Mixed Race Studies

Ruth Negga: ‘Stories about race and identity pique my interest… I have always felt like a fish out of water’

The Belfast Telegraph
2016-12-31

Patricia Danaher

Starring role: Ruth Negga’s career is going from strength to strength

Nominated for a Golden Globe, tipped for an Oscar and on the cover of Vogue, Ruth Negga is the woman of the moment. Here, the actress tells Patricia Danaher how growing up mixed race in the Republic helped her inhabit the role that’s made her a star

It seems somewhat fitting that, as the cover star of US Vogue’s January edition, Ruth Negga wears an Alexander Wang blouse covered in red roses. After all, back home in Ireland it’s for her role as Rosie in Love/Hate that Ruth is perhaps best known.

That part, as the star-crossed lover of the show’s original protagonist Darren (played by Robert Sheehan) was, of course, just one of the many times the Limerick woman has graced TV screens in recent years. The chameleon-like actress has also featured in such diverse productions as Neil Jordan’s Breakfast on Pluto, edgy Channel 4 show Misfits, and big-budget US series Agents of Shield and Preacher.

In the UK, she works almost continuously on video games, in theatre and on TV – winning critical acclaim for her portrayal of Ophelia at the National Theatre and of Shirley Bassey in a BBC biopic about the singer. Despite these numerous prominent roles, however, 35-year-old Ruth has managed to stay mostly under the radar in her long career.

Until now, that is. Nominated earlier this month for a Golden Globe and hotly tipped for an Oscar, she’s gone from jobbing actor to Vogue cover girl in the blink of an eye. In Hollywood, those who have just discovered Ruth through her role in new movie Loving are calling her “an overnight success, 10 years in the making”…

Read the entire article here.

The Rumpus Interview with Emily Raboteau

The Rumpus
2016-12-28

Gina Prescott

The Fire This Time: A New Generation Speaks about Race is a collection of essays and poetry that takes its name from James Baldwin’s classic, The Fire Next Time. Jesmyn Ward, the collection’s editor and author of the National Book Award-winning novel, Salvage the Bones, was inspired to create the collection after finding solace in reading Baldwin in the wake of the seemingly never-ending killings of young black men covered by the media over the last few years.

In her introduction, Jesmyn writes “I needed words. The ephemera of Twitter, the way the voices of the outraged public rose and sank so quickly, flitting from topic to topic, disappointed me. I wanted to hold these words to my chest, take comfort in the fact that others were angry, others were agitating for justice, others could not get Trayvon’s baby face out of their heads.”

This slim collection achieves its intended purpose of both comforting its readers and expressing the pain and complexity of what it means to be black in the United States. It brings together a talented group of astute black writers, including Edwidge Danticat, Kiese Laymon, Rachel Kaadzi Ghansah, and Isabel Wilkerson. Their pieces, in turn, are reflective, angry, somber, humorous, informational, and cautiously hopeful. It is a necessary and beautiful collection, the kind of book that when you finish it, you are full of gratitude for its existence, bring it to your chest as Jesmyn hoped, and think, “Thank you, Thank you.”

Over email, I had the opportunity to interview one of the contributors, Emily Raboteau, author of the novel The Professor’s Daughter and the memoir Searching for Zion. Emily’s essay, “Know Your Rights!,” is about her struggle to determine when and how she should discuss police brutality and race with her two young children. She finds her answer in a series of murals and in the rehabilitation of the High Bridge…

…Rumpus: Jesmyn has stated that she was very broad when she solicited pieces, explaining that she wanted to keep it open. Can you describe your experience receiving Jesmyn’s invitation to write something for this collection. Did you know right away what you wanted to write about or was it overwhelming?

Raboteau: Initially, I planned to write a letter to my kids to prepare them for the tough stuff they’ll encounter as black Americans, just as Baldwin did by writing The Fire Next Time as a love letter to his nephew, James. I felt honored that Jesmyn asked me to participate in this project, but also overwhelmed by the assignment, not least of all because nobody writes as powerfully as Baldwin. More than that, I didn’t know what to say. The massacre in Charleston had just happened and the uprising in Ferguson was going on. My kids were, are, still really little. I felt and feel scared for their well-being—my son in particular had already been pathologized. He’s not yet in kindergarten. I felt helpless, angry, and tongue-tied. Then I ran across this mural in my neighborhood while walking with my family, and it felt like a small gift. Once I discovered that it was part of a larger series of murals in neighborhoods most plagued by police brutality, I decided to photograph them and structure my piece as a photo essay rather than a letter. The murals jogged me out of my stasis. Good art has the power to do that for us…

Read the entire interview here.

Patricia Park talks about her Korean American spin on Jane Eyre

The Los Angeles Times
2015-05-12

Steph Cha

Patricia Park, author of “Re Jane” (Allana Taranto/Viking)

What if Jane Eyre was a Korean American girl and Rochester was a English professor? Patricia Park on ‘Re Jane‘

Patricia Park’s debut novel, “Re Jane” (Pamela Dorman/Viking: 340 pp., $27.95), is a retelling of everyone’s favorite Gothic Victorian Brontë romance, “Jane Eyre,” transferred to New York and South Korea in the early 2000s. Her heroine, Jane Re, is a half-Korean orphan raised by her uncle’s family in Flushing, Queens, a neighborhood that feels “all Korean, all the time.” When a prestigious post-college job offer falls through thanks to the dot-com crash, Jane takes a job as an au pair in Brooklyn in order to escape Queens and her uncle’s grocery store.

Her employers are Ed Farley and Beth Mazer, two Brooklyn English professors with an adopted Chinese daughter. Ed, as you may have guessed, is brooding and manly, with a strong jawline and a Brooklyn accent—pure Kryptonite for our wide-eyed, 22-year-old Jane. He lives in the shadow of his older, more accomplished wife, an eccentric feminist scholar with an attic office, who takes it upon herself to educate their sheltered au pair.

With her mixed blood and her torn loyalties, Jane embodies the confusion of both young adulthood and the hyphenated American experience. Impressionable and accommodating at the start of the novel, she struggles to find her own identity as the places and people in her life try to claim her. Her journey is a pleasure to follow, immensely rewarding and speckled with humor and romance…

Read the entire interview here.

On the Record: Georgetown and the racial identity of President Patrick Healy

The Georgetown Voice
2010-04-14

Patrick Healy

Matt Sheptuck (COL ’10) is an American Studies major writing his senior thesis, which explores how Georgetown University has perceived Jesuit Father Patrick Healy’s racial identity over the years. In his research Sheptuck found that Healy, whom many of us know as the first African-American President of Georgetown and one of the first black presidents of any major American university, was understood as white for much of the University’s history, until beginning in the 1960s, when Georgetown began to “market” Healy as black.

Sheptuck says he isn’t “overtly condemnatory” of the University’s history, knowing that how they framed Healy was a product of the times. But he proposes that going forward, Georgetown doesn’t need to relegate Healy’s racial identity to the “one-dimensional” white or black designation, and should present him as the complex man he was. He also thinks Georgetown needs to look closely at its relationship with race in America in the past. Intrigued by his research, Vox caught up with Sheptuck on Tuesday to learn more.

Vox Populi: So tell me a little about your thesis.

Matt Sheptuck: I’m looking at how the University’s changing racial conceptualization of Patrick Healy’s identity fit in relation to how the University thought about race in general. And what I’ve found in my research about Healy, who was president from 1874 – 1882, is two main periods from the 1880s, when Healy resigned as president, up to the present, in which the University talked about his racial identity differently…

Read the interview here.

A Comic’s Secret Southern Story

Below The Line
Garden & Gun
2016-12-13

CJ Lotz

A panel from “Krazy Kat.” Courtesy Krazy

Before “The Far Side,” “Calvin and Hobbes,” or even Mickey Mouse, one cartoon stole the show. From 1913 to 1944, a panel called “Krazy Kat” ran in newspapers across the country and counted “Peanuts” creator Charles Schulz and the poet E.E. Cummings among its fans. The strip featured beautiful backgrounds and simply sketched cat and mouse characters that switched between philosophical dialog and slapstick situations—the mouse was forever trying to hit the cat with a brick. But the New Orleans-born artist behind the drawings, George Herriman, was a private man whose life was a mystery. That is until now, with the release of the illustrator’s biography, Krazy: George Herriman, a Life in Black and White.

Author Michael Tisserand (also a New Orleanian) spent ten years researching this thorough work that chronicles not only the career of the twentieth century Southern artist, but Herriman’s big secret: He was born to a prominent Creole family in New Orleans and spent his adult years “passing” for white at the newspapers where he worked in New York and Los Angeles. At the time, living as a black man would have threatened his livelihood, his home, and his relationships. We spoke with Tisserand about Herriman’s complicated story and what it means to honor the artist’s legacy today…

Read the entire interview here.

Look: Co-Parenting Mixed-Race Kids Requires More Than Racial Tolerance

Black Entertainment Television (BET)
2016-12-15

Ashley Simpo

What happens when fetishizing Black bodies results in having to raise one? An interview with Nick Harris.

It’s far from unique to see an interracial couple these days. The millennial generation is the most racially mixed to date and the U.S. Census predicts that, by the year 2044, there won’t even be a white majority. But within the larger construct of interracial love are several smaller, equally vital conversations — one of which is interracial co-parenting. What happens when an interracial couple has a child and then splits up? What issues arise?

These are questions single father Nick Harris had to come to terms with recently in a text exchange between himself and his daughter’s white mother. Nick posted a text conversation with his ex concerning his daughter’s hairstyle, which was the pretty common style of cornrows done by the child’s aunt, and the screen shots went viral. When his daughter’s mother saw a picture of the braids, she berated Harris, saying the style looked “too Black.” Harris defended his choice by reminding her that their daughter is, in fact, half Black. The exchanged escalated and went on for three pages. Once the internet caught wind of the epic text battle, the outrage sparked a heated reaction…

Read the entire interview here.

Loving Star Ruth Negga on Biracial Politics: “I Get Very Territorial About My Identity”

Vogue
2016-12-07

Gaby Wood

With her mesmerizing performance in Jeff Nichols’s subtly groundbreaking film Loving, the Irish-Ethiopian actress Ruth Negga has become a star for our time.

“I’m a rag of a woman today,” Ruth Negga says in her faint Irish accent. She is pointing to her chipped green nail polish and apologizing for her eyebrows. She cut her hair herself, she says, before asking a professional to tidy it up. Earlier today she went to get her passport renewed. “Maybe . . . you could—blend?” the photographer said, gesturing around his face. She took a look and realized she had been quite slapdash with her bronzer and powder.

By lunchtime, there’s no trace of this—with her huge, doll-like eyes and closely cropped hair, she is as glamorous as a thirties aviator in Paige jeans and an olive bomber jacket—but it’s easy enough to imagine Negga dismissing vanity as a fool’s game. Her gift for self-mockery and her appetite for the craic—an Irish expression for fun or gossip or high jinks—are matched only by her levels of propulsion: Her neat, tiny frame always seems to move forward at great speed.

When director Jeff Nichols was trying to get financing for Loving, in which Negga and Joel Edgerton star as Mildred and Richard Loving—the real-life interracial couple whose quest to be considered legally married in 1958 Virginia became a landmark civil-rights case—he kept hearing the same thing: “Who’s Ruth Negga?” Few people are asking that now, but even so, Negga is not offended. “I’ve been working. Keeping a low profile—until bam!” She laughs. “Nothing slow and steady about me.”…

Read the entire article here.

Family Business

Complex
December 2016/January 2017

Written by Rebecca Haithcoat
Photography by Sasha Samsonova

Sofia Ritchie

Sofia Richie has been known to the world as Lionel Richie’s daughter, Nicole Richie’s half-sister, and Justin Bieber’s BAE. Now, the aspiring model is ready to make her solo debut—Without Losing her Privacy.

Sorry—Sofia Richie does not want to talk about Justin Bieber.

Sitting in an outdoor booth at the Beverly Hills Hotel’s luxurious Polo Lounge, Richie’s manager, Alex Avant, is setting the terms of her impending interview. Hollywood handlers are typically overprotective, but his chaperoning will prove to be extra oppressive: He’s a longtime family friend and has been personally tasked by Richie’s father, Lionel, to take care of his baby.

Whatever Richie wants, she gets. And what she wants is no Bieber questions.

“There are just so many rumors and lies,” Avant says. He waves at Russell Simmons across the room.

Avant is told this interview is a great way to clear up those rumors and lies.

He shakes his head.

So, Sofia and Justin, are they still…?

He nods, then shakes his head, somehow confirming and denying at the same time. “Just no questions,” he says finally.

This is unfortunate, because at the present time, Sofia Richie, 18, is known for three things: her famous family (singer and father Lionel and former reality star/current fashion-plate sister Nicole), walking in Kanye West’s most recent Yeezy Season fashion show (the one whose casting call was for “multiracial women only”), and, yes, dating Bieber…

Read the entire interview here.

Between Two Worlds – A conversation with Rain Pryor

Connecticut Jewish Ledger
2016-11-22

Cindy Mindell

Rain Pryor was born and raised in Los Angeles, the daughter of comedian Richard Pryor and Shelley Bonis (later changed to Bonus), a Jewish go-go dancer. After her parents divorced, Pryor spent time with both grandmothers and in both cultures, forging a unique identity that combined elements from her Black and Jewish legacies.

In 2004, Pryor created and toured in “Fried Chicken and Latkes,” an award-winning solo show based on her life that played to sold-out crowds and standing ovations across the country and in the UK. In 2005, the show won an NAACP Theatre Award for Best Female Performer Equity, and the Invisible Theatre’s Goldie Klein Guest Artist Award. The 2012 New York Times review of the “effervescent” show described Pryor as “a robust, ebullient performer.”…

…Recently, she spoke with the Ledger about the evolution of her “Fried Chicken and Latkes” and the influences that shaped it…

…Q: How do you express your dual identity today?

A: For High Holidays, my mom and I go to the Pico Union [formerly Sinai Temple], the oldest synagogue building in Los Angeles. They do a lot of outreach. I also embrace my Black African-centric heritage and practice Ifá, an ancient and mystical Yoruba tradition honoring the ancestors, which to me went beautifully with the High Holiday services. I embrace culture and tradition and I would say I’m a spiritual being more than I’ll ever be a religious being…

Read the entire interview here.

Artist Explodes Racial Stereotypes In Shape-Shifting Photographs

The Huffington Post
2016-10-20

Priscilla Frank, Arts & Culture Writer

Shulamit Nazarian

“My experience as a person of color is different than others’. I have something to say.”

Artist Genevieve Gaignard grew up in the town of Orange, Massachusetts. Her mother was white, her father black ― one of the first black men to live in the small town. “I was always really aware that we were different,” Gaignard explained in an interview with The Huffington Post.

While Gaignard was well aware of her biracial identity, most of her classmates and neighborhood acquaintances simply saw her as the pale-skinned, redheaded child she was. They assumed, in other words, like the majority of Orange citizens, that Gaignard was white. “I passed along with everyone else,” she said. “I blended in.”

As a kid, Gaignard spent a lot of time in her room. “I was shy, quiet, in my own little world,” she recalled. She would listen to the radio, make collages and plaster magazine cutouts on her wall. She’d also obsessively look into the lives of celebrities like Mariah Carey and Alicia Keys, women who also were both black and white. She studied how they defined themselves, the spaces they occupied and the ways they existed in the world. “I would think, ‘Oh, they get to be black,’ or, ‘They’re kind of passing as white,’” Gaignard said. “I would search for images of their parents, trying to get clues. It’s interesting how media or the industry often decides where someone will fit in.”

“Basic Cable” Shulamit Nazarian

With no outside force to define her, Gaignard was left, like so many young people, feeling undefined. “It was this not knowing how to identify,” she expressed. “Not feeling black enough, not feeling white enough, that was the struggle.”…

Read the entire article here.