Mixed Race Studies

Summer in the Global Village: Trevor Noah, South Africa’s Comic Phenomenon

The World
Public Radio International
2013-07-16

Mirissa Neff

In South Africa, comedian Trevor Noah is a phenomenon.

A friend who recently came back from Johannesburg and Cape Town, remarked that the 28-year-old’s every utterance, whether on TV or Twitter (where he has nearly a million followers), “creates a ripple throughout the entire country.”

For six weeks in the early summer, New Yorkers got a taste of why.

Noah’s solo show, “Born a Crime,” (which ran at Culture Project in NoHo) references his mixed-race heritage: He was born during the apartheid era to a black South African mother and a white Swiss father.

Much of his sidesplitting routine is devoted to skewering the politics of race, both within and outside of his native South Africa, where his father, who was barred from walking in public with his brown-skinned son, instead watched Noah from across the street, “like a creepy pedophile.”…

Read the entire article here.

Blackness/Mixedness: Contestations over Crossing Signs

Cultural Critique
Number 54 (Spring, 2003)
pages 178-212

Naomi Pabst, Assistant Professor of African American Studies and American Studies
Yale University

While studies of cultural syncretism, transnationalism, and “hybridity” have lately become all the rage, there is one area in which claims of racially “hybrid” identity are still subtly resisted, quietly repressed, or openly mocked. The child of both black and white parents encounters various forms of incomprehension in a society for which “blackness” and “whiteness” seem to constitute two mutually exclusive and antagonistic forms of identity.

—George Hutchinson, “Nella Larsen and the Veil of Race”

In spite of rumors regarding the infinite privileges open to those of us with visible white ancestry, there is always, yes always, a great deal of pain that comes with this “privilege.” Our sufferings as Black [people] of different shades are not identical, and they aren’t even always equal, but they most certainly are mutual. And because my experience of racism as it is felt through this light skinned body is not the same as that experience which is felt through darker colored flesh does not mean that either of the two is any truer, more valid or authentic.

—Kristal Brent Zook, “Light-Skinned(ded) Naps”

Much has been made, and rightfully so, of the hybridity, the mixedness, of African-Americans. Indeed, the vast majority of black Americans have white, native, and sometimes other cultural and racial ancestry in addition to African. And the refrain is by now familiar, even if it still bears repeating: there are no pure races or cultures to begin with. At the same time, much has been made of the “one-drop rule,” the law of hypodescent, which denies black/white interracial persons a legitimate claim to whiteness and assigns them to a purportedly lower rung on the heritage hierarchy. Through this practice, black/white mixed persons have generally come to be classified as black, legally and in popular imaginaries. This essay will examine the links and rifts between blackness and mixedness, with an eye to what is at once a chiasmus and a truism, that black people are mixed and (black/white) mixed people are black.

Through an analysis of various literary and critical representations of racial hybridity, this essay will demonstrate that the blackness/mixedness paradox is and always was but the very beginning and by no means the end of the story of American racial classification within the black/white schema. Even the most vociferous proponent of the one-drop rule would have to concede that it does not require, nor has it ever required, much of a stretch of the imagination to make a commonsense distinction, even if a fraught, provisional one, between authentic blackness and black/white interraciality. To even state that a mixed-race subject is black or the reverse is to reference the joint realities of both mixedness and blackness. The one-drop rule itself suggests quite literally that one can at once be fully black and only one drop black. Moreover, the tendency to overstate the historical ineluctability of the one-drop rule elides the a priori crisis of classification mulattoes have long presented within American discursive and cultural imaginaries. As Werner Sollors underscores in the introduction to Interracialism, “contrary to many assertions, the so-called one-drop rule (according to which any African ancestry, no matter how far removed, made an American ‘black’) was never widely applied” (6). Rather, contestations over the “true” racial and cultural status of mixed-race subjects are ongoing and can be traced a long way back.

Endless and passionate debate on how to situate black/white interraciality has penetrated the realms of legal classification, census taking, and grassroots movements, as well as the domains this essay mainly concerns itself with, the discursive, the ideological, and the popular. I problematize rather than contribute to these debates, for what is more interesting to me is the extent to which interracial subjects elide a classification that can be agreed on. I recommend that…

Read or purchase the article here.

‘White House Down’ and Black Presidents on Screen

The New York Times
2013-06-26

Mekado Murphy

At one point in the action thriller “White House Down,” which opens June 28, the president of the United States, played by Jamie Foxx, is trying to thwart a paramilitary group that has overtaken the White House. After swapping his more presidential footwear for basketball shoes, he kicks a bad guy in the face and yells, “Get your hands off my Jordans!”

It’s not a line many Hollywood versions of the leader of the free world would utter: he (it’s usually a he) is often stuffier, a little bland maybe, and most often white. “White House Down,” directed by Roland Emmerich, doesn’t wear the race of its president on its sleeve, but it doesn’t shy away from the fact either. Before President Obama’s election, Dennis Haysbert set the standard for television presidents with his portrayal of David Palmer on “24.” But memorable black commanders in chief have been harder to come by on the big screen. And as with their real-life counterparts, they get their way only some of the time…

Read the entire article here.

Naked Bodies, Bodies of History

Hyphen Magazine: Asian America Unabridged
2013-06-27

Jenny Lee

“She mimics the speaking. That might resemble speech. (Anything at all.) Bared noise, groan, bits torn from words…From the back of her neck she releases her shoulders free.  She swallows once more.”

So begins the story of the halting diseuse, or female storyteller, of Theresa Hak Kyung Cha’s genre-defying text Dictée, first published just over three decades ago in 1982. Organized in nine parts named after the Greek Muses, Dictée has been described in mythic terms – a Korean Odyssey, a rewriting of the Hesiodic Catalogue of Women, a theatrical ritual, a shamanistic exorcism.  Above all, however, Cha’s work interrogates history, refracting the history of Korea in the twentieth century through the themes of exile, the displacement of colonized bodies, and the lost – and resurrected – bodies and voices of women…

…I must have had Dictée on the brain, because I thought of Cha’s work again a few weeks ago when I dropped by the DePaul Art Museum to see the exhibit War Baby/Love Child: Mixed Race Asian American Art, curated by DePaul and San Francisco State University professors  Laura Kina and Wei Ming Dariotis. The exhibit is part of a larger project that features visual media produced by nineteen artists who hail from the rapidly expanding community of 2.6 million Americans (and counting) who identify as Asian American plus one or more ethno-racial groups. While the exhibit blurb explains that the show “examines the construction of mixed heritage Asian American identity in the United States,” this actually doesn’t do justice to its ambitious range, which not only investigates the historical origins of these identities (U.S. wars in Asia, colonialism, transnational adoption, the 1967 Supreme Court decision Loving v. Virginia outlawing laws against interracial marriage) but breaks down insidious present-day theories about “post-racialness,” while also featuring work by a younger generation of artists who seem to stay out of the conversation completely.  

In an interview, Dariotis revealed that the title of the exhibit was inspired by her own experience fielding annoying questions about her background (which, incidentally, is Chinese, Greek, Swedish, English, Scottish, German, and Dutch). According to Dariotis, people would inquire whether her parents “met in the war.” “And I always ask myself, ha, I was born in 1969, we were not at war with China in 1969. Where did they get this image?” Dariotis’s story highlights persistent mainstream assumptions about mixed-race (if not mixed-ethnic) Asian Americans of a certain age as either/or – that is, either the product of military personnel and Asian women, or free-love hippies indulging in illegal interracial sex. If Young Jean Lee’s Untitled Feminist Show offers a critique of the sexualizing of women’s bodies, War Baby/Love Child draws attention to the cultural sexualization of specifically Asian (and mostly female) bodies through the bodies of their mixed-race offspring…

Read the entire article here.

‘One Drop of Love’ (Theatre Review)

The Chic of Domesticity: A Woman-to-Women Conversation on All Facets of Life – Fashion – Politics – Religion – Style – Travel
2013-06-29

Jennifer Vaughn-Estrada

Plans free for tomorrow evening? I recommend catching the final performance of One Drop of Love: A Daughter’s Search for Her Father’s Racial Approval at the Hollywood Fringe Festival. Race is an uncomfortable, and often confusing, subject for us “mixies,” and Fanshen Cox DiGiovanni, co-founder of the Mixed Roots Film and Literary Festival, addresses it head on in this one-woman play about identities, stereotypes, and family frustrations…

Read the entire review here.

Some Thoughts on Biracialism and Poetry

Boston Review
2013-06-13

Paisley Rekdal, Associate Professor of English
University of Utah

To be a biracial and female writer might suggest one of two things: first, that my gender and race are the subject matter of my work or, second, that the forms of my writing reflect my identity. Between these two possibilities–race and gender as theme versus race and gender as enacted form—a tension exists, perhaps arising from our current distrust of both narrative and identity politics. To write from the first position—race and gender as theme—boils a poem down to the recounting of experience, most likely the narrator’s marginalization. It is an easy poetry to identify, and it is a type whose detractors (rightfully and wrongly) criticize as an attempt to engender in the reader both sympathy with and catharsis through the personal revelations of the narrator. It is a poetry that at its worst risks becoming performative cultural “kitsch” through its manipulation of readers’ sensitivities to race and racism but, at its best, illuminates some part of the complexity currently surrounding ideas of racial authenticity and identification.

The second option—identity as enacted form—is harder to pinpoint, relying as it does as much on the writer’s stated objectives for the work, as on readers’ stereotypes about what kind of poetic form female biracialism could take. On the surface, we might expect “biracial” forms to be highly skeptical of an imaginatively coherent first person. They could be poems that rely on fragmentation, that are deeply engaged with critical theory regarding perception and language. They could be ironic, self-reflexive, suspicious of catharsis, engaged more with the playful destruction of archetypal myths of identity than in reifying them. In short, they would be hard to distinguish from much of contemporary poetry today…

Read the entire article here.

What’s it like to “come out” as a Third Culture Kid on stage? Elizabeth Liang tells all!

The Displaced Nation: A home for international creatives
2013-06-20

The Displaced Nation Team

As reported here last month, Elizabeth Liang spent the month of May performing, at a venue in Los Angeles, a one-woman show about being a Third Culture Kid, or TCK. As some readers may recall, Liang is a self-described Guatemalan-American business brat of Chinese-Spanish-Irish-French-German-English descent. She was brought up by peripatetic parents in Central America, North Africa, the Middle East, and Connecticut. Many of us were curious about not only how she could pack all of that personal history into a solo stage performance, but also how the (mostly American) audiences would respond. Today is the day we get to find out. Take it away, Elizabeth!

—ML Awanohara

I had no idea what to expect from audiences when I opened my solo show, Alien Citizen, in Hollywood, California, on May 3rd (it closed June 1st).

Since the show is about my upbringing as a dual citizen of mixed heritage in six countries, I assumed it would appeal mainly to Adult Third Culture Kids (ATCKs) and people of mixed heritage—the people I wrote it for, since we rarely see our stories portrayed on stage or screen.

I wanted the show to be funny, but wasn’t sure if the humor would translate.

And I wanted people to be moved by the story…

Read the entire article here.

Writing Mixed Race Asian Americans into the Nation: Narratives of National Incorporation in the Bildungsroman and the Multiracial Movement

Wesleyan University
May 2013
80 pages

May Lee Watase

A thesis submitted to the faculty of Wesleyan University in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Departmental Honors in American Studies

Introduction

In spring 2011, during my sophomore year at Wesleyan, the student group I was a member of, MIX (an acronym for mixed heritage, interracial, cross-cultural), invited Ken Tanabe, a multiracial graphic designer and social activist to host a Loving Day celebration on Wesleyan’s campus. Tanabe is the founder of Loving Day, an event that celebrates interracial love, multiethnic identity, and marks the 1967 anniversary of the Loving v. Virginia case that legalized interracial marriage. At our own event, Tanabe and a few other representatives of the Loving Day organization gave us Loving Day buttons, showed us a power point presentation, and chatted with us about our mixed race identities. At the end of the hour, Tanabe asked to take a picture of the group, snapping the exact moment the ten of us jumped in the air. About a month ago, two years following our celebration with Tanabe, I opened an email from the Loving Day listserv to find the following:

The Loving Day Project is pleased to announce the launch of Loving Day ON CAMPUS… a resource guide and forum to help students across the country connect, share, and inspire…Students have celebrated this important civil rights milestone in a variety of ways…We want every student and organization to have the best events possible, so we have created the Loving Day ON CAMPUS facebook page.

I clicked the link and found the picture of the Wesleyan MIX group on the Facebook page—there we all were, happy and smiling as the unofficial faces of Loving Day ON CAMPUS. I was slightly surprised to see myself there and began scrolling through the rest of the Loving Day website, becoming increasingly aware of the fact that Loving Day’s marketing strategy relied heavily on a celebratory “mixed-race” look…

In this thesis, I examine the relationship between the multiracial movement, the genre of the bildungsroman, or “coming of age novel,” and mixed race Asian American novels that are contextualized in the decade of the 1990s. The three novels I use in this study are Paper Bullets: a Fictional Autobiography, by Kip Fulbeck (2001); American Son: A Novel, by Brian Ascalon Roley (2001); and My Year of Meats, by Ruth Ozeki (1998). I situate each novel within the rhetoric of the multiracial movement of the 1990s, which forwarded the institutionalization and legitimization of mixed race identity in American society both legally and socially, in the government, in education, and in popular culture. Each novel employs different functions of the bildungsroman, narrating the protagonists’ complex relationships with the boundaries of the nation, grappling with the notion of national belonging and validation. The bildungsroman structure and the multiracial movement both construct a progressive, teleological discourse, narrating a trajectory from exclusion and  marginality to an endpoint of inclusion within the nation as a celebratory affirmation of identity. By focusing on the ways in which these three mixed race Asian American texts subvert, manipulate, or are confined by the form of the bildungsroman and the rhetoric of the multiracial movement, I examine the pathways to inclusion in the American body politic and the positionality of the mixed race Asian American subject within and beyond the boundaries of the America. My studies of each text draw from contentious moments in the United States in the 1990s: the rhetoric of Ethnic Studies and cultural nationalism, the Rodney King beating and L.A. Riots, and the ascendancy of Asian economic power—all discourses that intervene in the narrative progress of the mixed race Asian American subject in American public discourse…

Read the entire thesis here.

Family Money: Property, Race, and Literature in the Nineteenth Century

Oxford University Press
November 2012
224 Pages
6-1/8 x 9-1/4 inches
Hardcover ISBN: 9780199897704

Jeffory A. Clymer, Professor of English
University of Kentucky

• Sophisticated interdisciplinary treatment of literature’s interaction with the law
• Dramatically revises scholarship on racial identity by emphasizing race’s connection to family and property rights
• Demonstrates that race was entwined with economics well beyond direct issue of slavery in the nineteenth century
• Nuanced, flexible, non-doctrinaire interpretations of both well-known and less familiar literary works

Family Money explores the histories of formerly enslaved women who tried to claim inheritances left to them by deceased owners, the household traumas of mixed-race slaves, post-Emancipation calls for reparations, and the economic fallout from anti-miscegenation marriage laws. Authors ranging from Nathaniel Hawthorne, Frank Webb, Harriet Beecher Stowe, Charles Chesnutt, to Lydia Maria Child recognized that intimate interracial relationships took myriad forms, often simultaneously-sexual, marital, coercive, familial, pleasurable, and painful. Their fiction confirms that the consequences of these relationships for nineteenth-century Americans meant thinking about more than the legal structure of racial identity. Who could count as family (and when), who could own property (and when), and how racial difference was imagined (and why) were emphatically bound together. Demonstrating that notions of race were entwined with economics well beyond the direct issue of slavery, Family Money reveals interracial sexuality to be a volatile mixture of emotion, economics, and law that had dramatic, long-term financial consequences.

Table of Contents

• Acknowledgments
• Introduction
• 1. “This Most Illegal Family”: Sex, Slavery, and the Politics of Inheritance
• 2. Blood, Truth, and Consequences: Partus Sequitur Ventrem and the Problem of Legal Title
• 3. Plantation Heiress Fiction, Slavery, and the Properties of White Marriage
• 4. Reparations for Slavery and Lydia Maria Child’s Reconstruction of the Family
• 5. The Properties of Marriage in Chesnutt and Hopkins
• Coda “Race Feeling”
• Notes
• Index

Seeing Beauty, Sensing Race in Transnational Indonesia

University of Hawai‘i Press
March 2013
192 pages
Cloth ISBN: 978-0-8248-3664-1
Paper ISBN: 978-0-8248-3736-5

L. Ayu Saraswati, Assistant Professor of Women’s Studies
University of Hawai‘i

In Indonesia, light skin color has been desirable throughout recorded history. Seeing Beauty, Sensing Race explores Indonesia’s changing beauty ideals and traces them to a number of influences: first to ninth-century India and some of the oldest surviving Indonesian literary works; then, a thousand years later, to the impact of Dutch colonialism and the wartime occupation of Japan; and finally, in the post-colonial period, to the popularity of American culture. The book shows how the transnational circulation of people, images, and ideas have shaped and shifted discourses and hierarchies of race, gender, skin color, and beauty in Indonesia. The author employs “affect” theories and feminist cultural studies as a lens through which to analyze a vast range of materials, including the Old Javanese epic poem Ramayana, archival materials, magazine advertisements, commercial products, and numerous interviews with Indonesian women.

The book offers a rich repertoire of analytical and theoretical tools that allow readers to rethink issues of race and gender in a global context and understand how feelings and emotions—Western constructs as well as Indian, Javanese, and Indonesian notions such as rasa and malu—contribute to and are constitutive of transnational and gendered processes of racialization. Saraswati argues that it is how emotions come to be attached to certain objects and how they circulate that shape the “emotionscape” of white beauty in Indonesia. Her ground-breaking work is a nuanced theoretical exploration of the ways in which representations of beauty and the emotions they embody travel geographically and help shape attitudes and beliefs toward race and gender in a transnational world.