Scholarly perspectives on the mixed race experience.
Your book covers academic arguments surrounding these things and the culture surrounding these topics, but it was born from a very personal place. What was it like for you growing up in a larger white society as a person of colour?
The term person of colour is quite generic; I feel like if I’d been a person of colour who had straight hair I would have had a very different experience than somebody who was racialised as black and had extremely Afro-textured hair. My blackness and my hair texture was a very defining feature of that experience, and my hair was treated very much like it was an affliction. Certainly something to be ashamed of. I didn’t see anybody with this type of hair, so there was very much a sense of “why have I been sabotaged in this way?”
Growing up in Dublin, the expertise and the products that were required to maintain my hair were sorely absent. My Mum would bring me to the UK occasionally and I remember when I was 12 she brought me to Tottenham, and I got a Jheri curl. When I was 17 I got my hair properly relaxed in a salon and had all this weave attached for like the first time — honey blond tracks, I was overjoyed. It felt like salvation.
Probably, but then again, these days, what is the best way to refer to a person, like me, like many of the characters in my book, men and women who have a black parent and a white parent? Biracial—which I’ve used more than once—is simply too generic; mixed race has always struck me as sloppy. What’s that leave? Half-caste? Halfie? Multiculti? After a while, mulatto starts looking pretty good again…
Fred Wah was born in Swift Current, Saskatchewan in 1939, but he grew up in the West Kootenay region of British Columbia. He studied music and English literature at the University of British Columbia in the early 1960s where he was one of the founding editors of the poetry newsletter TISH. After graduate work in literature and linguistics at the University of New Mexico in Albuquerque and the State University of New York at Buffalo, he returned to the Kootenays in the late 1960s where he taught at Selkirk College and was the founding coordinator of the writing program at David Thompson University Centre. He retired from the University of Calgary in 2003 and now lives in Vancouver. He has been editorially involved with a number of literary magazines over the years, such as Open Letter and West Coast Line. His work has been awarded the Governor General’s Award, Alberta’s Stephanson Award for Poetry and Howard O’Hagan Award for Short Fiction, the Gabrielle Roy Prize for Writing on Canadian Literature, and B.C.’s Dorothy Livesay Prize for Poetry. He was Parliamentary Poet Laureate 2011-2013 and he was made an Officer of the Order of Canada in 2013. He has published over 20 books of poetry and prose. Recent books include Sentenced to Light, his collaborations with visual artists, is a door, a series of poem about hybridity, and a selected, The False Laws of Narrative, edited by Louis Cabri. A recent collaboration, High Muck a Muck: Playing Chinese, An Interactive Poem, is available online (http://highmuckamuck.ca/). His current project involves the Columbia River. Scree: The Collected Earlier Poems, 1962-1991 will be published by Talonbooks in the fall of 2015.
Q: I’m curious about your tenure as Poet Laureate. From 2011 to 2013, you were Canada’s fifth Parliamentary Poet Laureate, following in the footsteps of George Bowering (2002–2004), Pauline Michel (2004–2006), John Steffler (2006–2008) and Pierre DesRuisseaux (2009–2011). In hindsight, what do you feel you were able to bring to the position, and do you feel your tenure was a successful one? What did the position allow you to do that you might not have been able to do otherwise?…
Moogega (무지개) Cooper was a top competitor on season one of TBS’s reality competition show, King of the Nerds. It premiered on TBS in January 2013 and the season just ended in early March 2013.
The King of the Nerds premise: “The series will follow 11 fierce competitors from across the nerd spectrum as they set out to win $100,000 and be crowned the greatest nerd of them all.”
Although she did not win the competition, Moogega did place 5th overall and gained a considerable fan following from her involvement on King of the Nerds.
Her “day job” is as a Planetary Protection Engineer at Jet Propulsion Laboratory, a NASA field center. Although the job title may sound a little nerdy, it is quite an interesting and important job in relation to space research and exploration.
We were able to cover some of Moogega’s personal background, her professional career and, of course, discuss her King of the Nerds experience and are pleased to present this interview.
Please note that HalfKorean.com comments/questions are in BOLD.
Background: The Basics on Moogega
Where and when were you born, raised and currently reside?
I was born in 1985 in Southern New Jersey. I was raised there until I was 10 years old. We then all moved to Virginia. Once I finished graduate school in Philadelphia I moved to southern California for my job. I won’t leave southern California at all because I love it here!
How did your parents meet?
They met in Korea. My dad would go there several times to just hang out. He used to be in the military and would go back and forth. He met my mom through mutual friends. I kind of want to get a shirt made that says “Made in Korea” as I was definitely conceived there. They had a small ceremony in Korea and he then brought her back to the United States where they were married in the US…
…Did you grow up around other mixed Koreans or people of mixed heritage?
What was very interesting was that because we were around a lot of military people, there were a lot of mixed heritage people. No one that was mixed exactly like me but I was used to growing up with a rainbow of people.
Did you ever experience any identity issues while growing up?
A lot of people when they look at me and when I reveal to them that I’m half Korean, they say that they don’t see it at all and think that I’m black. I get a lot of people that say that and they try to impose their own classification of my identity and I embrace both sides…
Remember these pictures? They were part of National Geographic’s mixed race photo campaign “Changing Faces” published in October 2013. “We’re becoming a country,” stated the magazine, “Where race is no longer so black and white.” The images were shot by famous German portrait photographer Martin Schoeller who said he liked “building catalogs of faces that invite people to compare them.” I think it’s safe to say that happened. The gallery was widely viewed (it being National Geographic after all) and more or less greatly admired (it being Martin Schoeller after all). But there was some criticism, including my own, which I wrote about for Racism Review in “Mixed or Not, Why Are We Still Taking Pictures of “Race”?” One of the larger questions I raised was around the idea that we use images of mixed race people to debate race, without including those mixed folk in the debate themselves. I concluded that essay with a proclamation:
While modern race-photography believes itself to be celebrating the dismantling of race, it may actually be fooling us (and itself) with a fantastically complicated show of smoke and mirrors…We need to make much, MUCH more space for something ultimately pretty simple — the stories of actual people themselves which in the end, will paint the real picture.
But here’s a truth I want to share with you. I also felt at the time that me making this proclamation wasn’t enough. That I had to do more than just say it. I needed to live it; make a commitment to the practice I was preaching. So. As an old friend used to say, “Where attention goes, energy flows.” Soon after making this personal resolve I had the amazing good fortune of running into Alejandro T. Acierto, a mixed race identifying person who was photographed for National Geographic’s campaign. He graciously agreed share with me/us what “Changing Faces” was like for him through his own experience, his own words, and his own lens…
Jose Antonio Vargas is a Pulitzer Prize-winning journalist and immigration activist. His new documentary “White People,” which airs tonight on MTV, follows Mr. Vargas as he travels the country speaking to young people about issues of race, particularly what it means to be white and experience white privilege. Because, Mr. Vargas said, “You cannot have a conversation about race in this country and not include white people in it.”
The documentary is part of MTV’s Look Different campaign, which aims to erase hidden gender, racial and anti-LGBT bias and uses data from a 2014 MTV survey of 14- to 24-year-olds that found that people in this age group are more tolerant and diverse than previous generations but are uncomfortable talking about race and adhere to the ideal of color blindness.
Mr. Vargas spoke about the controversy surrounding the documentary, Donald Trump’s comments about immigration and Rachel Dolezal. Here are edited excerpts from the conversation:…
…Q. What is your definition of white privilege?
A. I think people get tripped up by the word “privilege.” I’m talking about systematic institutionalized differences. I had a lot of people writing me emails saying, I’m not privileged. For example, this weekend I was with Martin O’Malley in front of progressive liberal activists. Responding to the “Black Lives Matter” protest at the conference, he said: “Black lives matter. White lives matter. All lives matter.” And the audience, which was diverse, gasped. They actually booed him. Because institutionally, if you look at incarceration rates, if you look at the criminal justice system, black people are at a disadvantage. So the moment he said that, he took it back and apologized. And some people took offense to that. Why did Martin O’Malley have to apologize for saying white lives matter? And this woman on Twitter was genuinely hurt; her tweet to me was, “My white life matters.” And I tweeted back at her and I was like, “Of course it does.” Of course it does, but your life mattering has been a given…
…Q. What have you learned about race while working on this documentary?
A. That the conversation has just started. And a lot of the time it’s framed as black and white. Well, where do Latinos and Asians fit in that conversation? Where do biracial people fit into that conversation? Where do multiracial people fit into that conversation? Where do the Rachel Dolezals of the world, of this country, fit into that conversation?
Q. What do you think about Rachel Dolezal?
A. For me, that’s an example of what white privilege is. She can pass. There are many black people who can say that they are white as much as they can but who will never look physically white…
For a time this summer, it seemed all anyone could talk about was the N.A.A.C.P. chapter president whose parents had “outed” her as white. The tornado of public attention has since moved on, but Rachel Dolezal still has to live with her choices—and still refuses to back down.
It’s safe to say that Rachel Dolezal never thought much about the endgame. You can see it on her face in the local-TV news video—the one so potently viral it transformed her from regional curiosity to global punch line in the span of 48 hours in mid-June. It is precisely the look of a white woman who tanned for a darker hue, who showcased a constant rotation of elaborately designed African American hairstyles, and who otherwise lived her life as a black woman, being asked if she is indeed African American.
Tessa Souter is known as a New York City singer-songwriter, but her biography runs much deeper. She’s taken a few detours on her way to the jazz clubs.
A runaway at 16, a magazine journalist writing for Elle and Vogue, a student of the legendary hipster scat singerMark Murphy, a house cleaner while waiting for the singing career to blossom.
Souter, who has released four albums, is at the Xerox Rochester International Jazz Festival, performing at 6 and 10 p.m. Tuesday at Montage Music Hall. While in Spain a week and a half ago, she took a little time to answer some questions.
It’s fantastic because you don’t feel inhibited. If you can’t come up with anything, you don’t have to show it to them. And they’re not wondering what you are going to do with it, or if you will understand what they meant. Of course that doesn’t mean Ludwig isn’t rolling over in his grave right now. But he did write some wonderful vocal music, so he clearly wasn’t anti the whole idea of lyrics…
…You were born in London, your mother was English, your father was from Trinidad. How does that multicultural heritage work its way into that most-American of music genres, jazz?
When I first moved to New York, I sang at a cabaret open mic once, and the pianist said, “You’re not a cabaret singer. You are a jazz singer.” But I don’t try to be “jazz.” A friend, and one of my mentors, an amazing singer called Mansur Scott, once told me, “Just sing your story.” Mine includes the musical influences of my life — my mum singing to me, songs we sang together, my tween obsession with Sandy Denny, Fairport Convention, Pentangle and Joni Mitchell, my discovery of Miles Davis when I was 16 on Cannonball Adderly’s “Somethin’ Else.” Then I found Milton Nascimento and through him Sarah Vaughan and Wayne Shorter, whose Native Dancer is still my favorite album of all time. There are so many styles of jazz. Definitely American in origin. But isn’t jazz kind of like gumbo? It is itself multicultural. One of my very favorite “jazz” singers — Youn Sun Nah, who I discovered relatively recently (and who was a favorite at last year’s jazz festival) — is Korean…
In Episode 22 of The Multiracial Family Man Podcast, host Alex Barnett (the White, Jewish husband of a Black woman who converted to Judaism and the father of a 3 year-old, Biracial son) is joined by guest, Jennifer Frappier, Producer and Event Planner for the Mixed Remixed Festival, an actress and spokesperson, and who is an advocate for egg-freezing.
Listen as Jen talks about growing up as a multiracial person in Virginia in the 70s and 80s, about the racial issues that arose during her childhood, and about the racial issues that continue to confront her as she makes her way in her acting career. In addition, Jen speaks with Alex about the growth of the Mixed-Remixed Festival and how it’s become a haven for multiracial people. Finally, check out their conversation about egg freezing, which is becoming more and more of an issue as women delay childbirth until later in life.
The recent case of Rachel Dolezal – the “black” activist outed as white – may have seemed novel, but she’s actually part of an old tradition of racial passing in this country. How long has passing been going on and how has it changed over the years? What’s it tell us about racial categories and color lines? Why are we so fascinated with passing stories? I spoke with historian Allyson Hobbs about her book A Chosen Exile: A History of Racial Passing in American Life.
