Mixed Race Studies

An Unexpectedly Complex Architecture for Skin Pigmentation in Africans

Cell
Volume 171, Issue 6, 2017-11-30
pages 1340–1353.e14
DOI: 10.1016/j.cell.2017.11.015

Alicia R. Martin, Meng Lin, Julie M. Granka, Justin W. Myrick, Xiaomin Liu, Alexandra Sockell, Elizabeth G. Atkinson, Cedric J. Werely, Marlo Möller, Manjinder S. Sandhu, David M. Kingsley, Eileen G. Hoal, Xiao Liu, Mark J. Daly, Marcus W. Feldman, Christopher R. Gignoux, Carlos D. Bustamante, Brenna M. Henn

Highlights

• Skin pigmentation in Africans is far more polygenic than light skin in Eurasians
• Southern African KhoeSan populations have lighter skin compared to equatorial Africans
• Highly heritable KhoeSan skin color variation is poorly explained by known genes
• The study of African skin color identifies novel and canonical pigmentation genes

Approximately 15 genes have been directly associated with skin pigmentation variation in humans, leading to its characterization as a relatively simple trait. However, by assembling a global survey of quantitative skin pigmentation phenotypes, we demonstrate that pigmentation is more complex than previously assumed, with genetic architecture varying by latitude. We investigate polygenicity in the KhoeSan populations indigenous to southern Africa who have considerably lighter skin than equatorial Africans. We demonstrate that skin pigmentation is highly heritable, but known pigmentation loci explain only a small fraction of the variance. Rather, baseline skin pigmentation is a complex, polygenic trait in the KhoeSan. Despite this, we identify canonical and non-canonical skin pigmentation loci, including near SLC24A5, TYRP1, SMARCA2/VLDLR, and SNX13, using a genome-wide association approach complemented by targeted resequencing. By considering diverse, under-studied African populations, we show how the architecture of skin pigmentation can vary across humans subject to different local evolutionary pressures.

Read or purchase the article here.

What We Lose: A Striking Novel About Filial Grief

The Atlantic
2017-08-01

Amy Weiss-Meyer, Associate Editor

Zinzi Clemmons (Nina Subin)

Zinzi Clemmons’s debut tangles with familiar questions, using a propulsive experimentalism in lieu of linear narrative.

When Zinzi Clemmons was a graduate student at Columbia, at work on her MFA, her mother was diagnosed with breast cancer. Clemmons had been writing a novel with a more or less linear narrative structure. She moved back home to Philadelphia and kept writing, but differently now, taking notes and collecting fragments of text as she cared for her mother. “The only time and energy I could muster resulted in that very short form,” she said recently. “I just ended up keeping those pieces and stitching them together, and a fictional narrative arose.” The novel she had been working on no longer felt worth her while; she’d been trying to use it, she said, to “avoid what was going on with my mom.”

The new novel that emerged, What We Lose, is a startling, poignant debut, released to no shortage of fanfare (Vogue called it “the debut novel of the year”). It tells a story based loosely on the author’s own. The protagonist is Thandi, who, like Clemmons herself, is the daughter of a “coloured” South African mother and an African American father. Thandi, like Clemmons, was raised in a wealthy, mostly white suburb of Philadelphia. Thandi’s self-proclaimed status as a “strange in-betweener”—she has “light skin and foreign roots,” and feels neither fully black American nor fully African—is a defining preoccupation of her young adulthood. Her relationship with her mother is loving but difficult. And in the wake of her death, as Thandi unexpectedly confronts the possibility of becoming a parent herself, she struggles to come to terms with what her mother’s life was, and what hers should be…

Read the entire article here.

What We Lose, A Novel

Viking (an imprint of Penguin Random House)
2017-07-11
224 pages
Hardcover ISBN: 978-0735221710
Paperback ISBN: 978-0008245948

Zinzi Clemmons

From an author of rare, haunting power, a stunning novel about a young African-American woman coming of age—a deeply felt meditation on race, sex, family, and country

Raised in Pennsylvania, Thandi views the world of her mother’s childhood in Johannesburg as both impossibly distant and ever present. She is an outsider wherever she goes, caught between being black and white, American and not. She tries to connect these dislocated pieces of her life, and as her mother succumbs to cancer, Thandi searches for an anchor—someone, or something, to love.

In arresting and unsettling prose, we watch Thandi’s life unfold, from losing her mother and learning to live without the person who has most profoundly shaped her existence, to her own encounters with romance and unexpected motherhood. Through exquisite and emotional vignettes, Clemmons creates a stunning portrayal of what it means to choose to live, after loss. An elegiac distillation, at once intellectual and visceral, of a young woman’s understanding of absence and identity that spans continents and decades, What We Lose heralds the arrival of a virtuosic new voice in fiction.

Steeped in Heritage: The Racial Politics of South African Rooibos Tea

Duke University Press
2017-10-27
272 pages
3 illustrations
Hardcover ISBN: 978-0-8223-6993-6
Paperback ISBN: 978-0-8223-6993-6

Sarah Ives, Postdoctoral Fellow and Lecturer
Stanford University

South African rooibos tea is a commodity of contrasts. Renowned for its healing properties, the rooibos plant grows in a region defined by the violence of poverty, dispossession, and racism. And while rooibos is hailed as an ecologically indigenous commodity, it is farmed by people who struggle to express “authentic” belonging to the land: Afrikaners who espouse a “white” African indigeneity and “coloureds,” who are characterized either as the mixed-race progeny of “extinct” Bushmen or as possessing a false identity, indigenous to nowhere. In Steeped in Heritage Sarah Ives explores how these groups advance alternate claims of indigeneity based on the cultural ownership of an indigenous plant. This heritage-based struggle over rooibos shows how communities negotiate landscapes marked by racial dispossession within an ecosystem imperiled by climate change and precarious social relations in the post-apartheid era.

Table of Contents

• Preface
• Acknowledgments
• Introduction. The “Rooibos Revolution”
• 1. Cultivating Indigeneity
• 2. Farming the Bush
• 3. Endemic Plants and Invasive People
• 4. Rumor, Conspiracy, and the Politics of Narration
• 5. Precarious Landscapes
• Conclusion. “Although There Is No Place Called Rooibos”
• Notes
• References
• Index

Barack Obama and the Nommo Tradition of Afrocentric Orality

JSTOR Daily: Where News Meets Its Scholarly Match
2017-08-23

Shannon Luders-Manuel

President Obama delivers the State of the Union in 2011 via Flickr/White House

Black actors, entertainers, and everyday citizens often have a particular cadence to their voices that others can identify as “black,” whether or not the listeners can see the individual speaking. Popular culture seems to think that black men sound wise simply by their voices alone, leading to black actors narrating myriad commercials, including Dennis Haysbert for Allstate Insurance and Samuel L. Jackson for Capital One. In an article for Guernica, John McWhorter breaks down this speech pattern: “It differs from standard English’s sound in the same way that other dialects do, in certain shadings of vowels, aspects of intonation, and also that elusive thing known as timbre, most familiar to singers—degrees of breathiness, grain, huskiness, ‘space.’”

While sound influences dialect, black oration goes back much further, to the idea of nommo, which is rooted in West African tradition. Through both dialect and nommo, former President Barack Obama was able to inspire black and white audiences, altering his word choice and patterns accordingly…

Scholarship of nommo is wanting. However, in the Journal of Black Studies, Sheena C. Howard defines it in the following manner: “Nommo, the creative power of the word, is a delivery style that is unique to African Americans. Nommo is manifested in characteristics of African orality.” She focuses on four characteristics of nommo: rhythm, call and response, mythication, and repetition, and she analyzes their use in two of Obama’s speeches: one at Howard University and the other at Southern New Hampshire University, both in 2007…

Read the entire article here.

“So If You’re From Africa, Why Are You White?”

FLY: (Freedom. Love. You.)
Cambridge University
2017-03-16

Nina Grossfurthner

I woke up a week ago and started my day eating breakfast and scrolling through Facebook. I usually read my Bible in the morning, but on that particular day I had a lot to get through before mid-day lectures so I decided I would leave it to the evening. Thinking back now, perhaps skimming through a quick verse would have allowed me to approach what happened next with a bit more grace. I don’t know how many of you have been keeping up with the story of Rachel Dolezal, in all honesty I don’t encourage you to do so. But, for those of you who haven’t I will briefly outline who this woman is and why I needed to write about her, a decision that didn’t come easy because I didn’t want to assign her any more space than that which she has so carelessly claimed.

Rachel Dolezal blew up on the internet a few years ago by claiming that she, a fully Caucasian woman, identified as ‘black’. When I first came across the story, I quickly scrolled past because I didn’t think it worth my time to hear her try and justify why she should appropriately be called black. However, what made me stop scrolling that morning, was the recent name change which Dolezal has undertaken.

Adding insult to injury, Rachel Dolezal recently made the decision to change her name to Nkechi Diallo – a confusing medley of both the Igbo language of southern Nigeria and that of the Fulani tribe whose people can be found in many West African nations (because African nations were effectively decided by white men using a ruler and a pen). Setting aside the obvious disturbance of taking on an ‘African sounding’ name, the seeming thoughtlessness behind picking whatever name she felt suited her reflects the same precarious attitude with which she chooses to engage with the ‘black’ identity…

Read the entire article here.

ENCORE | Trevor Noah on growing up mixed race in South Africa, ‘a product of my parents’ crime’

The Current
CBC Radio
2017-07-05

Anna Maria Tremonti, Host

‘Fundamentally, myself, my mother and my dad were considered different types of citizens under the law,’ says The Daily [Show] Host Trevor Host on living in a mixed race family in South Africa. (Brad Barket/Getty Images for Comedy Central)

Trevor Noah began his career as a successful stand-up comedian in South Africa. The Daily Show host has travelled a long way since then, but his humour is as biting as ever.

He brings that humour — along with candour — in Born a Crime: Stories from a South African Childhood, a new book about growing up mixed race in South Africa, facing prejudice and learning about survival and a mother’s love.

Noah was born in 1984 to a white father and a black mother during apartheid, which meant his family initially had to hide the truth from the outside world. He was largely kept indoors during the early years of his life, and when he did venture into public with his mother they had to pretend she was his caretaker. His father could never be seen with them in public…

Listen to the conversation (00:24:18) here. Read the transcript here.

French Fathers and Their “Indigenous Children”: Interracial Families in Colonial Senegal, 1900–1915

Journal of Family History
Volume 42, Issue 3, July 2017
pages 308–325
DOI: 10.1177/0363199017711212

Kelly Duke Bryant, Associate Professor of History
Rowan University, Glassboro, New Jersey

This article focuses on interracial families in early twentieth-century Senegal, exploring how relationships between French fathers and their racially mixed children simultaneously challenged and reflected colonial racism. Relying on applications for scholarships and related correspondence, it offers detailed case studies of two such families and a discussion of wider trends. The article argues that despite the duty and love that they felt toward their mixed-race children, French fathers continued to see themselves as colonists and to accept some of the ideas about race and power that this entailed.

Read or purchase the article here.

SAS Researchers Probe Racial Passing, Identity Based on Two Novels

American University of Nigeria
2017-05-01

Nelly Ating

The modern-day issues of “racial passing” and “identity,” dominated the April 20 SAS research seminar presented by Dr. Agatha Ukata and Dr. Brian Reed of the English & Literature department.

The duo’s research probes the phenomenon in “Being and Not Being:  How Society Negotiates Humanity.”  This is a study based on Nella Larsen, and Boy, Snow, Bird by Helen Oyeyemi, and on Isidore Okpewho’s Call Me by My Rightful Name.

This work will be presented at the African Literature Association conference at Yale University in June.

Leading the discussion, Dr Ukata said that despite disparity in the years of publication of the novels, it is astonishing to see the recurrence of “racial passing” in this era…

Read the entire article here.

Playing in the Light: A Novel

The New Press
November 2007
224 pages
5 1/2 x 8 1/4
Paperback ISBN: 978-1-59558-221-8

Zoë Wicomb, Emeritus Professor
University of Strathclyde, Glasgow, United Kingdom

Set in a beautifully rendered 1990s Cape Town, Zoë Wicomb’s celebrated novel revolves around Marion Campbell, who runs a travel agency but hates traveling, and who, in post-apartheid society, must negotiate the complexities of a knotty relationship with Brenda, her first black employee. As Alison McCulloch noted in the New York Times, “Wicomb deftly explores the ghastly soup of racism in all its unglory—denial, tradition, habit, stupidity, fear—and manages to do so without moralizing or becoming formulaic.”

Caught in the narrow world of private interests and self-advancement, Marion eschews national politics until the Truth and Reconciliation Commission throws up information that brings into question not only her family’s past but her identity and her rightful place in contemporary South African society. “Stylistically nuanced and psychologically astute” (Kirkus), Playing in the Light is as powerful in its depiction of Marion’s personal journey as it is in its depiction of South Africa’s bizarre, brutal history.