Mixed Race Studies

‘We are Iranians’: Rediscovering the history of African slavery in Iran

Middle East Eye
2016-05-09

Jillian D’Amours

ST CATHARINES, Canada – Behnaz Mirzai’s students often say her office is like a museum.

With shards of ancient pottery recovered from the mountains of Iran’s Sistan and Baluchistan province, colourful vases from Isfahan, and tribal masks from Zanzibar adorning the shelves, it is easy to see why.

Mirzai has spent nearly 20 years studying the origins of the African diaspora in Iran, including the history and eventual abolition of slavery in her native country.

It was a topic that few knew about in the late 1990s, when she began her research, and one that remains unfamiliar to many today.

“Living in Iran for all my life, we had never heard about slavery in Iran,” Mirzai told Middle East Eye from Brock University, where she now works as an associate professor of Middle Eastern history…

Read the entire article here.

Charlotte Brontë May Have Started the Fire, But Jean Rhys Burned Down the House

Literary Hub
2016-04-21

Bridget Read
Brooklyn, New York

Wide Sargasso Sea and The Limits of Bronte Feminism

In November of last year, Tin House published the text of a speech given by the author Claire Vaye Watkins, in which she spoke frankly of the various intersecting systems of privilege that affect the publishing world. Her main focus was the industry’s domination by men, their tastes and their interests, which even writers who are not men keep in mind when working toward literary success. The rousing essay ended with this call to arms: “Let us burn this motherfucking system to the ground and build something better.”

I thought of this speech this week, on the 200th anniversary of a famous literary house fire otherwise known as Jane Eyre—Charlotte Brontë’s novel about the eponymous “poor, obscure, plain and little” governess who quietly triumphs over several archetypal gothic adversaries: poverty, cruelty, a castle, a ghost, a brooding Byronic lover. Jane Eyre endures because it’s the story of an underdog, surely, as is the story of the author herself. Diminutive Charlotte and her sisters published their novels from their home in the Yorkshire moors, first under male pen names before being welcomed into important literary circles as women writers. Of Brontë, whose heroine notoriously requires the gruff, hot Mr. Rochester to regard her as a true partner before she will wed him, “equal—as we are,” Matthew Arnold complained in 1853: “The writer’s mind contains nothing but hunger, rebellion and rage, and therefore that is all she can, in fact, put in her book.” This, of course, is an excellent blurb for a novel in 2016, and cause to study Jane Eyre as a proto-feminist text….

There are other reasons that cultural objects get to hang around for multiple centennials, however, and rarely can a book’s radicalism alone account for its longevity in popular imagination. You might consider how Jane Eyre, not unlike the work of another famous but non-fictional Jane, in addition to being groundbreaking, is very safe. Jane E. might at first deny the hands of Rochester and her cousin St. John Rivers because they want to control her, but she does get married, eventually, all while maintaining her quiet dignity, her resilience, and her piety—meaning that her self-actualization is still in the service of morality, a Christian, patriarchal one. It is important to remember who exactly burns down the house in Jane Eyre, because it isn’t Jane. The arsonist of the novel is Bertha, Rochester’s shut-in wife, the infamous woman in the attic, and if a radical core can be found in Brontë’s work, it’s with her. Which is to say that the novel’s real potential for systemic annihilation is not the novel itself, and brings me to another anniversary, a 50th birthday, of Jean Rhys’s prequel to Jane Eyre: Wide Sargasso Sea, published in 1966…

Read the entire article here.

Cannes: Interracial Marriage Drama ‘Loving’ Throws Hat in Oscar Ring

The Hollywood Reporter
2016-05-16

Gregg Kilday

Director Jeff Nichols and stars Joel Edgerton and Ruth Negga make a strong first-impression as their new film about the landmark Supreme Court case is unveiled.

Loving, writer/director Jeff Nichols’ new film about Richard and Mildred Loving — the interracial couple whose 1958 marriage violated Virginia’s anti-miscegenation laws, which were eventually overturned by the Supreme Court’s landmark Loving vs. Virginia ruling in 1967 — held its first press screening Monday morning in Cannes. And it immediately made the case why the film has to be considered one of this year’s first major awards contenders.

Given the material, Nichols could have delivered a standard-issue courtroom drama, culminating with soaring oratory before the nation’s highest court. But he chose to take a different route — the American Civil Liberties Union, agreeing to take on the case, doesn’t enter the picture until more than half-way through the two-hour-three-minute movie. Instead, the film is centered around the Lovings themselves: Richard, played by Australian actor Joel Edgerton, and Mildred, played by the Ethiopia-born Ruth Negga…

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.

U.S. Poet Laureate (2012-14) and Mississippi Poet Laureate (2012-16) Natasha Trethewey

New Letters On The Air
2016-02-12
Catalog Number: 20160212

Angela Elam, Producer/Host

In the first part of this interview, Mississippi Poet Laureate (2012-16), Natasha Trethewey talks about her work that deals with history, racism, and family, including her first creative non-fiction book, Beyond Katrina: A Meditation on the Mississippi Gulf Coast. Trethewey also reads from her most recent poetry collection, Thrall, which includes an elegy for her now deceased father, the poet Eric Trethewey, in front of an audience as part of the 2015 Humanities Lecture Series at Kansas University’s Hall Center for the Humanities. New Letters on the Air also has an earlier interview that features Trethewey’s first three poetry books, including the Cave Canem Prize winning, Domestic Work, and the Pulitzer Prize winning, Native Guard. The second part of this interview and an earlier 2008 program with Natasha Trethewey are available in our audio archives.

Order the interview here.

Stranger In The Village – A Visual Essay

Phoebe Boswell, Visual Artist
2015-12-15

Artist’s Talk at Bla Stallet Konsthallen,
Angered, Gothenburg, Sweden
September 2015

The term ‘residency’ is an interesting one to me – it offers a sense of belonging, of being present, resident, which is artificial of course since you are more often than not placed somewhere you have no connection with, no ties to, no friends in, and no reason for being there, except of course to make work. Belonging is something I think a lot about in my work. A tutor at the Slade once said to me that you make work to ‘fill a hole’, and the difficulty lies in determining within us what that hole is. Mine, I realise, is ‘home’, or a lack of it, and I’m fascinated by how, as human beings, we each individually negotiate our personal sense of belonging.

To give a little history, I’m from Kenya. My father’s family settled there from Britain three generations before him, bought land and farmed it, and he grew up bearing the guilt of a colonial system within his home, much to his dismay.

My mother’s family are Kikuyu, and of course it was the Kikuyu who set up the Mau Mau who fought for Kenya’s independence from the British, and won it in 1963…

Read the entire article here.

Pudd’nhead Wilson and Those Extraordinary Twins

Broadview Press
2016-05-04 (Originally Published in 1894)
304 pages
5½” x 8½”
Paperback ISBN: 9781554812660

Mark Twain

Edited by:

Hsuan L. Hsu, Associate Professor of English
University of California, Davis

The two narratives published together in The Tragedy of Pudd’nhead Wilson and the Comedy of Those Extraordinary Twins are overflowing with spectacular events. Twain shows us conjoined twins, babies exchanged in the cradle, acts of cross-dressing and racial masquerade, duels, a lynching, and a murder mystery. Pudd’head Wilson tells the story of babies, one of mixed race and the other white, exchanged in their cradles, while Those Extraordinary Twins is a farcical tale of conjoined twins. Although the stories were long viewed as flawed narratives, their very incongruities offer a fascinating portrait of key issues—race, disability, and immigration—facing the United States in the final decades of the nineteenth century.

Hsuan Hsu’s introduction traces the history of literary critics’ response to these works, from the confusion of Twain’s contemporaries to the keen interest of current scholars. Extensive historical appendices provide contemporary materials on race discourse, legal contexts, and the composition and initial reception of the texts.

How psychologists used these doctored Obama photos to get white people to support conservative politics

The Washington Post
2016-05-13

Max Ehrenfreund

American politics always has surprises, but things have been especially unpredictable since President Obama took office. First, few observers were prepared for the tea party movement, which ousted several veteran GOP lawmakers, replaced them with more radically conservative newcomers, and helped the Republican Party win control of the House of Representatives in 2010.

“That left a lot of analysts slack-jawed, wondering: What was this latent force that drove the emergence of this movement?” said Robb Willer, a sociologist at Stanford University.

Then, of course, there was Donald Trump.

Willer speculates that one thing connecting these two political earthquakes might be white voters’ unconscious racial biases. In a series of psychological experiments between 2011 and 2015, he showed how hostility toward people with darker skin and perceived racial threats can influence white support for the tea party. He and his colleagues published a draft of a paper on their findings online last week — some of the most direct evidence of the importance of race to the conservative resurgence during Obama’s presidency.

First, the researchers randomly sorted subjects into two groups and showed them a series of pictures of celebrities, including digitally altered images of the commander in chief. One group saw a version in which Obama’s skin had been lightened, while in the other version, his skin had been darkened…

Read the entire article here.

Artist Turns Racist Flirtations on Tinder Into Compelling Look at Race and Sex

The Root
2016-05-13

Demetria Lucas D’Oyley

Phoebe Boswell Source: phoebeboswell.com

She Matters: Inspired by James Baldwin’s “Stranger in a Village,” Phoebe Boswell was interested in exploring the perceptions of black women in predominantly white spaces.

Over the weekend I swung by the 156 Art Fair, an annual exhibition of African art at Pioneer Works in Brooklyn, N.Y. Among the many strong presentations on display, Phoebe Boswell’s Stranger in the Village stood out.

In April 2015 Boswell, a biracial Kenyan woman currently living in London, was temporarily situated in Gothenburg, Sweden, in a predominantly white area. Boswell set out to explore perceptions of race and sex during her stay by turning to dating app Tinder.

“I thought I might want to explore what my body might feel like living in a space that might not be very welcoming,” Boswell says.

Any black woman who has ever ventured online to look for love—a particularly painful place for black women—should be able to predict the worst of what happened to Boswell next. Reactions to Boswell ranged from microaggressions to flat-out racism. But Boswell turned her lemons into artistic lemonade. For her installation, she sketched portraits of her online suitors with a mechanical pencil and included quotes from her exchanges.

“In the space of day, I go back through microaggressions for a month,” Boswell explained. “It’s like, ‘Oh, my God!’ I’m frightened from the things that I see.” Here, she talks about the experiences on Tinder that inspired the project…

Read the entire interview here.

Marlene Daut

New Books Network
2016-04-18

Dan Livesay, Assistant Professor of History
Claremont McKenna College, Claremont, California

Marlene Daut tackles the complicated intersection of history and literary legacy in her book Tropics of Haiti: Race and the Literary History of the Haitian Revolution in the Atlantic World, 1789-1865 (Liverpool University Press, 2015). She not only describes the immediate political reaction to the Haitian Revolution, but traces how writers, novelists, playwrights, and scholars imposed particular racial assumptions onto that event for decades afterward. Specifically, she identifies a number of recurring tropes that sought to assign intense racial divisions to the Haitian people. Individuals of joint African and European heritage, she contends, received the blunt of these attacks, as they were portrayed as monstrous, vengeful, mendacious, and yet also destined for tragedy. Moreover, observers and chroniclers of the Revolution maintained that these supposed characteristics produced ever-lasting discord with black Haitians. Daut analyzes hundreds of fictional and non-fictional accounts to argue that portrayals of the Haitian Revolution, and of the country itself, have long suffered under these false assumptions of exceptional racial problems. She has also produced a compendium of Haitian fiction during this period, in conjunction with the book. You can find it here.

Listen to the interview (00:49:33) here. Download the interview here.