Mixed Race Studies

Hay winner’s search for identity

BBC News
2003-05-27

A first-time writer who travelled halfway round the world to trace her roots has won the Welsh Book of the Year award at the Hay Festival.

Charlotte Williams’ tale of her search for her identity, entitled Sugar and Slate, took her to three different continents.

Ms Williams, who has Welsh, African and Latin American heritage, wrote the book following trips across the world to find more about her background.

She overcame challenges from 60 other writers to claim the £3,000 first prize.

The daughter of a white Welsh-speaking mother and a black father from Guyana in the Caribbean, Ms Williams said the journey to research her past became a confrontation with herself and the idea of Welshness.

In the book she recalls feeling as a child growing up in Llandudno, north Wales, that “somehow to be half-Welsh and half Afro-Caribbean was to be half of something but never quite anything whole at all”…

Read the entire article here.

Interview with Louisa Adjoa Parker

The writer is a lonely hunter
2012-01-10

Gail Aldwin

Louisa is a writer, poet and Arts Project Co-ordinator who has lived in the West Country since she was 13. Her first poetry collection, Salt-sweat and Tears was published by Cinnamon Press to critical acclaim in 2007. She has also written a book and exhibition about the history of African and Caribbean people in Dorset over the past 400 years, both entitled Dorset’s Hidden Histories. Louisa has recently worked on a project using images and stories to celebrate multi-ethnic Dorset. Funded by Arts Council England and Dorset County Council, the exhibition and book is called All Different, All Dorset was launched in September 2011. Louisa is passionate about equality and the Arts, and hopes to inspire people from a range of backgrounds to become interested in writing.  

Let’s start with your writing journey

I wrote a few adventure stories when I was about six, which my mum said were like Enid Blyton books and I still have a poem written at that time. When I was a teenager I kept a diary for three years and wrote about everything that happened to me. As an adult, I turned to letter writing to try to sort out problems with relationships. In 2002, I went to Exeter University to complete the degree I’d started with the Open University, and I began writing poetry alongside the essays and coursework. I was encouraged by Selima Hill and I had a poem published in a magazine. Getting published was exciting and encouraged me to write more. I realised I had a lot to say about being dual heritage and growing up in white communities. My Dad is Ghanaian and came to England in the late 60s for education and he met and married my mum and had three children with her. We lived in Yorkshire, Cambridgeshire, and then when my Dad left we moved to Devon. Growing up knowing only the white side of my family was weird. No one wanted to talk about my background. Writing helped me to explore unresolved issues around my identity. It helped me come to terms with some of the things that had happened, racism and domestic violence…

Read the entire interview here.

Looking back at lives of black GIs in Dorset

Dorset Echo
Weymouth, Dorset, England
2013-06-12

James Tourgout

A NEW exhibition is highlighting the stories of black soldiers in Dorset during World War Two.

It explores the lives of African American servicemen who headed to Dorset to train for D-Day and is showing at Weymouth library until June 14.

It comes in the week following the 69th anniversary of the D-Day landings in France.

The exhibition—entitled 1944 We Were Here: African American GIs in Dorset—was successfully launched last May at Walford Mill Crafts in Wimborne. Louisa Adjoa Parker, a Dorchester writer and poet of British and Ghanaian heritage, carried out the research into this part of local history, which has been little explored so far…

Louisa specialises in local black history and has written several books and exhibitions exploring the presence of black and minority ethnic people in Dorset. Louisa said: “This local history has not been explored in great detail until recently, and is arguably an important part of Dorset’s heritage.

“It was important to gather the stories now, as the GIs’ children and the local people who remember the GIs are getting older. “The African Americans’ presence here left behind a lasting legacy—cultural influences, memories and stories that have been passed down in families and become part of local folklore, and a number of their children as a result of relation-ships with local women.”

Read the entire article here…

Ethnic minorities: defining ethnicity and race

The Scottish Public Health Observatory
Ethnic Minorities
Last Updated: 2012-03-06

Ethnicity

Ethnicity has been defined as:

“the social group a person belongs to, and either identifies with or is identified with by others, as a result of a mix of cultural and other factors including language, diet, religion, ancestry and physical features traditionally associated with race”. (1)

Ethnicity is essentially self-defined and may change over time. Classification of ethnicity is essentially pragmatic, based on categories that include common self-descriptions, are acceptable to respondents and that identify variations that are important for research or policy. There is increasing recognition that people may want to identify themselves with more than one ethnic group, and the “mixed” category introduced in the UK 2001 Census attempts to do this. The standard classification of ethnic group in the UK is that used in the 2011 Census (which was slightly different in each of the four countries of the UK). Ethnicity is different from country of origin, since many countries include more than one ethnic group.

Race

The concept of race is controversial. It is difficult to define a rationale for racial categories and there is no consistent agreement about an objective set of categories. Classifying individuals by their physical appearance and skin colour is unreliable and of questionable validity. Genetic studies have found some evidence of broad “continental” groups which are genetically similar.(2,3) However, there is little evidence that these correspond to commonly perceived racial categories.(4) There is wider genetic variation between individuals within one “racial” group (such as “white”) than there is between such “racial” groups (5)—indeed 93% to 95% of genetic variation is within population groups. Despite these difficulties, the term race is still widely used in legal and policy contexts…

Read the entire article here.

Afrofuturism’s Others

Tate Modern
Starr Auditorium
Bankside
London SE1 9TG
Saturday, 2013-06-15, 14:00-16:00 BST (Local Time)

Ellen Gallagher, Deluxe 2004–5 (detail) Mixed media, 60 frames, 38.9 x 32 cm each
Tate Photography © Tate

Ellen Gallagher’s work deconstructs received truths and weaves together propositional narratives, inhabiting spaces where the future collapses into the past, obsolescence into technology and image into text. These are spaces carved out by the cultural aesthetic of Afrofuturism.

In the context of Gallagher’s work, speakers will explore and complicate readings of Afrofuturism and its influence on contemporary artists’ practices, creating an intricate understanding of the genre and its evolutions. Speakers include Zoe Whitley (Independent Curator and panel co-organiser), Hazel V. Carby (Professor of African American Studies and Director of the Initiative on Race Gender and Globalisation at Yale University), Amna Malik (Lecturer in Art History and Theory at the Slade School of Fine Art, UCL), and Lili Reynaud-Dewar…

This event is related to the exhibition Ellen Gallagher: AxME

For more information, click here.

Arthur Wharton: The first Black Footballer

BBC Tyne
Culture
October 2003

BBC

Over 100 years before Dyer, Jenas and Ameobi, the North East had the UK’s first professional black League player. Meet the legendary Arthur Wharton.

Arthur Wharton was born on 28 October 1865 in Accra, formerly the Gold Coast, now capital of Ghana, West Africa.

His father, Henry Wharton was a famous Methodist Minister and Missionary from Grenada in the West Indies and his mother was Annie Florence Egyriba, was related to the Fante Royal Family.

Both of Arthur’s paternal grandfather’s were Scottish traders. One of his great grandmothers was an African-Grenadian slave.

Arthur’s uncle on his mothers’ side was a successful businessman and owner of the Gold Coast Times…

Read the entire article here.

Casta Painting: Art, Race and Identity in Colonial Mexico (HI972)

University of Warwick
Coventry, England
Spring 2013

Rebecca Earle, Professor of History

This module explores the distinctive vision of colonial Mexico purveyed via the artistic genre known as the casta painting. Casta paintings depict the outcomes of different types of inter-ethnic mixing, and often come in series of 16, showing many different family groups. They are quite remarkable. Consider, for example, José de Alcíbar’s painting showing a family group consisting, we are told in the helpful label, of a Black father, and Indian mother and their ‘Wolf’ son:

Casta paintings can be seen as attempts at cataloguing the varied inhabitants of Spain’s colonial universe. They thus offer a visual taxonomy of colonial space. At the same time, they have been read as statements of local pride, and usually include a wealth of details about local customs and habits. In addition, they are rich and complex documents relating to the material culture of colonial Spanish America. In Alcíbar’s painting reproduced above we notice not only the domestic strife but also the beautiful china (which is endangered by the parental row) and food items such as the headless chicken. How are we to interpret and understand such images?

The module will introduce students to this artistic genre, and will explore different ways of interpreting these multi-valent images. Its educational aims, therefore, are to help students consider how to read artistic works produced in a colonial setting, how to use casta paintings as a body of source material, and how to explore the relationship between visual and textual depictions of colonial space…

For more information, click here.

Mixed Race Studies

Mixed Race Family
2013-05-18

Elizabeth White

For global people who are mixed race, belong to a mixed race family, are starting a mixed race family or who are from the global human race and are interested in learning more about the experiences of global mixed race families.

Today I’m off to Leeds University to attend a conference entitled Mixing Matters: Critical Intersectionalities.  It promises to be a really interesting day;  a great opportunity to meet new people and to hear from scholars about Mixed Race issues. I’m sure that I will have lots more to blog about when I get back home.

Since starting my blog in February, I’ve come across a wide range of information from newspaper articles to books, but I have to say that I have been really impressed by the extensive and comprehensive collection of work collected by Steven Riley at Mixed Race Studies.  I highly recommend you explore the collection if you studying Mixed Race or are simply interested in finding out more…

Read the entire article here.

Ellen Gallagher at Tate Modern

The Telegraph
2013-05-02

Alastair Smart, Arts Editor of the Sunday Telegraph

In this solid retrospective, America’s Ellen Gallagher subtly mixes pretty abstraction with reference to her black heritage, says Alastair Smart.

I sometimes feel sorry for artists today. Not in the sense that I’d make a £2 monthly donation for their welfare or anything.

Rather that today’s artist is expected to produce work that’s not just visually striking but conceptually clever. Brains must match looks, and woe betide anyone whose art isn’t deemed “deep” enough to inspire reams of post-structuralist theory.

America’s Ellen Gallagher, now the subject of a Tate retrospective, negotiates this tightrope better than most. Drawing on her mixed-race heritage (with a father from the Cape Verde Islands), she infuses works of minimalist abstraction with subtle references to black history.

Watery Ecstatic, her ongoing series of watercolours and incised paper collages, features all manner of delicately-rendered marine life: from eels, jellyfish and seaweed to fantastical sea monsters. Their intricacy recalls that of old whalers’ scrimshaw – with an unexpected twist…

Read the entire review here.

Ellen Gallagher: AxME

Tate Modern: Exhibition
Bankside
London SE1 9TG
2013-05-01 through 2013-09-01

Ellen Gallagher is one of the most acclaimed contemporary artists to have emerged from North America since the mid-1990s. Her gorgeously intricate and highly imaginative works are realised with a wealth of virtuoso detail and wit. This is her first major solo exhibition in the UK, providing the first ever opportunity to explore an overview of her twenty-year career.

Gallagher brings together imagery from myth, nature, art and social history to create complex works in a wide variety of media including painting, drawing, relief, collage, print, sculpture, film and animation. The exhibition explores the themes which have emerged and recurred in her practice, from her seminal early canvases through to recent film installations and new bodies of work.

In her series of wig-map grid collages, Double Natural, POMP-BANG, and eXelento, Gallagher has appropriated and incorporated found advertisements for hair and beauty products from the 1930s to the late 1970s from publications such as Ebony, Our World, and Black Stars. These advertisements fostered ideals in black beauty through wigs and hair adornments, which Gallagher has then recontextualised, collaging the Afro wig elements and embellishing them with plasticine. As she comments: ‘The wig ladies are fugitives, conscripts from another time and place, liberated from the “race” magazines of the past. But again, I have transformed them, here on the pages that once held them captive.’…

For more information, click here.