization in the Twentieth Century (Oakland, California: University of California Press, 2015), 410 pp.

In Black London, Marc Matera’s wide-ranging historical overview of the small but significant African and Afro-Caribbean presence in London from the 1920s to the 1940s, we have an important work which can take its place proudly alongside classic works such as Peter Fryer’s Staying Power and complementing more recent works such as John Belchem’s study of “black Liverpool,” Before the Windrush. Synthesizing scholarship both old and new in a sophisticated manner with an impressive level of archival research undertaken over a decade, Matera provides a powerful, indeed unanswerable, rebuttal to all those who would persist in seeing the arrival of the Empire Windrush in 1948 as the critical watershed marking the birth of “black British history”. The range of themes explored in Black London – political anticolonial agitation, social questions around interracial sex, imperial metropolitan cultural themes around British film-making and portrayals of Africa on the big screen, and the counter-cultures of resistance forged by black women and a host of musicians from across the African diaspora – mean that the work will appeal and be appreciated by not only historical specialists but also a wider public and popular audience…

…Matera registers in passing how the interracial relationships and marriages often resulting in such working class communities transgressed racial boundaries and upset imperialist sensibilities, noting for example that John Harris, who headed up the Committee for the Welfare of Africans in Europe, proposed to the Home Office in 1936 the gradual repatriation of black seafarers in Britain and suggested “steps might be found for raising the standard” of their mixed offspring “to that of the white races rather than leave them to drift down to that of the black” (210). Yet Matera’s work tells us little for example about the more general institutional racism suffered by this group of workers at the hands of the British state and the ship-owners (sometimes in collusion with the official National Union of Seamen), and perhaps more needed to be said about the “colour bar” that operated more widely across London (and Britain generally), for example in housing. Incidentally, it is noted that black actors such as Orlando Martins and Robert Adams survived by part-time work as wrestlers, but the role of black wrestlers as an aspect of wider inter-war multiracial working class culture might have been usefully developed (though I only am able to write this after recently hearing Gemma Romain give a fascinating paper on this very subject). Speaking of actors, though Matera does briefly discuss black theatre in Britain, I felt he could have pushed a little further in this direction, for example, building on the recent excellent work Black and Asian Theatre in Britain by Colin Chambers…

Read the entire review here.

Black London: The Imperial Metropolis and Decolonization in the Twentieth Century

University of California Press
May 2015
414 pages
Hardcover ISBN: 9780520284296
Paperback ISBN: 9780520284302
E-Book ISBN: 9780520959903

Marc Matera, Assistant Professor of History
University of California, Santa Cruz

This vibrant history of London in the twentieth century reveals the city as a key site in the development of black internationalism and anticolonialism. Marc Matera shows the significant contributions of people of African descent to London’s rich social and cultural history, masterfully weaving together the stories of many famous historical figures and presenting their quests for personal, professional, and political recognition against the backdrop of a declining British Empire. A groundbreaking work of intellectual history, Black London will appeal to scholars and students in a variety of areas, including postcolonial history, the history of the African diaspora, urban studies, cultural studies, British studies, world history, black studies, and feminist studies.

Contents

• List of Illustrations
• Acknowledgments
• List of Abbreviations
• Introduction: The Imperial and Atlantic Horizons of Black London
• 1. Afro-metropolis: Black Political and Cultural Associations in Interwar London
• 2. Black Internationalism and Empire in the 1930s
• 3. Black Feminist Internationalists
• 4. Sounds of Black London
• 5. Black Masculinity and Interracial Sex at the Heart of the Empire
• 6. Black Intellectuals and the Development of Colonial Studies in Britain
• 7. Pan-Africa in London, Empire Films, and the Imperial Imagination
• Epilogue
• Notes
• Bibliography
• Index

Charles Chesnutt Racial Relation Progression Throughout Career

Cleveland State University
May 2011
60 pages

Lindy R. Birney

Submitted in partial fulfillment of requirements for the degree Master of English

Charles Chesnutt began his career with an ideology that race should not be a category in which to judge others. He felt that through literature he could help influence society and help create a less racial centric civilization. His career began with positive reviews from short story publications in multiple magazines. However, most critics and readers at the time did not know of Chesnutt’s racial background. It was not until his second collection of short stories that Chesnutt revealed the truth about his heritage. After his success with The Conjure Woman and The Wife of His Youth (both published in 1899), Chesnutt began to assert his political agenda more aggressively into his writing. His second novel The Marrow of Tradition (1901) received very poor reviews; critics were repulsed by Chesnutt’s revolutionary philosophies concerning the racial caste system. The poor reception of Chesnutt’s three novels forced him to retire from a literary career. Years later, during the Harlem Renaissance, a time of prolific African American writers, Chesnutt was disappointed in the baseness of black characters in literature. He scolded Harlem Renaissance writers for their lack of strong black characters, but Chesnutt’s short stories that were published in The Crisis also lacked the racial uplift that he so desperately sought. Chesnutt’s intensity of racial relation literature had dwindled over time and he left it to the next generation of writers to fulfill the social agenda that his literature was never able to achieve.

Read the entire thesis here.

Amrita Hepi interview

Time Out Sydney
2015-05-24

Dee Jefferson, Arts & Culture Editor

Sydney knows – and loves – Amrita for her Hollaback nights and Beyoncé dance classes, but her latest project is far more fierce

Amrita Hepi was in the final creative phase of her dance-theatre work Passing, with New Zealand-born dancer and spoken-word artist Jahra Wasasala, when Beyoncé dropped her first Lemonade single and film clip, ‘Formation’.

“I was like man… What the!? This is everything we’re going through right now. And people were saying ‘How dare she have a political statement? She’s not even that black! She dyes her hair blonde!’.’”…

…Passing explores identity from the perspective of two women who not only have mixed cultural heritage, but whose dance practice spans genres as far apart as classical ballet, contemporary Indigenous choreography and dance hall…

Read the entire interview here.

Skinship: Dialectical Passing Plots in Hannah Crafts’ The Bondwoman’s Narrative

American Literary Realism
Volume 46, Number 2, Winter 2014
pages 116-136

Martha J. Cutter, Professor of English and Africana Studies
University of Connecticut

Racial definitions were in crisis within the U.S. during the mid-nineteenth century, with the country moving closer and closer to a Civil War in which the legal basis for enslavement and other forms of discrimination might be abolished. Therefore, historians and legal scholars such as Daniel Sharfstein and Joel Williamson have argued that the time period of 1830-1860, rather than that of the early twentieth-century, should be regarded as the era of the rise of the “one-drop” rule; laws regarding racial purity were passed amid the emergence of the plantation economy in the 1830s to provide a reliable source of labor and prevent what Sharfstein has termed “racial migration.” As Sharfstein has argued, “The one-drop rule’s transformation from ideological current to legal bright line and presumed social reality is in essence a story of freedom. [During] the thirty years preceding the Civil War . . . [t]he prospect of freedom for people of African descent hastened the one-drop rule’s rise as whites attempted to preserve social hierarchies and property relations in the absence of slavery.” Legal and scientific discourse from these decades further attempted to stabilize ideas of racial purity, even in the face of evidence that racial migration was an on-going fact of the U.S’s very existence.

How did racial passing texts from this time period respond to this attempt to stabilize the meaning of blackness and whiteness? Some texts endorse the attempt to stabilize race by portraying passing characters whose migration from blackness to whiteness or vice versa is figured as an invalidation of a “true” or “authentic” racial identity. For example, in Mary Langdon’s abolitionist passing novel Ida May (1854), a white child is stained brown and sold into slavery; but no one ever actually believes that the eponymous [End Page 116] heroine is anything but white, so the passing plot in fact supports racial difference and the idea that there is a “true” white race that somehow can be separated physically from the black race.

Other racial passing texts from this time period are more multivalent, in that they invoke the idea that race is physical (a matter of “one drop” of blood), only to transgress this idea through the manipulation of racialized identities based in performance, legal structures, and circumstances. Frank Webb’s The Garies and Their Friends (1857) at times invokes blood-based ideologies of race; Emily Garie’s hair, for example, is described as being “a little more wavy than is customary in persons of entire white blood” (emphasis added). Yet the novel often undercuts this rhetoric of racial blood through scenes in which race is shown to be more performative than biological. William Wells Brown’s Clotel (1853) similarly at times invokes what Adéléke Adéèkó has called “hemocentric imageries.” Brown implies at one point, for example, that “The infusion of Anglo-Saxon with African blood has created an insurrectionary feeling among the slaves of America hitherto unknown” (emphasis added). The text as a whole, however, shows race to be based in performance, legal discourse, and power relations, rather than in anything biological. For example, Clotel’s “black” daughter Althesa is said to be “as white as most white women in a southern clime.” The “somatic indecipherability” of the “white negro,” as Guilia Fabi phrases it, here emphasize that race is a sociohistorical construct, rather than a matter of blood or physical essence.

The passing plots of Hannah Crafts’ recently rediscovered novel The Bond-woman’s Narrative, written sometime after 1853, enter squarely within these complex questions by at times endorsing the idea that there is something physical to race (a drop of blood, a curl of hair, a tint in the eye) even as the narrative as a whole proffers a more flexible theorization of racial identity based not in racial blood, but in kinship, or rather what I call skinship. In the overt plot of The Bondwoman’s Narrative, as in The Garies and Their Friends and Clotel, blackness is…

Read or purchase the article here.