Mixed Race Studies

New Film Shows Misty Copeland’s Journey as a Black Ballerina

NBC News
2015-09-30

Maya Chung

The 2015 Urbanworld Festival closed out on Saturday night with the highly anticipated documentary “A Ballerina’s Tale,” which details Misty Copeland’s journey to become a principal ballerina.

The film festival, founded in 1997, is a five-day event that showcases narrative features, documentaries, short films, and spotlight screenings with the goal of redefining and advancing the impact of the multicultural community in the film world.

“A Ballerina’s Tale” is one film that is making that impact. The documentary gives an in-depth picture of Copeland’s struggles with being black in a predominantly white Ballet world and it chronicles her experience recovering from a leg fracture – one that could’ve stopped her dream of becoming a principal dancer…

…Copeland, 33, beat the odds and became the American Ballet Theatre’s first black female principal dancer in the company’s 75-year history this past June. But, it wasn’t easy and the film makes that clear. She explained that she struggled being a black dancer when she first began in the professional ballet world.

“I’ve never strayed away from being black. I’m biracial but something that my mom constantly said to me growing up in southern California was ‘Yes, you are Italian, you are German, and you are black, but you are going to be viewed by the world as a black woman’,” Copeland said. “I never felt different growing up but when I came into the ballet world as a professional I immediately felt different.”…

Read the entire interview here.

Korla Pandit — Disguising identity: From Black to Indian

Northwest Asian Weekly
Seattle, Washington
Volume 34, Number 43 (October 17 – October 23, 2015)
2015-10-16

Andrew Hamlin

Korla Pandit

Two hands hold a large censer. A voice speaks of wisdom and rubies. A deep, slightly scraggly voice. The action fades-in to a man in a turban with a jewel mounted between his eyes. Fixing his eyes upon the camera, Korla Pandit begins his act.

And his act was the Hammond Organ, augmented with a Steinway piano to his right. Playing mostly organ, occasionally piano, sometimes one with each hand, Pandit played for fifteen minutes on Los Angeles’ KTLA-TV from 1949 until 1951. He did not rock and roll and he did not get down and dirty with the blues, but he flitted easily between all other types of music, playing popular tunes, show tunes, traditional, and ethnic music from around the world. He was one of the first television stars, but he never spoke on camera. The narrator off-screen was someone else.

And Korla Pandit had reason to never speak. Speaking might have given away his secret…

Read the entire article here.

Black History Month Firsts: Lilian Bader

Black History Month 2015
2015-10-13

Omar Alleyne Lawler, Editor

Lilian Bader, Photo Credit courtesy of the Imperial War Museum

The contributions and efforts of Lilian Bader to World War Two for the Caribbean community actually starts before her birth, with her Fathers contribution in World War One.

Marrying in 1913, Marcus Bailey was a Barbadian born migrant who found himself in England, coupled with an English born, Irish raised woman^* on the outbreak of war. The possibility of a happy family was postponed as war broke out in 1914 and Marcus would find himself serving in the Royal Navy as a Merchant Seaman until the war finished.

However, upon the wars end, the Baileys would parent three children, one of which would be Lilian Bader. Born in 1918, she would go onto be quite possibly the first Black woman to join the British Armed Forces…

…The reality of being a Mixed Raced Woman, in Britain in the early 1930’s, would be one her intelligence and popularity would never be able to escape and at the age of twenty, Lilian would still be at the Convent she joined as a nine year old, simply because nobody was willing to hire her for work…

Read the entire article here.

Leading Aircraftwoman in the WAAF and one of the first black women to join the British Armed Forces

The Independent
2015-04-06

Stephen Bourne

Lilian Bader (1918-2015)

Bader trained as an instrument repairer, became a Leading Aircraftwoman and soon gained the rank of Acting Corporal.

I first met Lilian Bader at the Imperial War Museum in 1991 at the launch of Colin Douglas and Ben Bousquet’s book West Indian Women at War. She was the only black Briton interviewed in the book. Feisty, outspoken but not without a sense of humour, Bader was proud of the fact that, by the end of the 20th century, three generations of her family had served in the British Armed Forces.

She was born in 1918 in the Toxteth Park area of Liverpool to Marcus Bailey, a merchant seaman from Barbados who had fought for the British in the First World War, and Lilian, her British-born mother, whose parents were Irish. The Baileys had married in 1913 and Bader was the youngest of their three children. In 1927, Bader and her older brothers, Frank and James, were orphaned – and she was raised in a convent where she remained until she was 20, because no one would employ her. However, she was determined to overcome racial prejudice.

She found employment in domestic service, but, when the war broke out, she joined the Navy, Army and Air Force Institutes (NAAFI) at Catterick Camp, Yorkshire. She was enjoying herself until she was asked to leave when her father’s West Indian heritage was discovered by an official in London. For weeks her supervisor avoided informing her of this decision – but eventually he had to tell her the truth, and release her…

Read the entire article here.

Misty Copeland on Why She Doesn’t Identify as Biracial: ‘I Am Viewed as a Black Woman’

Black Entertainment Television (BET)
2015-10-15

Evelyn Diaz

Misty Copeland

The history-making ballerina on changing the game.

Misty Copeland and director Nelson George recently talked about their new documentary, A Ballerina’s Tale, which chronicles Copeland’s awe-inspiring rise to becoming the first Black principal dancer at the American Ballet Theater. The film is not only a portrait of one of the most exciting artists of our generation, but a look at how difficult it still is for people of color to gain entry into some parts of American life.

Asked why it was important for him to tell Copeland’s story, George’s answer is simple: “Black artists aren’t documented very well,” he says.

Copeland, meanwhile, got real about the backlash she’s experienced from her own people because of her skin color. “I’ve gotten some flack from the African-American community…[people] say ‘you’re not really Black,’ or ‘you don’t really have dark skin,'” she says. “I’m fully aware that it’s harder to succeed in ballet as a darker-skinned woman, but it has to start somewhere.” She adds that the racial discrimination in ballet — and the rest of the world — doesn’t differentiate between dark-skinned and light-skinned. “I know that I’m viewed as a Black woman in society,” she says.

Watch our full interview with Copeland and George below, and see A Ballerina’s Tale in select theaters and on VOD now.

Watch the video here.

The Greatest Pretender: Korla Pandit, music’s most magnificent fraud

Dead 2 Rights: A Folksy Down-Home Blog
2013-05-19

Joe Blevins

A few of Korla’s two dozen albums. You might notice a recurring visual motif on the LP covers.

“For wisdom is better than rubies, and all things to be desired are not to be compared unto it. We bring you musical gems from near and far, blended into a pattern of glorious harmony, a program based on the universal language of music. It is our pleasure to present to you…”

Korla Pandit spoke not a word when he was on camera. He just wore a bejeweled turban, played the organ… and stared. That was the extent of his act. It was all he needed — the shimmery tones of his music, the vague evocation of the Far East, and that indelible Mona Lisa countenance with its piercing dark eyes and intriguing half-smile. It was a potent combination which carried him along for nearly half a century. And yet, Korla Pandit never really existed at all. It depends, I suppose, on your definition of “existed.” Either way, his story is one of the most implausible and oddly inspiring in the history of popular music.

I first encountered Korla Pandit without any clue to his identity or knowledge of his past. Portraying himself, Korla made a memorable cameo in Tim Burton’s 1994 film, Ed Wood. In the scene, notorious director Edward D. Wood, Jr. (Johnny Depp) is holding a wrap party for his 1955 sci-fi/horor anti-epic, Bride of the Monster. The wild celebration, attended by Bela Lugosi and the other oddballs and grotesques who orbited Wood, is held in the meat-packing plant of the film’s major backer, wealthy rancher Donald McCoy (Rance Howard). While the carcasses of slaughtered animals hang from hooks all around them, the revelers are treated to a suggestive dance routine performed by Wood himself, costumed as a harem girl. Korla Pandit, immaculately attired in a Nehru jacket and the ever-present turban, accompanies him on the organ with a composition called “Nautch Dance,” referring to a seductive style of dance popularized in early-1900s India…

Read the entire article here.

Exotic Korla Pandit hid race under swami persona

SFGate
2015-08-15

Jessica Zack

Eric Christensen grew up in San Francisco in the 1950s and remembers his mother, “like a lot of women then, being transfixed by Korla Pandit on television. He wore a jeweled turban and had these mesmerizing eyes that made women feel he could see right through them. Korla was this otherworldly, captivating guy, and we all thought he and his music were from another land.”

Christensen, who lives in Mill Valley, and his former KGO TV colleague John Turner of Berkeley have chronicled Pandit’s life story in their new documentary “Korla,” which has its Bay Area premiere at San Francisco’s Museum of the African Diaspora on Aug. 20.

From his first 1949 episodes of “Adventures in Music” on Southern California’s KTLA, Pandit rode an almost 50-year-long wave of success — as a TV sensation, prolific recording artist (13 albums with Berkeley’s Fantasy Records) and “grandfather of exotica music” — based not only on his keyboard prowess but on his enigmatic swami persona.

With his heavily kohl-rimmed eyes and upturned half-smile, Pandit coaxed unusual sounds from the Hammond B-3 organ, playing “musical gems from far and near” — faux-Polynesian sounds, Hawaiian war chants, “hypnotiques” — while extolling the virtues of “divine consciousness” and “the universal language of music.”

Yet, unbeknownst to his legions of fans until after his death in Petaluma in 1998, at age 77, Pandit’s hypnotic Svengali look and supposedly Hindu name were part of an expertly crafted fiction of self-invention. A magazine profile by R. J. Smith in 2001 revealed that Pandit was actually African American, a minister’s son born John Roland Redd, from Columbia, Mo…

…The film incorporates interviews with music and sociology experts — including Carlos Santana (who likens Pandit to Miles Davis), The Chronicle’s Radio Waves columnist Ben Fong-Torres and UC Berkeley Professor Emeritus Harry Edwards — as well as with Pandit’s nephew Gary Cloud, to examine, says Christensen, “this amazing act, even by show business standards. This wasn’t an act that occurred onstage for an hour or two, this was 24/7, all through his life. Korla put on this persona and couldn’t take it off. Living a lie on a daily basis must have been very difficult.”

“Korla’s life story illustrates what African Americans knew at the time: ‘If I can be anything other than black, my life could change dramatically,’” says Stanford University Assistant Professor of History Allyson Hobbs, whose new book “A Chosen Exile” explores the stories of individuals who passed as someone else racially from the late 19th century through the 1950s. “If they could just twist people’s perception of them even one degree — in this case, from black to another minority — doors previously closed would open.”…

Read the entire article here.

Musician’s life brings more than passing interest in passing

San Francisco Chronicle
2015-07-28

Leah Garchik, Features Columnist

As colleagues at KGO-TV, Eric Christensen and John Turner — Eric was a sports producer, John a news editor/arts producer — shared a passion for exotic cultural phenomena. Retired, they’ve combined know-how with that passion to make the doc “Korla, the Movie,” about organist Korla Pandit.

Turban-wearing Pandit, who said he was born in India, had his own TV show in the late ’40s and early ’50s. He was known for playing exotic “foreign” music. He was living in Petaluma when he died, in 1998. A subsequent magazine profile revealed that he was African American, born in Missouri.

A documentary about Pandit as an exotic performer — the likes of Yma Sumac — would be interesting at any time. But now, in the midst of a national discussion about identity that intensified with the recent revelation that Rachel Dolezal had chosen to identify as black, the movie’s tale of “passing” seems particularly relevant. It will be shown Aug. 20 at the Museum of the African Diaspora…

Read the entire article here.

Grace Lee Boggs, Human Rights Advocate for 7 Decades, Dies at 100

The New York Times
2015-10-05

Robert D. McFadden

Ms. Boggs and her husband, James. Credit LeeLee Films, Inc.

Grace Lee Boggs, one of the nation’s oldest human rights activists, who waged a war of inspiration for civil rights, labor, feminism, the environment and other causes for seven decades with an unflagging faith that revolutionary justice was just around the corner, died on Monday at her home in Detroit. She was 100.

Her death was confirmed by Alice Jennings, her friend and legal trustee.

Born to Chinese immigrants, Ms. Boggs was an author and philosopher who planted gardens on vacant lots, founded community organizations and political movements, marched against racism, lectured widely on human rights and wrote books on her evolving vision of a revolution in America.

Her odyssey took her from the streets of Chicago as a tenant organizer in the 1940s to arcane academic debates about the nature of communism, from the confrontational tactics of Malcolm X and the Black Power movement to the nonviolent strategies of the Rev. Dr. Martin Luther King Jr., and finally to her own manifesto for change — based not on political and economic upheavals but on community organizing and resurgent moral values…

…In 1953, she moved to Detroit and married James Boggs, a black autoworker, writer and radical activist. The city, with its large black population, racial inequalities and auto industry in its postwar heyday, seemed poised for changes, and the couple focused on African-Americans, women and young people as vanguards of a social movement…

Read the entire obituary here.

Loren Miller: Civil Rights Attorney and Journalist

University of Oklahoma Press
September 2015
304 pages
6.125″ x 9.25″
Hardcover ISBN: 9780806149165

Amina Hassan, Consultant & Researcher
The Azara Group, New York, New York

Loren Miller was one of the nation’s most prominent civil rights attorneys from the 1940s through the early 1960s, particularly in the fields of housing and education. With co-counsel Thurgood Marshall, he argued two landmark civil rights cases before the U.S. Supreme Court, whose decisions effectively abolished racially restrictive housing covenants. One of these cases, Shelley v. Kraemer (1948), is taught in nearly every American law school today. Loren Miller: Civil Rights Attorney and Journalist recovers this remarkable figure from the margins of history and for the first time fully reveals his life for what it was: an extraordinary American story and a critical chapter in the annals of racial justice.

Born the son of a former slave and a white midwesterner in 1903, Loren Miller lived the quintessential American success story, both by rising from rural poverty to a position of power and influence and by blazing his own path. Author Amina Hassan reveals Miller as a fearless critic of the powerful and an ardent debater whose acid wit was known to burn “holes in the toughest skin and eat right through double-talk, hypocrisy, and posturing.”

As a freshly minted member of the bar who preferred political activism and writing to the law, Miller set out for Los Angeles from Kansas in 1929. Hassan describes his early career as a fiery radical journalist, as well as his ownership of the California Eagle, one of the longest-running African American newspapers in the West. In his work with the California branch of the ACLU, Miller sought to halt the internment of West Coast Japanese citizens, helped integrate the U.S. military and the L.A. Fire Department, and defended Black Muslims arrested in a deadly street battle with the LAPD. Hassan charts Miller’s ceaseless commitment to improving the lives of Americans regardless of their race or ethnicity. In 1964, Governor Edmund G. Brown appointed Miller as a Municipal Court justice for Los Angeles County.

The story told here in full for the first time is of a true American original who defied societal limitations to reshape the racial and political landscape of twentieth-century America.