Mixed Race Studies

Chineke! Europe’s first professional orchestra of black and minority ethnic musicians launches

The Independent
2015-09-02

Jessica Duchen

Its founder double-bassist Chi-chi Nwanoku talks to Jessica Duchen

When the Chineke! Orchestra steps on to the Queen Elizabeth Hall platform on 13 September, the audience should notice something unusual. One of those uncomfortable truths about classical music is that most symphony orchestras in Europe still consist mostly of white and white-Asian people. Chineke, the brainchild of the double-bassist Chi-chi Nwanoku, is Europe’s first professional orchestra made up entirely of black and minority ethnic musicians.

The idea is to bring together and showcase the wealth of talent among these under-represented performers. “It is about raising awareness, trying to level the playing field, altering the status quo a little bit and changing perceptions,” says Nwanoku.

Born in London to a Nigerian father and Irish mother, Nwanoku has been mulling over these issues for years, from her vantage point as a founder member of the Orchestra of the Age of Enlightenment, a popular media commentator and broadcaster, and a professor at the Royal Academy of Music. Her recent programmes for BBC Radio 4, In Search of the Black Mozart, about the 18th-century violin virtuoso and composer the Chevalier de Saint-Georges, sparked wide interest in historical musicians of colour…

Read the entire article here.

Four-country newspaper framing of Barack Obama’s multiracial identity in the 2008 US presidential election

Ecquid Novi: African Journalism Studies
Volume 35, Issue 3, 2014
pages 23-38
DOI: 10.1080/02560054.2014.955867

Kioko Ireri, Assistant Professor of Journalism & Mass Communication
United States International University-Africa, Nairobi, Kenya

Though Barack Obama was the first African American presidential nominee for a major party in the history of the US presidential election, his multiracial identity put him under intense scrutiny during the 2008 election – more than any other previous black aspirants for the White House. Using quantitative content analysis of election stories in the newspapers of four countries (New York Times – US; Times – Britain; China Daily – China and Daily Nation – Kenya), this comparative study examines the prevalence of four racial frames associated with Obama’s multilayered racial identity: ‘African American’, ‘black’, ‘Kenyan roots’ and ‘white roots’. In addition, the study investigates the four newspapers’ valence coverage of the four racial frames in relation to Obama’s candidacy. The findings indicate that ‘Kenyan roots’ was the racial frame which occurred most frequently, followed by the ‘black’ frame. Overall, Obama received more positive coverage than negative across the racial frames depicted in the four newspapers.

Read or purchase the article here.

Mixed Messages: The Role of the Multiracial Character in Children’s Literature

theracetoread: Children’s Literature and Issues of Race
2015-08-20

Karen Sands-O’Connor, Professor
English Department
Buffalo State, The State University of New York, Buffalo, New York

In 19th and early 20th century children’s literature, the multiracial character generally evoked one of two responses: fear, or pity. Tom Sawyer’s Injun Joe, for example, was much feared by Tom and his gang, Tom even having nightmares about the character coming to get him. In Caddie Woodlawn, the children of an Indian mother and white father are “half savage” and the recipient of Caddie’s attempts to “civilize” them by paying for new clothes. Other examples can be found in British Empire literature—the “ugly mulatto” being a stock character of fear in books by G.A. Henty, H. Rider Haggard, and others; and the pitiable female “half-breed” or “mulatto” who cannot ultimately be saved by the white hero also figures in the works of these authors.

After World War II, as civil rights in the US and changing immigration patterns in Britain meant increasing, often hostile, interaction between racial groups, the multiracial character in children’s literature nearly disappeared for a time. But a generation later, many things had changed. More and more children were born who had parents of different races, but it was unclear where they would fit in to a post-civil rights society. Both American and British authors produced books dealing with this issue, but for this blog, I’m just going to look at two from Britain: Anthony Masters’ Streetwise (London: Methuen, 1987), and Jacqueline Roy’s Soul Daddy (London: Collins, 1990)…

Read the entire article here.

The family who never knew their father

BBC News Magazine
2015-08-28

Harry Low

Our story about the forced repatriation of Chinese sailors who had been recruited for the Merchant Navy during World War Two told of the devastation for those families left behind. Barbara Janecek shared her own tale in response.

She had read about Yvonne Foley, whose father Nan Young, a Chinese ship engineer, was sent back to the Far East following the end of the war. He was one of thousands of recruits from Shanghai, Singapore and Hong Kong who lived in Liverpool.

“I was always waiting for my father to come back, I was always daydreaming he would,” says Barbara, whose father John had suffered the same fate. John Ong had married Eileen Hing in 1943 when they were both aged 23. Eileen was devastated when her husband left, leaving his wife to raise three children under the age of four…

Read the entire article here.

Looking for my Shanghai father

BBC News Magazine
2015-08-25

Jody-Lan Castle

Yvonne Foley with her mother Grace

After World War Two ended, the British government forcibly repatriated hundreds of Chinese sailors who had been recruited for the Merchant Navy. Their sudden departure had a devastating effect on families left behind, like that of Yvonne Foley.

“You’re just like your father,” Yvonne’s mother exclaimed, “always arguing, trying to change the world.”

The nine-year-old was confused. That sounded nothing like her father.

“I mean your Shanghai father,” her mother insisted.

Who? Yvonne was momentarily baffled, but then put it to the back of her mind.

Two years later, in 1957, the subject came up again. This time her mother, Grace, wanted to tell her more.

The man Yvonne had been calling “Dad” was not her biological father. Instead her birth father was Nan Young, a Chinese ship engineer her mother had met in Liverpool in 1943…

Read the entire article here.

Mixed Race Male and Female Participants Needed to Take Part in a Research Project

ESRC Centre on Dynamics of Ethnicity (CoDE)
The University of Manchester, Manchester, United Kingdom
2015-07-25

Karis Campion, Ph.D.
Doctoral Researcher and Graduate Teaching Assistant

• Do you have Mixed White and Black Caribbean heritage?
• Were you born between 1955-1970 or 1980-1995?
• Did you grow up in Birmingham?

If your answers to the above are yes, would you like to take part in an interview exploring mixed race people in post-1945 Britain?

If you think you may be interested in taking part and would like to hear a little more information about the project through an informal chat, then please contact me, Karis Compion via telephone at 07850479436 or via e-mail at Karis.campion@manchester.ac.uk. I am particularly encouraging male participants born 1955-1970 to come forward as response rate with this group has so far been quite low. Also, please read the Participant Information Sheet below.

University of Manchester School of Social Sciences: Participant Information Sheet

What is the title of the research?

The Making of Mixed Ethnicities, 1945-2011

Who will conduct the research?

Karis Campion, PhD researcher
Arthur Lewis Building
The University of Manchester
Oxford Road
Manchester, M13 9PL

What is the aim of the research?

To find out how mixed ethnicities have been experienced and constructed within particular time periods in Britain since mass-migration after World War II. Within these broader research aims, the research will explore how mixed ethnicities have been experienced in particular geographical locations in Britain. The research also aims to explore how gender and social class impact on mixed ethnicities.

Why have I been chosen?

You have been chosen because you grew up in Birmingham, have a Mixed White and Black Caribbean heritage, and were born between 1955-1970 or 1980-1995. Many other participants like you will be involved.

What would I be asked to do if I took part?

You would be asked to take part in an interview that I will lead. Within this you will be asked questions that are mainly concerned with your experience of having a mixed ethnicity. The interview process can be enjoyable but there is a possibility that you may find some of the topics sensitive to talk about depending on your own experiences. We will mutually agree on a time and place to conduct the interview prior to it taking place. I might also ask you to pick some photographs from your own collection that you feel represent particular stages in your life as a teenager and young adult. These could be either hard or digital copies on a phone/camera. These could include pictures of you when you left school, when you first left home or started your first job. These photographs will be used to help you share your memories in the interview; they will remain in your possession after the interview and will not be reproduced in the thesis. Bringing photographs however, is not compulsory, so do not worry if this is not possible.

What happens to the data collected?

The analysis of the data will be written in to my PhD research project and possibly published in academic journals and presented at academic conferences. It will be made public and available to other researchers and academics.

How is confidentiality maintained?

During the research process the data collected will be audio-recorded. The data will be stored in a safe secure place, such as a password protected data stick and any tapes will be locked away in appropriate storage such as office drawers. It will then be analysed by me the researcher in a private study space. The only other people the information will be shared with are two other University staff who supervise me with my project and help me with my analysis. All participants will be given pseudonyms in the written up research. These are fictitious names, so you will not be able to be identified.

What happens if I do not want to take part or if I change my mind?

If you do decide to take part you will be given this information sheet to keep and be asked to sign a consent form. If you decide to take part you are still free to withdraw from the process at any time without giving a reason and without detriment to yourself.

Will I be paid for participating in the research?

No.

What is the duration of the research?

You will participate in one interview which will last between half an hour and two hours.

Where will the research be conducted?

Birmingham—either in your home or a public space that you would prefer such as a café or library.

Will the outcomes of the research be published?

Yes, most likely. This would mean that the research findings and data will be shared with other academic researchers.

What benefit might this research be to me or other subjects of the research?

The research will not directly benefit you. It will explore the specific experiences of people with mixed ethnicities like you. Your participation will help contribute towards existing academic research which attempts to highlight the specific needs and experiences of this fast growing ethnic group in Britain.

Contact for further information contact:

Karis Campion
Telephone Number: 07850479436
E-mail: Karis.campion@manchester.ac.uk

What if something goes wrong?

If anything goes wrong and you are unhappy for any reason, you can make a formal complaint about the conduct of the research by contacting:

Head of the Research Office, Christie Building
University of Manchester
Oxford Road
Manchester, M13 9PL

Mark Duggan: mother of man shot dead by police in 2011 calls for urgent inquiry

The Guardian
2015-08-04

Diane Taylor

Pamela Duggan claims police could have done much more to track down the man who supplied a weapon to her son. Photograph: Stefan Rousseau/PA

Call for new inquiry comes as demonstrators prepare to march to Tottenham police station close to where Duggan was shot by police four years ago

The mother of Mark Duggan, whose fatal shooting by police led to the 2011 London riots, is calling for an urgent inquiry by the home secretary into the events that led to her son’s death four years ago.

Demonstrators are due to march to Tottenham police station later on Tuesday close to where Duggan was shot by police on 4 August 2011, shortly after collecting a firearm from gun supplier Kevin Hutchinson-Foster.

The jury at the inquest into Duggan’s death found that police could have done more to take the gun off the street in the days before he picked it up. Photograph: Rex Features

A demonstration outside the same police station a few days after Duggan’s fatal shooting was followed by the biggest riots in the UK for years…

Read the entire article here.

Othello’s Daughter

The New Yorker
2013-07-29

Alex Ross, Music Critic

Aldridge, circa 1865, and his daughter Luranah, a singer, in an undated image. Credit Photographs by Billy Rose Theatre Division / The New York Public Library for the Performing Arts; Mccormick Library of Special Collections / Northwestern University Library

The rich legacy of Ira Aldridge, the pioneering black Shakespearean.

In 1896, a thirty-six-year-old opera singer named Luranah Aldridge travelled to Germany to prepare for performances of Wagner’s “Ring of the Nibelung,” at the Bayreuth Festival. Dozens of young singers had made such a journey before her: thirteen years after Wagner’s death, Bayreuth had become a summit of the operatic world. Aldridge, though, was of mixed race: an English native, she was the daughter of an African-American and a Swede. The casting of a nonwhite performer in Wagner’s Nordic-Teutonic saga might have been expected to arouse opposition, given the notorious racism of the composer and many of his followers, yet an advance guide to the 1896 festival treats Aldridge simply as a promising novelty:

A name that may well ring strangely in the ears of even the most observant art lovers is that of Luranah Aldridge, who will sing one of the eight Valkyries. Of Luranah Aldridge one cannot say that she did not come from far off, as she hails—from Africa. She is the daughter of the African tragedian Ira Aldridge and studied singing in Germany, England and France, and has appeared with great success in operas and concerts outside of Germany. She is praised as the possessor of a true contralto voice with a wide range. In the course of the festival there will be an opportunity to put these statements to the test.

The singer fell sick during rehearsals and did not perform that summer. Despite encouragement from Cosima Wagner, the composer’s widow, Aldridge faded from view. A few reference works mention her; otherwise, she has vanished from the historical record…

Read the entire article here.

Amanda Aldridge, Teacher and Composer: A Life in Music

Journal of Singing
January 2010
ISSN: 10867732

Joyce Andrews, Adjunct Instructor of Music
Ripon College, Ripon, Wisconsin

Aldridge was a remarkable person who devoted her lifetime to music, enriching the musical culture of Great Britain through her multi-talents as composer (published under the nom de plume “Montague Ring”) and as teacher, singer, and pianist. She mentored and inspired many young musicians and became a central figure in the black community in London.

ALTHOUGH THE NAME OF MONTAGUE RING is not familiar to most musicians today, this London composer wrote music that was extremely popular in Europe in the early twentieth century. Major music publishing firms published numerous songs in London by Ring between the years 1907 and 1925. Written predominantly in a romantic parlor song style fashionable in that day, Montague Ring’s songs for voice and piano numbered almost thirty, although the composer’s output included various compositions for other instruments that also gained considerable recognition.

A bit of investigation into this little known composer with the distinguished-sounding British high society name reveals a surprise – that Montague Ring was merely the pseudonym adopted by Afro-British female composer Amanda Ira Aldridge, born Amanda Christina Elizabeth Aldridge (1866-1956). Although reasons vary as to why composers opt to publish under a name other than their own, in Amanda Aldridge’s case, it may well be that her chosen pseudonym allowed her a degree of separation between her varied career pursuits. Amanda Aldridge was an active, accomplished musician during her long career and gained public attention through the various “hats” she wore as concert singer, piano accompanist, and voice teacher, as well as the composer Montague Ring. Particularly impressive is the musical circle in which she traveled in London as well as her vocal pedigree – she was an early pupil of Jenny Lind (famously known as the “Swedish Nightingale”) at the Royal College of Music in London. Aldridge is also attributed with providing voice instruction to some of the most acclaimed artists of the twentieth century, including African American singers Roland Hayes, Marian Anderson, and Paul Robeson. The accomplishment of so many careers was certainly inspired, and reinforced, by an additional significant detail about Amanda Aldridge she was the daughter of one of the most acclaimed tragedians of his time in Europe, the African American actor Ira Aldridge…

Read the entire article here.

“Red Velvet” spins a fascinating true story

The Berkshire Eagle
Pittsfield, Massachusetts
2015-08-13

Jeffrey Borak, Entertainment Editor and Theater Critic

LENOX — Actor Ira Aldridge isn’t in the American Theater Hall of Fame; his name is barely a whisper in the annals of American theater. That shouldn’t be, say director Daniela Varon and actor John Douglas Thompson, who is playing Aldridge in “Red Velvet,” a new play by Lolita Chakrabarti that had its world premiere in October 2012 at the Tricycle Theatre in London and its American premiere in March 2014 at St. Ann’s Warehouse in Brooklyn, N.Y.

Born a few years after the start of the French Revolution, Aldridge died a few years after the end of our Civil War — a megastar in Europe, but virtually unknown here.

“I was 17 when I first heard about Aldridge,” Varon said during a joint interview with Thompson in the lobby of Shakespeare & Company’s Tina Packer Playhouse, where the production officially opens at 7:30 tonight after a week of previews. It is scheduled to run in rotating repertory through Sept. 13.

“He gave up everything to go to England to become an actor,” Varon said.

Aldridge fashioned a career performing throughout through Europe and the UK. While he was known primarily as a tragedian, he also had a reputation as a good comedic actor.

He outraged London critics but awed audiences when, one night in 1833, he replaced the ailing Edmund Kean as Othello, at the Theatre Royal in Covent Garden.

…Born in New York in 1807, Aldridge emigrated to Liverpool, England in 1824, where he met and married Margaret Gill, a Yorkshire woman.

“He was 26 when he married her, She was 18,” Thompson said. “He already had had a lifetime of experience. He was not a young 26.” Despite a solid marriage, he was a notorious womanizer and fathered several children, in and out of wedlock.

Between 1825 and 1833, he played theaters throughout the United Kingdom. He made his first tour of Europe in 1852, playing not only Othello but also Lear, Richard III, Shylock, Macbeth. He died in Lodz in 1867, where he was given a state funeral…

Read the entire article here.