Mixed Race Studies

Q&A with ‘Indian Blood’ author Andrew J. Jolivette

University of Washington Press Blog
2016-06-24

In his new book Indian Blood: HIV & Colonial Trauma in San Francisco’s Two-Spirit Community, Andrew J. Jolivette examines the correlation between mixed-race identity and HIV/AIDS among Native American gay men and transgendered people, and provides an analysis of the emerging and often contested LGBTQ “two-spirit” identification as it relates to public health and mixed-race identity.

Prior to contact with European settlers, most Native American tribes held their two-spirit members in high esteem, even considering them spiritually advanced. However, after contact—and religious conversion—attitudes changed and social and cultural support networks were ruptured. This discrimination led to a breakdown in traditional values, beliefs, and practices, which in turn pushed many two-spirit members to participate in high-risk behaviors. The result is a disproportionate number of two-spirit members who currently test positive for HIV.

Using surveys, focus groups, and community discussions to examine the experiences of HIV-positive members of San Francisco’s two-spirit community, Indian Blood provides an innovative approach to understanding how colonization continues to affect American Indian communities and opens a series of crucial dialogues in the fields of Native American studies, public health, queer studies, and critical mixed-race studies.

We spoke with Jolivette about his book, published this spring.

What inspired you to get into your field?

Andrew J. Jolivette: American Indian studies is in my blood. I felt I had a commitment and a responsibility to give back to my community and I also felt that it was important that more Native perspectives be centered and not just represented or driven by outsiders…

Read the entire interview here.

Expat Mom Maria Tumolo On Raising A Multicultural Family In England

The Voix: Diverse Narratives. Native Insights
2016-07-07

Although she was happy and content with her life as it were back in Trinidad, Maria Tumolo was at a crossroad regarding her professional and personal development. She had received a firm offer of admission from Edinburgh University with the intention of pursuing a masters degree in publishing, but she had never been away from home. At the age of 27, she finally made the decision to move to England.

“I came to England on a working holiday visa. On arrival I lived and worked in Cambridge for a few months,” Tumolo says. “I eventually moved to London because at the time, I was living with the family of an English work mate who I met in Trinidad. When she decided to move back to Cambridge, I moved to London so she could be with her family. It was also easier to travel around Europe from London.”

Today, Tumolo lives in Surrey, England with her husband and children – Angelo and Valentina who are five & three years old respectively – where she is a children’s book author and the founder of a Trini-British Parenting & Lifestyle Blog that explores parenting as an expat, family experiences as a mixed heritage family, fashion and food.

Tumolo shares her journey to England and tells us more about raising a multicultural family…

Read the entire interview here.

Essence Fest: How Prince helped Misty Copeland discover artistic freedom

The New Orleans Times-Picayune
2016-07-02

Chelsea Brasted, Lifestyle and Culture Reporter

Misty Copeland recounted her own Prince tribute Saturday (July 2) during an Essence Fest weekend full of them. But for the first African American woman to be named principal dancer at the American Ballet Theater, the music star was a friend before she’d ever even seen him in concert.

“I’d never seen him perform live,” Copeland said during an interview with Soledad O’Brien on the festival’s Empowerment Experience stage. Copeland was emotional as she continued her story, adding, “I approached this relationship as this really hilarious quiet guy that became my friend, then I stepped onstage with him for the first time and I was like, OK, I get it now. Like, wow.”…

Read the entire article here.

‘Free State of Jones’ leader Newt Knight in his own words

The New Orleans Times-Picayune
2016-06-24

James Karst, Senior Editor

A photograph of Newton Knight from the New Orleans Item on March 20, 1921.

This interview with Newton Knight of Mississippi was originally published in the March 20, 1921, edition of the New Orleans Item. It was believed at the time to have been the only time Knight spoke to the press about the “Free State of Jones,” the subject of a new movie starring Matthew McConaughey as Knight and filmed in Louisiana.

The Knight interview is reprinted here in its entirety.

By Meigs O. Frost

The New Orleans Item

Far up in the heart of Jasper County, Mississippi, amidst a forest of pine and oak, where winding woodland paths lead through a tangle of thick underbrush, lives a man now nearing his ninety-second year.

Volumes have been written around him. Testimony of men now living, of men long dead, has been taken for and against him. Frugal of speech, he has gone his way through the years, careless of what men said of him in the outside world into which he ventures rarely. In simplicity primeval he has lived, as in primeval simplicity he will die.

That man is Newton Knight, captain throughout the Civil War of the famous Knight’s Company that ranged Jasper County and “The Free State of Jones,” as the neighboring Jones County is christened in some histories.

“Uncle Newt” Knight here for the first time in all the years breaks his silence to tell his story to The Item. As he recounts the tale, it is an epic of the Civil War. About him, he says, were banded men who, owning no slaves, believing in the Union of Abraham Lincoln, hoped either to fight through the Confederate cordon and join the Union forces or hoped that the Yankee ranks would fight through to them.

As others in Jones and Jasper County, staunch Confederates throughout the war, tell the tale, Newt Knight’s Company was composed of “bushwhacking deserters” from the armies of the Confederate States.

More than half a century has passed since men in this part of Mississippi bore arms for the Lost Cause. Their sons and their sons’ sons since then have fought overseas for the United States of America.

Yet beneath the surface in Jones and Jasper Counties still rankles the feeling that Uncle Newt Knight’s Company engendered when from 1862 to the end of the Civil War it defied the armed forces of the Confederacy and remained unconquered, though surrounded by Confederate armies from start to finish.

Whether Knight’s Company was a band of men whose loyalty to the Union was beyond their loyalty to the South; whether it was a band of Confederate deserters who simply “hid out” in the brush to avoid army service — those are questions that will be debated in Jones and Jasper Counties of Mississippi when the headstone of the last combatant has been long overgrown with moss.

But here and now enters Newton Knight into the Court of Public Opinion with his tale — a story that he told to me in the ninety-first year of his age, speaking with a mind apparently as unclouded and keen as that of one five decades younger than he…

Read the entire article here.

Journey into Speech-A Writer between Two Worlds: An Interview with Michelle Cliff

African American Review
Volume 28, Number 2, Black Women’s Culture Issue (Summer, 1994)
pages 273-281
DOI: 10.2307/3041999

Opal Palmer Adisa, Professor of Creative Writing
California College of the Arts

Among the subjects Jamaican born writer Michelle Cliff explores in her writings are ancestry, the impact of colonization on the Caribbean, the relationships among and interconnection of African people in the diaspora, racism, and the often erroneous way in which the history of black people is recorded. In her latest novel, Free Enterprise (1993), Cliff attempt: to rewrite the story of Mary Ellen Pleasant, the African American woman who supplied money with which John Brown bought arms for the raid at Harper’s Ferry. Her other two novels, No Telephone to Heaven (1987) and Abeng (1984), are semi-autobiographical and explore the life of Clare Savage, fair-skinned girl raised between Jamaica and North America, who must reconcile her mixed heritage in a changing society. Other works by Cliff include Bodies of Water (1990), The Land of Look Behind (1985), and Claiming an Identity They Taught Me to Despise (1980).

The following text is based on two separate interviews: one done in person in Albany, California, in December 1989, and the other conducted over the telephone in September 1993.

Adlsa: When did you find your voice, when did you decide that you wanted to be a writer?

Cliff: I always wanted to write. Actually there was a terrible incident. I don’t know if I should tell you, but I will. When I was at Saint Andrews I was keeping a diary. I had been very influenced by The Diary of Anne Frank, and as a result of seeing the movie and reading her diary, I got a diary of my own. I wasn’t living with my mother and father at this time; I was living with my aunt in Kingston [Jamaica] and going to Saint Andrews. This aunt also had a house in Saint Ann, where we used to stay on the weekends. Anyway, my parents broke into my bedroom in Kingston when we were not at the house. They went into my room, broke open my drawer, took out and broke the lock on my diary, and read it. Then they arrived at the other house. My father and mother had my diary in their hands and sat down and read it out loud in front of me, my aunt, and everybody else. My sister was there. There were very intimate details; there were a lot of things about leaving school and not going to class and playing hookey, but there was also the experience of the first time I menstruated, and I remember just being shattered. My father read it, and my mother was in total collaboration. (Pause.) Anyway I remember just crying and being sad and whatnot. I spoke to my sister about it once, and she remembered, even though she was seven at the time. And she said, “Don’t you remember screaming and saying, ‘Don’t I have any rights?'”…

Oral history interview with Benny Andrews, 1968 June 30

Archives of American Art
Smithsonian Institution

Andrews, Benny, b. 1930 d. 2006
Painter
Active in New York, N.Y.

Size: Transcript: 29 pages

Format: Originally recorded on 1 sound tape reel. Reformated in 2010 as 2 digital wav files. Duration is 2 hrs., 12 min.

Collection Summary: An interview of Benny Andrews conducted 1968 June 30, by Henri Ghent, for the Archives of American Art.

Andrews remembers his childhood on a sharecropping farm in Georgia, difficulties he faced being light-skinned, and his struggle to get an education. He speaks of the role of the 4-H Club in his escape from that life and his attempts at painting using improvised materials. Andrews describes how he worked his way to college and joined the Air Force. He recalls passing himself off as white in certain situations, the insights into race relations he was able to gain that way, and his consciousness of being black as it affects his art. He notes the importance of other artists who encouraged him, and ends with a general characterization of his work.

Biographical/Historical Note: Benny Andrews (1930-2006) was a painter and lecturer from New York, New York.

This interview is part of the Archives’ Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.

Funding for the digital preservation of this interview was provided by a grant from the Save America’s Treasures Program of the National Park Service.

For more information, click here.

Merle Dandridge on “Blasian” Identity and Oprah Winfrey Network’s new summer original series “Greenleaf”

CAAM: Center of Asian American Media
2016-06-20

Mitzi Uehara Carter

Merle Dandridge started her career on Broadway with leading roles in Spamalot, Aida, Rent, Tarzan, and Jesus Christ Superstar. Not only does she have singing chops, she shines on screen. Dandridge has been cast in recurring roles on television shows including The Night Shift, CSI: Miami and Stalker.

Dandridge has also broken into a field that is gaining more serious attention from actors — video games. Female actors can often find well developed, complex characters in narrative-led gaming roles. This year, she won BAFTA’ best performer for her role in the popular post-apocalyptic Playstation game, “Everybody’s Gone to the Rapture.”

I spoke with Dandridge about her starring role in the upcoming original drama series, Greenleaf, on the Oprah Winfrey Network (OWN), which debuts June 21, 2016. This is her first lead role on a television series. Dandridge talked to me via phone from Los Angeles about this new summer drama that is chock-full of award-winning actors and writers. We also squealed about being Black and Asian and she hinted at a possible “Kimchi and Collards” project…

…Ok, Merle. I’m Black and Asian and I have to tell you I did a little happy dance when I learned your mother is Asian and your dad is Black American right? And you were born in Okinawa where my mom is from. Seriously now. I’m so psyched you’re Black Asian. Can you tell me a little about growing up with this very particular mixed background?

Your kidding me? I don’t know others of that mix. How interesting! My mother is half Japanese and Korean. And I have older siblings who are mostly Korean, 1/4 Japanese, because of my mom’s first marriage to a Korean man. I was born in Okinawa but most of my time in Asia was in Seoul. My mother belongs to two cultures that didn’t really accept her 100 percent. So she had this understanding of rejection based on her own experiences. She would look at me and say, “You are of different ethnicities and you might not always be accepted so go into the world knowing that and know that you are more than that. You are beautiful.” And in many ways she instilled a sense of who I was and gave me ways to encounter fears of not being fully accepted. And in Nebraska as one of the only ones [mixed Asians], I think it was a good exercise in becoming a good person because I think I had to be above the confusion, the potential rejections…

Read the entire interview here.

Considering Brazil’s Racial Heritage

Hyperallergic
2014-12-15

Laura C. Mallonee

The 18th-century Brazilian sculptor Aleijadinho was the mixed-race son of a black slave and one of his country’s most legendary artists. In the gold-rich state of Minas Gerais, where millions lost their lives in the mines, tourists still pay to visit the immaculate baroque churches he embellished. Though leprosy took his fingers, rumor has it he continued chiseling away with tools tied to the stumps of his hands.

Aleijadinho’s enigmatic life married two contrasting subjects that have preoccupied Adriana Varejão for the past 20 years: the oft-forgotten history of Brazil’s mestizo identity, and the dramatic baroque art of the colonial period. These underpin series like Tongues and Incisions (1997–2003) and more recently Polvo (2013–2014), both which are currently featured in Adriana Varejão at the Institute of Contemporary Art in Boston — the artist’s first U.S. solo museum show.

Varejão spoke with us recently from her studio in Rio de Janeiro about her childhood in Brasilia, why she is drawn to painting meat, and how she feels about being a “Latin American artist.”

Laura C. Mallonee: Your family lived in Brasilia when you were very young, because your father was a pilot in the air force. That would have been less than a decade after the city was completed in 1960. What was it like?

Adriana Varejão: Just emptiness. No history. Very red, because the earth is red, and there was a lot of earth around because there was not much vegetation. They’d just built everything. This crazy president had decided to build a capital in the middle of nowhere. They called many people from all over Brazil to build Brasilia, so there was a huge amount of immigrants. Black people, Indian people, very mixed race. Very, very poor people. And they built these satellite cities where these people used to live. They were miserable cities. My mother used to work with child malnutrition in a hospital in one of them. I remember the kids with those huge bellies…

…LCM: How do you view yourself racially?

AV: I am as Portuguese as I am Indian as I am black. I believe in building a mestizo identity, which means to have everything together with balance. When people come to Brazil, they forget their ancestral identity. They tend to. So Brazilians become Brazilians very quick. People don’t say here, “I’m Afro-this and this.” Or, “I’m Portuguese this and this.” No, they say, “I’m Brazilian.” This is a good point about us…

Read the entire interview here.

The Great New Orleans Kidnapping Case

Tripod: New Orleans At 300
89.9 FM WWNO
New Orleans, Louisiana
2016-06-16

Laine Kaplan-Levenson, Producer

The Provost Guard in New Orleans taking up Vagrant Negroes. (1974.25.9.190) THE HISTORIC NEW ORLEANS COLLECTION

It was June. It was hot. Kids were out of school, keeping busy outdoors. Parents were inside. Kind of like how it is now, except it was 146 years ago.

“It is a world turned upside down,” says Michael Ross, historian and author of ‘The Great New Orleans Kidnapping Case: Race, Law, and Justice in the Reconstruction Era.’ He’s talking about the year 1870, at the height of reconstruction. “You have five cities in the South that have integrated their police forces, at a time when not a single police force in the North had integrated.

It’s true. The NOPD first hired black officers in the 1860s. New York City didn’t have an African American in their ranks until 1911. This is one of the many things that makes New Orleans a stage for social change in the U.S. after the Civil War. One crime in particular brought these changes into focus.

Molly Digby is 17 months old and playing outside with her older brother. Two women of color walk up to the kids and start talking to them, until they’re all interrupted by a loud noise down the street. The women tell the boy he can go see what all the excitement is about, and they’ll watch the baby. He runs off, and when he comes back, the women, and baby Molly, are gone.

“A white baby is abducted by two mixed race women called Mulattos at the time,” Ross explains. “That story would have been just one of many terrible stories of that day that would have been buried in the third page of the newspaper. But a number of factors lead to it getting front page attention.”…

Read the story here. Listen to the episode here.

Star Trek’s Zoe Saldana Drops the Mic

Allure
June 2016

Sarah Van Boven

She doesn’t shy away from confronting sexism. She doesn’t shy away from facing issues of race in Hollywood. In fact, Zoe Saldana doesn’t shy away. Full stop.

Zoe Saldana is talking shit. No, for real: “Everybody told me, ‘Oh, don’t worry, I know you hate changing diapers, but when you have your own kid…. Well, guess what? I had my own kids, and I will do whatever I need to do to not change a dirty diaper,” the 38-year-old star of this month’s Star Trek Beyond says of her now-19-month-old identical twin boys, Cy and Bowie. “A blowout? I can’t do it—I end up with shit everywhere! There is shit on the boy; there is shit on me; there is shit in my hair. And I’m like, How did this happen?”

How did this happen? How did the little girl from Queens who got shipped off to the Dominican Republic at nine years old when her father died suddenly and her mother needed to focus like a laser on supporting her family end up here, dropping an ice cube into the glass of pink champagne she’s having to celebrate wrapping up a photo shoot with Patrick Demarchelier? Well, first of all, you get the feeling that things don’t “happen” to Zoe Saldana. She wills them into existence with the same titanium-core determination that propelled her from her breakout role as a mouthy ballet student in the 2000 movie Center Stage straight through to her impressive current position of starring in not one, not two, but three blockbuster movie franchises that have already grossed a cumulative $4.4 billion worldwide (and that’s before the filming of Guardians of the Galaxy Vol. 2 has even wrapped or Avatar 2, 3, 4, or 5 has come to an IMAX anywhere near you). But enough about her hugely successful career. Saldana wants to get back to talking about her toddlers…

…Which brings us to a topic that has dogged Saldana for almost five years: her role as the iconic black singer in the recently released biopic Nina. From her initial casting in 2012 to the first trailer on YouTube to the quiet, no-fanfare release of the film in April, Saldana has been pilloried online for having the audacity to play the dark-skinned, highly political singer. And after Saldana tweeted a quote from Simone, the singer’s estate tweeted, “Cool story but please take Nina’s name out of your mouth. For the rest of your life.” Saldana faces these criticisms, like everything else in her life, head-on.

“There’s no one way to be black,” she says quietly and slowly, clearly choosing her words carefully. “I’m black the way I know how to be. You have no idea who I am. I am black. I’m raising black men. Don’t you ever think you can look at me and address me with such disdain.”…

Read the entire article here.