Mixed Race Studies

Identity In Pieces: When You Don’t Know Where You Count

The Aerogram: A curated take on South Asian art, literature, life and news
2014-10-01

Jaya Saxena
Queens, New York

Last summer, I wore a pink and yellow sari to my cousin’s wedding. As my Indian family lingered in the hotel lobby, dressed up and waiting for our shuttle, we received a few looks from other hotel patrons. Even in New York, it’s not every day you see a group of formally-dressed Indian people, so we didn’t pay the reaction much mind. To them, we looked like we belonged together, and if they noticed me I was just the lightest of the crowd.

A few months later, I went to another Indian wedding in Boston. This time, my then-fiance (a tall white guy with a red beard) and I traveled alone on the T, dressed in Indian finery as we’d been asked. The stares we got were different this time–they were wondering what these two white people were doing dressed up as Indians.

A common refrain when talking about racism is that it’s not about race. Or that it is and it isn’t. It is in that hundreds of years of built up context have given people of color the short end of the stick, but obviously there is nothing inherent about whiteness that means it deserves more (and if you think there is, kindly stop reading and find yourself a bog to suffocate in). What makes racism is power and lived experience. It’s that a white kid who shoots up a school is taken alive, while a black kid walking down the street is shot dead. It’s that resumes with “white” names are accepted over identical ones with “ethnic” names. And it’s why I really have no clue if I can call myself biracial…

Read the entire article here.

America’s sex and race failure: Why Raven-Symone and an Ohio couple are struggling

Salon
2014-10-08

Brittney Cooper, Assistant Professor of Women’s and Gender Studies and Africana Studies
Rutgers, The State University of New Jersey

How a TV star shunning labels, and a lesbian couple with a Black baby illustrate the fight to assert one’s humanity

This week, iconic Cosby (grand)kid Raven-Symoné caught up with Oprah, telling her in an interview: “I don’t want to be labeled gay… I’m a human who loves other humans. …I’m American not African American.  I don’t know what country I’m from in Africa, but I do know I have roots in Louisiana. I’m an American, and that’s a colorless person.” It would be tempting to frame these recent remarks on race and gay identity from the Cosby Show and Disney star as just more ideal and myopic millennial musings on race. But I think her comments tell us something about the operations of contemporary notions of the “human” that are worth unpacking.

Let me begin by saying that using one’s Louisiana roots is perhaps the worst place to begin in an argument about how the term “American” is a “color-less” one. Both sides of my family have lived in Louisiana since the earliest census records I could find. That census, the 1870 census was the first to record the names of all the black people that had been freed within the last decade. With great care, citizens were designated with a “C,” “M,” or “W,” for “colored,” “mulatto” and “white” respectively. Well into the late 20th century, my grandmother referred to Black people as colored.

Certainly, Raven-Symoné’s arguments bear the trace of the postracial rhetoric so prominent among certain (though not all) segments of millennials.  But her desire to not acknowledge or carry the “African” designation in “African-American” is far from new. To be clear, many Black people who are Americans, are not “African American” in the sense that we mean that term today, namely as native born Black people. Voluntary rather than forced migrations of diasporic Black people from the Caribbean and from West Africa have been a characteristic of the U.S. Black population since the early 20th century.  The side eye I’m giving to Raven-Symoné is not about a desire to demand that all Black people in the U.S. take on the moniker “African American,” but rather about the fact that her framing suggests that it is the connection of Africa to blackness that has her wanting to disavow a hyphenated identity…

…Among the many things I find troubling in her statement is the idea that America is color-less. It is a society built on a foundational color schema in which black skin is figured as the condition for unfreedom and white skin as the condition for freedom. Louisiana itself had a notoriously restrictive definition of the one drop rule as Dr. Yaba Blay discusses in her book “One-Drop: Shifting the Lens on Race,” Louisiana law classified all people with “one-thirty-second or less” of Negro blood would be “deemed, described, or designated” officially as ‘colored, ‘mulatto,’ ‘black,’ ‘negro,’ ‘griffe,’ “Afro-American,’ ‘quadroon,’ ‘mestizo,” ‘colored person,’ or ‘person of color.’ Well into the 1980s, i.e. well into Raven Symoné’s lifetime, this law was used to designate putatively white people as black…

…This kind of rhetorical move is also salient coming on the heels of recent reports of an Ohio lesbian couple opting to sue their sperm bank for erroneously giving them black donor sperm.  I get suing for negligence and shoddy service. But for this queer couple, the presence of their Black daughter disrupts their ability to exist comfortably in the space of whiteness that defines their community, a community that they admit is deeply homophobic. Having chosen to be a queer family in the midst of a heteronormative white universe in Ohio, their Black child has now disrupted their access to white power and privilege. This biracial black girl is growing up with distraught, devastated queer parents who love her despite her blackness. Having internalized antiblackness, they note their discomfort with taking her to a black neighborhood for haircuts and their fear of the racist reprisal of neighbors and family members…

Read the entire article here.

Am I Black Enough For You? By Anita Heiss [Milatovic Review]

Transnational Literature
Volume 6, Number 2, May 2014
3 pages

Maja Milatovic
University of Edinburgh, Scotland, United Kingdom

Anita Heiss: Am I Black Enough for You? (Random House: Sydney, 2012)

Anita Heiss’ Am I Black Enough for You? is a compelling and deeply affective memoir on community, family, alliances and the complexities of identity. This work contributes to Heiss’s prolific oeuvre as a proud Wiradjuri woman, writer, educator, public speaker and literary critic. Heiss is the author of historical fiction, non-fiction, social commentary, poetry and travel pieces and the creator of an innovative genre of commercial women’s fiction named ‘Koori chick-lit’, or ‘choc-lit’, featuring urban Aboriginal women

The thought-provoking title of the memoir, Am I Black Enough for You?, reflects its preoccupation with identity. Posing the question, Heiss invites readers to reflect, consider and reconsider stereotypical and received notions about Aboriginal identity. The memoir begins with an act of self-defining, attesting to its importance and necessity, as Heiss embraces her diverse selves, firmly rooted in her identity as a Wiradjuri woman: ‘I am an urban, beachside Blackfella, a concrete Koori with Westfield Dreaming, and I apologise to no one’ (1). Throughout her introductory chapter, Heiss challenges stereotypical notions of Aboriginal identity, asserting her connection to her land and community. Analysing terms such as ‘Aborigines’, Heiss reveals the problematic constructedness of such terminology connected to the history of invasion and dispossession, emphasising once again the importance of self-expression and self-representation.

Following the introduction, Heiss references her much-publicised suit against conservative columnist Andrew Bolt and his article which targeted Heiss and several others, claiming they have chosen their ‘Aboriginal identity’ for personal and professional gain. Along with eight other plaintiffs, Heiss took Bolt to court for breaching the Racial Discrimination Act and won the case. She reflects on Bolt’s discriminatory and inaccurate assumptions and challenges prescriptive notions about Aboriginal identity emerging from colonialist imagination. Winning the case against Bolt, Heiss significantly contributes to countering problematic representations of Indigenous people in the media and encourages dialogue on equality and accountability…

Read the entire review here.

Hey – Are You White?

The Austin Chronicle
Austin, Texas
2014-10-03

Wayne Alan Brenner, Arts Listings Editor

And what, if anything, do you intend to do about it?

Black may be beautiful, but here’s a somewhat paler man who’s been involved with the uglier parts of the White Power movement. His name is Wesley Connor and he’s the main character in a new drama called Am I White by Austin playwright Adrienne Dawes. And this Connor guy is based on a real, actual person: A man named Leo Felton.

Note: The real guy, Felton, is in prison (not for the first time) as of this writing, sent up for armed robbery and allegations of planning to bomb the Holocaust Museum, and will likely remain there for a couple dozen years or more.

Thing is, this White Power guy, he’s … well, he’s actually of mixed race himself. And this fact was publicized during news coverage of his indictment. And so, back in the harsh black-and-white world of the lock-up, things are now a bit more let’s say problematic for him on a day-to-day basis. Not to mention what might be going on inside the man’s own skull: How does he square all this cognitively dissonant bullshit away?…

Read the entire article here.

Indie Groundbreaking Book: (1)ne Drop

Independent Publisher
October 2014

Craig Manning
Western Michigan University

Landmark Photo Essay Book Seeks to “Shift the Lens on Race”

Has the social and political mindset on race in 2014 changed from where it was 100 years ago? What is the definition of “Blackness” in the modern age? These are just a few of the many questions posed by (1)ne Drop, a landmark new book that seeks to “shift the lens on race” in more ways than one. Written and compiled by Dr. Yaba Blay, Ph. D., a teacher and scholar in the subject of African Studies at Drexel University in Sacramento, CA [Philadelphia, PA], (1)ne Drop is an ambitious project. Part textbook, part photo essay, part academic thesis, (1)ne Drop is also this month’s indie groundbreaking book, and for more reasons than I can list.

On one hand, (1)ne Drop is groundbreaking for shedding a light on the troubling biological basis for much of the racism that has existed in the United States for more than 200 years. That basis is called the “one-drop rule,” a concept that says a person should be identified as “Black” if they have so much as a trace of Black ancestry (or so much as a single drop of Black blood) in their heritage. In the 1900s, the one-drop rule was an actual law, used throughout the southern parts of the country to promote “White racial purity” and overall White supremacy. But while the law is gone, the concept and the thought behind it still persists, and that question of racial identification permeates (1)ne Drop…

Read the entire review here.

Black and Belgian: Navigating Multiracial Identities in Ghent, Belguim

Afropean: Adventures in Afro Europe
2014-10-01

Walter Thompson-Hernandez

Introduction

What does it mean to be Black and multiracial in Belgium? How does sub-Saharan African culture and experiences impact the lives of multiracial people or Afropeans in Belgium? How influential is the U.S. Black experience in the formation of an Afropean identity rooted in Belgian and African cultures? These were some of the questions that I pondered, seven weeks ago, at the outset of this project – eight weeks later, I am still grappling with them. This past summer, I arrived in Ghent, Belgium – a city with a population of 100,000 people, located forty-five miles northwest of Brussels – with hopes of understanding and delving into the multiracial experience of five people with parents from a sub-Saharan African country and the Flanders region in Belgium. Through interviews, observational data, photography, and other methods, I compiled valuable information regarding their stories.

Motives

I was drawn to Belgium for various reasons. As the son of an African American father and a first generation immigrant mother from Mexico, I have always been intrigued by the ways in which immigrant-origin populations impact the racial and social fabric of receiving sites. In attempting to construct my own multiethnic and multilingual identity, I have navigated, and often struggled, to understand my role in my family and community, and the subsequent reactions of my relatives – on both sides of the border, on both sides of my family tree. In Belgium, I found similar experiences with people who had at least one parent from an African country. The feelings of marginalization that I came across were all too familiar: ‘People didn’t know how to treat me’ and ‘I felt like I didn’t belong in either Belgium or Africa’ were some of the feelings that were expressed. Often, as I learned, my respondent’s relatives were faced with the challenges of conceptualizing both an African heritage and a Belgian identity. For many of these relatives, as I was told, the idea of a Belgian identity was already complicated by the French-Dutch language divide manifested in the Wallonia and Flanders regions in Belgium. ‘Identity in Belgium is already complicated,’ one person told me. ‘Are we French speaking or are we Dutch speaking? You add race and national origin to that and it really makes things interesting.’ As opposed to many societies around the world, many regions in Belgium, exercise – amidst contentious debate – a French and Dutch multilingual reality that, often, exacerbates identity formation for people of multiracial backgrounds, so that not only does an Afropean, in the spirit of W.E.B. Dubois, have to navigate a “double consciousness” of being European and African, but also split identities pertaining to language.

Secondly, in the age of European “Super Diversity” – a term coined by social scientists to describe the high rates of immigrant inflows to European nations – I was curious about the ways in which second generation children (the children of first-generation immigrants) were constructing their identities in the context of shifting racial and demographic landscapes. In the United States, interracial mixing is, often, romanticized and harmonized in the framework of multicultural ideas dating back to the 1970s. While once seen as a social and racial aberration, evidenced by anti-miscegenation laws and eugenics, multiracial children and families today have in many regions in the U.S. become a normative aspect of society. In Belgium, however, I learned of tacit and explicit “rules and regulations” for interracial mixing…

Read the entire article here.

What if you were told you were white

All In with Chris Hayes
MSNBC
2014-10-02

Chris Hayes, Host

Lacey Schwartz, Filmaker
“Little White Lie”

But it turns out you’re not. Chris Hayes talks to filmmaker Lacey Schwartz about growing up believing she was white, when in fact, she’s not.

Watch the video here.

In a new play, Adrienne Dawes delves into racial identity

Austin American-Statesman
Austin, Texas
2014-10-01

Jeanne Claire van Ryzin, Reporter/Arts Critic

Before the dialogue begins, before the first stage direction is explained, the complexities of race and racial identity percolate up from the script of “Am I White,” a new play by Austin writer Adrienne Dawes.

Take the cast list: “Wesley Connor, biracial (passes as white), member of the White Order of Thule,” “Ryan Cahill, white, member of the Aryan Brotherhood” and “Justine Ramos, biracial (could pass as black).”

Ricocheting back and forth in time, seguing into nightmarish scenes played out as a disturbing minstrel show, “Am I White” tells the story of an imprisoned neo-Nazi convicted of plotting terrorist acts who must confront his own mixed-race heritage.

Directed by Jenny Larson, “Am I White” opened Wednesday for a three-week run at Salvage Vanguard Theater.

“Am I White” is based on the true story of Leo Felton, a white supremacist who hid his own mixed-race identity as the child of a short-lived idealistic Civil Rights-era marriage between a black architect and a white former nun…

Read the entire review here.

Exploring Identity: The Asian American Experience at Harvard

The Harvard Crimson: The University Daily since 1873
Harvard University
2014-09-25

Maia R. Silber, Crimson Staff Writer

While last year’s “I, Too, Am Harvard” focused on identity and belongingness on a multiracial campus, Harvard’s AAPI students will also examine these concepts within the context of their own community.

It is a Saturday night, and it is raining—two factors counting against attendance at the talk co-hosted by Harvard’s Asian American Brotherhood and Black Men’s Forum. But a surprising number of people have filtered through the double doors of Boylston Hall, filling the plush red chairs only vaguely oriented around an old-fashioned projector. Stragglers lean against the shade-less windows, their elbows forming perpendicular angles with the droplets pounding on the other side.

Really, it’s no surprise that neither weather nor the opportunity cost of missed social engagements has deterred the audience; the talk centers on the buzz-worthy issue of affirmative action. Both campus groups have invited an alumnus who’s an expert on the issue for two short presentations, to be followed by a Q&A.

Gregory D. Kristof ’15, the education and politics director of AAB, a campus organization whose mission statement cites dedication to brotherhood, service, and activism, introduces AAB’s alumnus. Kristof focuses on the third part of AAB’s mission—the group’s discussions of discrimination and race-relations.

“We can only make so much progress if we only discuss these issues among AAB—among Asian Americans,” he says.

As discussions about race and inclusiveness have moved to the forefront of campus life with the “I, Too, Am Harvard” campaign, many Asian American student organizations have launched their own dialogues about issues pertinent to their community. But the Asian American and Pacific Islander (AAPI) community at Harvard—representing around 24 percent of the school’s population—encompasses individuals of dozens of different national, ethnic, linguistic, socioeconomic, and religious identities. It includes students born here and students born in Asia, biracial students and multiracial students. How can a unified political force emerge from such a diverse and multifaceted population? Is this even a goal to aspire to?…

…Many students remain unsure as to how to define their own identities. “Sometimes I think of myself as Asian, but sometimes I don’t,” said Jacob. “When I see an Asian collaboration happening, do I automatically think that we should be included? Not necessarily.”

“Asian American” identities are further complicated by biracial and multiracial heritages. Harvard’s Half Asian People’s Association holds an annual discussion called “So What Are You Anyway?”…

Read the entire article here.

Preview: Fanshen Cox DiGiovanni questions race and identity in “One Drop of Love”

ArtsATL: Atlanta’s source for arts news and reviews
2014-09-21

Kelundra Smith

Fanshen Cox DiGiovanni

As an MFA candidate in the Television, Film and Theatre program at California State University, Los Angeles, Fanshen Cox DiGiovanni originally set out to make a documentary about identity and race, using her Jamaican and white ancestry as the core of the story, as her thesis project. But since her concentration was on performance, a professor advised her to do a theater piece to showcase her acting chops. So she took her footage and research and transformed the documentary into a multimedia one-woman show called One Drop of Love. She is performing that show in the Fox Theatre’s Egyptian Ballroom tonight at 7 p.m.

The title derives from the U.S. Census “one drop rule,” which states that a person who has at least one parent of African descent is automatically considered black. The daughter of a Jamaican father (Winston Barrington Cox) and white mother (Trudy Cox), DiGiovanni spent her early years in Washington, D.C., until her parents divorced and she moved to Cambridge with her mom and brother Winston. She spent much of her life questioning and aligning herself with a strong black identity, but falling in love with a European man caused her to ponder that choice more intensely.

The blue-eyed, blonde-haired actor, writer and producer married her husband, Diego, in July 2006, and her father did not attend the wedding. His absence from her nuptials caused them not to speak for seven years. But One Drop of Love needed an ending, just as her relationship with her father needed reconciliation. Here DiGiovanni talks about her ethnic identity, the role race has played in her family and a chance encounter with one of the show’s producers, actor Ben Affleck.

ArtsATL: How do you ethnically identify?

Fanshen Cox DiGiovanni: I am a culturally mixed woman searching for racial answers. That’s the best I can say, and I explore this in the show. I talk about how my ethnic identity has changed over the years, based on geography and relationships with my family. It is constantly changing. However, I got to the point politically where I had to educate myself about the way black people are treated in this country. As someone who may not look black or identify as black, I have a lot of privileges that people who don’t look like me — who aren’t light-skinned or have blue eyes — can’t take advantage of. Sometimes I think that calling myself black and aligning myself with that struggle does a disservice to people who are actively living that struggle, because they don’t have the same privileges…

…ArtsATL: In identifying as black, did that affect your relationship with your white mother?

DiGiovanni: Momma Trudy is a free spirit who loves everybody and cares deeply about justice and equality, and she was all for it. She encouraged my brother and me to attend historically black colleges. She encouraged us to identify as black. She was never hurt by my identity choices. She encouraged us to know her family, but she also shared stories about how her mother disinherited her after she married my father. She did us a great service, because she shared it all with us, including her understanding of justice and equality, especially knowing that my brother was going to move through life as an identifiable black man…

Read the entire interview here.