Mixed Race Studies

A Mixed Race Feminist Blog Interview with Jamal Langley

Mixed Race Feminist Blog
2016-11-29

Nicola Codner
Leeds, Yorkshire, United Kingdom

Jamal Langley

Interviewee Bio

Hey. My name is Jamal Langley and I’m 22 years old. I aspire to be a public academic, which is an academic that creates knowledge that is of practical use in order to mobilise the public democratically. I think that the idea of public academia will become increasingly important in the years to come due to Trump’s presidential victory and Brexit. I see these events as resulting from the failure of the elitist experts that guide our politicians to create fair societies that work for everyone.

Next year I hope to continue my education at the University of Leeds with my PhD research on ‘Black British and Mixed Race identity: The Intersectionality between Race, Class and Political affiliation’. I wish to explore this area by trying to understand why we have simultaneously seen a rise in the activity of black liberationist groups in the UK, and the largest number of Black Minority Ethnic (BME) people voting for the Conservative party in the 2015 election. I have been unable to attract funding for my project, however I hope with your help I can crowd fund my tuition fees. I believe that my research is of real value to the black and left wing community. By gaining a better understanding of black & mixed race identity in contemporary Britain, this research hopes to foster better community mobilisation against racism. Projects such as mine are where we should invest our support if we wish to create material changes and narratives that support the world we envisage.

What was your experience of school like as a mixed race boy?

In primary school, I remember thinking I was different from the majority of the students that were white. I didn’t like this difference until we got Sky TV and I started to watch MTV Base and Channel U which depicted black culture as cool. I had Ludacris’ album “Chicken and Beer” and Dizzee Rascal’s “Boy in the Corner”. I would listen to them when I got home from school. In year 4 I wrote a short story about an alien that abducted small children to eat. My teacher thought it was a really good story and praised me for it at parents evening, however when my dad read it he took away all my rap albums. He believed that they were indoctrinating me with violent ideas. I will say myself that towards the end of primary school and at the beginning of secondary school, I do believe that the culture glorified in rap music did affect my behaviour in a mischievous way…

…How has your relationship with your parents and family influenced your racial identity?

My Mum is white British and my Dad was born in Britain, but my grandparents emigrated here from Jamaica. My parents have been split up since I was conceived, yet I have spent a lot of time with both of them. Both of my parents went on to meet new partners, who they had children with.

In a way I would say not only am I mixed race but I am also mixed class. My mum has always been working class, living in council accommodation and working in low skilled jobs when she could. My father on the other hand lives in a large house with a mortgage paid for by his partner who is a successful businesswoman. Her support has allowed my dad to go to university, work odd jobs and move onto his latest and most successful venture of selling vinyl…

Read the entire interview here.

Carina E. Ray: Crossing the Color Line: Race, Sex, and the Contested Politics of Colonialism in Ghana [Interview]

New Books Network
2016-10-07

Dawne Curry, Associate Professor of History and Ethnic Studies
University of Nebraska, Lincoln

In Crossing the Color Line: Race, Sex, and the Contested Politics of Colonialism in Ghana (Ohio University Press, 2015), Carina E. Ray interrogates the intersections of race, marriage, gender and empire in this thought-provoking study that challenges the notion of identity and the politics that surround it. Ray plumbs the depth of an array of archival material, which includes travel narratives, visual sources, administrative records, wills, and personal and official correspondence. She also conducted interviews to further piece together the inner lives of Africans and Europeans to show how interracial marriages and relationships evolved in Ghana. In a very compelling way, Ray deconstructs intersexual economies to show their linkages to the slave trade and beyond. Her opening vignette not only sets the stage for the themes she addresses to illustrate how Africans had agency even when it came to marrying across the color line. Shortlisted for the United Kingdom’s Fage and Oliver Prize and the winner of the American Historical Associations’s Wesley-Logan Prize for African Diaspora History, this groundbreaking book has set new standards for understanding race, its implementation and its interpretation not only in Africa but also around the world.

Listen to the interview (00:57:50) here. Download the interview here.

Meet Shereen Marisol Meraji, A Latina Journalist Tackling Race & Idendity Through Podcasting

Latina
2016-11-23

Raquel Reichard, Politics & Culture Editor

Hugo Rojo

With Donald Trump, a candidate who ran on racism, xenophobia, sexism, Islamophobia and a disdain for journalists, heading to the White House, reports by and about the communities most impacted by the president-elect’s rhetoric and proposals are ever-important, making Shereen Marisol Meraji a periodista you need to know.

The Cali-based Puerto Rican-Iranian is a journalist reporting on race for NPR’s Code Switch podcast. Each week, Meraji and her team tackle issues of race, ethnicity and identity that are impacting our country as a whole.

The mixed-race mujer, who prides herself on being vocal, opinionated and informed, approaches these topics from her own intersections as a woman, bi-cultural Latina and daughter of a Muslim immigrant father.

Ahead, the Persian-Rican opens up about her work, why she focuses on race and identity, and the need for nuanced and uncomfortable discussions on these topics in the media and at the dinner table…

…Why are issues of race particularly important to you, Shereen the human, rather than Shereen the journalist-podcaster?

For me, the human, I think it’s because of my mixed background. I never felt like I belonged. I realized, Oh my God! Not only is my mixed identity not represented anywhere, but not even my mom’s or dad’s 100 percent identities are represented. I’m not seeing any stories of what I’m interested in, what I do or who I am, and those stories are important. Never having really belonged, being on the margins while observing everything, that’s made me a natural journalist – not quite a part of something, always observing…

Read the entire interview here.

A “Konversation” with George Herriman’s Biographer, Michael Tisserand (Part One)

The Comics Journal
2016-11-14

Paul Tumey

Michael Tisserand in Krazy Kat territory (Photo credit: Cecilia Tisserand)

“Herriman was talking about race and identity — as profoundly as anyone has, in my opinion — but I never see that as his big “Topic.” It was just part of his world, and the world he created, even if others were slow to recognize it.” —Michael Tisserand

The first time I saw Michael Tisserand, he was walking up my doorstep, holding what appeared to be a red brick by his head, almost — but not quite– in a throwing pose. Turns out the red brick was the recently released Library of American Comics collection of Krazy Kat dailies for which he wrote the introduction, and it was a gift (aren’t all bricks gifts in [George] Herriman’s world?).

In early December 2016, HarperCollins will release Tisserand’s long-awaited book, Krazy: George Herriman, A Life in Black and White. The book, over 500 pages in length, offers the first detailed biography of the man many regard as the greatest cartoonist of the twentieth century. Chris Ware has spoken highly of the book, observing: “Michael Tisserand’s Krazy draws back the curtain on the one [Herriman] who’s been with us all along.” The book has drawn an early favorable review from Kirkus which states, in part: “Essential reading for comics fans and history buffs, Krazy is a roaring success, providing an indispensable new perspective on turn-of-the-century America.”…

…Paul Tumey: Having that perspective from reading your biography on Herriman’s life massively expanded my understanding and appreciation of his work. I have to admit, I was a bit daunted at first when I realized there was a chunk of early family history to read before our man comes onto the scene. But you know what? After a page or two of pouty grumbling, I was totally captivated – the stories are great, and you did a nice job of telling them. And later, I realized how valuable that perspective is – it’s the foundation for understanding the deepest levels of Herriman’s work.

Michael Tisserand: When I learned more about his family, I understood a bit more not just the pressures he must have felt in passing for white, but also the strange, unsettling feeling it must have been to identify with a group of people historically known as Free People of Color, or Mulatto, or Creoles … a group that constantly was seeing its very identity being changed legally and linguistically and culturally. And then for Herriman to work in a genre so deeply influenced by the masks of minstrelsy! When I read a classic Krazy Kat line such as “lenguage is that we may mis-unda-stend each udda,” it seems pretty clear that Herriman had a deep understanding of what we now consider to be modern notions of the slipperiness of language and a sort of permeability of identity….

Read the entire interview here.

Zadie Smith on Male Critics, Appropriation, and What Interests Her Novelistically About Trump

The Slate Book Review
Slate
2016-11-16

Isaac Chotiner

A wide-ranging conversation.

In an interview in 2000, Zadie Smith told the Guardian about the pressure she felt after the astonishing success of her debut novel, White Teeth. “I was expected to be some expert on multicultural affairs, as if multiculturalism is a genre of fiction or something,” she said. “Whereas it’s just a fact of life—like there are people of different races on the planet.” Whether it’s indeed a fact of life or, we now fear, a feature of American life that is at risk of erasure, multiculturalism in all its complexity is at the center of Smith’s books. From White Teeth to NW, which was published in 2012, Smith’s characters inhabit mixed urban communities, often in London. Her latest novel, Swing Time, is out this week; set in England and West Africa, the story concerns the friendship of two young girls who meet in a dance class (“our shade of brown was exactly the same”) and traces the paths of their lives over a quarter-century.

Smith, who grew up in London with a Jamaican mother and English father, has also established herself as one of her generation’s prolific essayists, weighing in energetically on such topics as Middlemarch and Brexit and E.M. Forster. (Her third novel, On Beauty, was an “homage” to Howards End.) She now lives with her husband and children in New York City. I had been trying to interview her for years, to no avail. When the chance finally presented itself, the date and time kept changing, usually a sign of a reluctant subject. But when we did eventually speak over the phone, the day before the election, Smith, now 41, seemed surprisingly at ease. (Weren’t we all in those innocent days?)

Over the course of our conversation, which has been edited and condensed for clarity, we discussed the vulnerability one feels writing fiction, the arrogance of male critics, and why she doesn’t have a smartphone…

…Since your new book spans continents, from Europe to Africa, did you think about the target audience? Who are you writing for?

This time I was thinking very particularly about black girls. I’m very happy if other people read the book, but that’s who the book is for explicitly, and that’s who I wanted to write to…

Read the entire interview here.

The Latinos Of Asia

Think
KERA
Dallas, Texas
2016-11-14

Krys Boyd, Host and Managing Editor

Filipino Americans are classified by the U.S. Census as Asian. But because of Spanish colonialism in the Philippines, many Filipinos also feel part Latino. This hour, we’ll talk about how skin color, history and other factors contribute to cultural identity with sociologist Anthony Christian Ocampo, author of “The Latinos of Asia: How Filipino Americans Break the Rules of Race” (Stanford University Press).

Download the episode (00:48:18) here.

Zadie Smith: By the Book

The New York Times
2016-11-17

Zadie Smith Credit Illustration by Jillian Tamaki

The author, most recently, of “Swing Time” says the best gift book she ever received was from her dying father, who “gave me his copy of ‘Ulysses,’ along with the confession he had never read it.”

What books are on your night stand now?

I’m on a reading jag after a long period of only writing, so there’s a towering “to read” pile: “Sudden Death,” by Álvaro Enrigue; “Using Life,” a novel by the imprisoned Egyptian Ahmed Naje; “Homegoing,” by Yaa Gyasi; “Heroes of the Frontier,” by Dave Eggers; “The Underground Railroad,” by Colson Whitehead; “Diary of the Fall,” by Michel Laub; “The Good Immigrant,” edited by Nikesh Shukla; “Why Nations Fail: The Origins of Power, Prosperity, and Poverty,” by Daron Acemoglu and James A. Robinson; “Birth of a Bridge,” by Maylis de Kerangal; “Known and Strange Things,” by Teju Cole; “The Little Communist Who Never Smiled,” by Lola Lafon; “The Fire This Time,” edited by Jesmyn Ward; “At the Existentialist Café,” by Sarah Bakewell; “Time Reborn,” by Lee Smolin; “Moonglow,” by Michael Chabon; and let’s say the last four or five novels by Marías, several by Krasznahorkai, and — as always — unfinished Proust. I much prefer reading to writing: I can’t wait…

Read the entire interview here.

In ‘Loving,’ an American story about a marriage worth fighting for

PBS NewsHour
2016-11-15

A new movie, “Loving,” tells the real-life story of Richard and Mildred Loving, a Virginia couple who were arrested because interracial marriage was illegal in their home state. They appealed their case and won a landmark civil rights ruling at the Supreme Court. Jeffrey Brown speaks with director Jeff Nichols and others about how they brought the love story to the screen.

HARI SREENIVASAN: The film “Loving” opened nationwide over the weekend. It tells the true story of Richard and Loving, rural Virginians of different races who married in Washington, D.C.

On return to their home in Virginia, they were arrested for violating laws against interracial marriage. Their case eventually made it to the Supreme Court.

Jeffrey Brown has our story.

JOEL EDGERTON, Actor, “Richard Loving”: I’m going to build you a house right here, our house.

JEFFREY BROWN: “Loving” tells the real-life love story of Richard and Mildred Loving, a Virginia couple who married in 1958 in Washington, D.C., because interracial marriage was illegal in their home state…

Read the entire story here.

Trevor Noah Wasn’t Expecting Liberal Hatred

The New York Times Magazine
2016-11-02

Ana Marie Cox

Your memoir, “Born a Crime,” is a striking depiction of your life in South Africa both under and after apartheid. How has that experience formed your perspective on the divisions we’re seeing in America because of the election? America is the place that always seems to treat the symptoms and not the cause. In South Africa, we’re very good at trying to go for the cause of racism. One thing that really never happened here, which is strange to me, was a period where white America had to reconcile with what it had done to black Americans.

I wonder if one difference is that in South Africa, no one could deny that the root of it all was racism, whereas here, people think there’s more ambiguity. What’s scary is how many people don’t realize that racism is written into your system in America. We had a very simple, blatant system. You could see where the tumor was, and you could cut it out. In America, the tumor masquerades as an organ, and you don’t know which parts to cut out because it’s hard to convince people that there’s a problem in the first place…

Read the entire interview here.

Disrupting Racialized Knowledges: Blackness in Salvador da Bahia

Friktion Magasin for Køn, Krop and Kultur
2016-10-01

Morten Stinus Kristensen

I had the pleasure of sitting down with Dr. Bryce Henson who recently defended his dissertation Rediasporizing Bahia: The Lived Experiences of Blackness and the Cultural Politics of Bahian Hip-Hop at the Institute of Communications Research at the University of Illinois, Urbana-Champaign. In the following interview, which has been edited for clarity, structure, and brevity, Dr. Henson discusses one element of his wide-ranging dissertation project: how the Black population of Salvador da Bahia, the former colonial capital of Brazil where Dr. Henson did his fieldwork, push back against the idealized idea of Blackness that dominates the Brazilian national imaginary of Bahia, and how this fantasy of Bahia serves a central function for upholding the fantasy of Brazil as a post-racial nation and culture.

MSK: How do you define Blackness and how do you use it, conceptually and methodologically in your work?

BH: So I work through three interlocking definitions of Blackness. I locate the first definition of Blackness within the African diaspora in how Black bodies or bodies ascribed to Africa are inscribed with negative cultural and moral values. Then, I define it not only as a racialization process but also as an ethnoracial identity formed by those within the community. Finally, I define Blackness by how Black subjects take this as a political imperative to critique white supremacy and, at another level, not only critique white supremacy and the way that Blackness operates in their own lives, but challenge that very stigma of Blackness itself and to alter and change those prescriptive values that are attached to their bodies.

So methodologically and conceptually what I did [in this project] was I combined critical Black studies with British cultural studies. The first thing I did was to look at the dominant representations and [cultural] codes in which Blackness is understood. But also I intersect that with how these discourses are lived and the material conditions of [Black life] through ethnographic research. How do those everyday meanings, made out of the domain of Black lives, cause friction with these dominant representations or discourses? Then at a final stage, I tie this intersection between dominant representations and lived realities of race to Blacks’ own cultural production as a form of political participation. This serves not only as a site of media making, but also knowledge production that can at the very least disrupt racialized knowledges.

So in short, what I do is loop Blackness from the dominant representations to the material and lived conditions – and then also back how that circulates and how people speak back. With that, I am drawing on scholars such as Tricia Rose, James Snead, and Henry Louis Gates, Jr. to emphasize Afro-diasporic models of culture that utilize repetition, layering, the cut, sampling and intertextuality in how Blackness is always in conversation with not only other Afro-diasporic members but also with the dominant society as well. So you have this transnational dialogue among each other but also the social forces that are impinging on their lives…

…MSK: All national and cultural contexts differ in how race in general and Blackness in particular is constructed and operate. How did this understanding of Blackness guide your work and what did you find?

BH: The interesting thing about Brazil is how Blackness is celebrated in quite a few but extremely limited ways through Afro-Brazilian culture, such as the hypersexual mulata, samba music, and male football players. Brazil uses this to portray itself as being racially exceptional, which attempts to say that racism is not a factor there. In many instances, many people would say to bring up race or even racial divisions is itself racist. The kind of national mythology of Brazil or the grand narrative is what we broadly call racial exceptionalism is such: Brazil had much more benign colonizing and slavery structures. As a result, race is not a matter of social division and that racism is not a social ill. One way they do that is to stress the interracial mixture that began in its colonial era and continues today. Keep in mind that, like in the United States, the Portuguese colonizer coerced African and Indigenous women into sex, often forcibly through rape. But this gets erased under national mythologies which is articulated through the racial democracy myth, national identities, and the fetishization of the hypersexual mulata. In short, it says to be Brazilian is to be racially mixed –to be mixed with Indigenous, African, European ancestry—and that is evidence of a raceless society.

Salvador da Bahia is crucial to these national mythologies. Bahia is crudely speaking the most African area in Brazil. Its population is approximately 80% African descendant in a city of three million. And that includes both dark-skinned and mixed Brazilians. But the discourses around Bahia are very much that of a city locked in the past with these kinds of premodern African cultural aesthetics that become widely known and celebrated and then circulate as the global imaginary…

Read the entire article here.