“We Are Not Used to People Thinking We Are Beautiful”

Posted in Anthropology, Articles, Arts, Caribbean/Latin America, Media Archive, Mexico on 2017-06-08 00:49Z by Steven

“We Are Not Used to People Thinking We Are Beautiful”

The New Yorker
2017-06-02

Jonathan Blitzer


Photograph by Cécile Smetana Baudier

It was a toothache that brought the Franco-Danish photographer Cécile Smetana Baudier to Costa Chica, on the Pacific Coast of Mexico. She was in Oaxaca at the time, for a project on women’s fashion, when she visited a dentist with a special reputation among cash-strapped local photographers. He accepted payment in the form of photographs. His waiting room, in Oaxaca City, was like a gallery, with framed images along the walls and piles of art books cascading over tables. There, just before getting a molar pulled, Baudier came across a series of photos of reedy men with fishing rods and nets, lolling in boats and along the banks of lagoons. She was surprised, given the fact that the men were black, to learn that the photographs had been taken in Mexico, in the remote southern states of Oaxaca and Guerrero. It was the first time she had ever seen images of Afro-Mexicans, and she decided to try to contribute some of her own. A few weeks later, she set out for El Azufre—a secluded coastal fishing village with a large Afro-Mexican population—where she spent five weeks living in a tent pitched on the front yard of an acquaintance’s house.

The African presence in Mexico dates back to the early sixteenth century, when Spanish conquistadors and colonialists arrived; with them came the slave trade. As many as two hundred and fifty thousand African slaves were transported Mexico, according to academic estimates*. At the turn of the nineteenth century, ten per cent of the population had African origins, but Mexican independence ignited a new national dialogue that downplayed race and elevated, instead, the idea of common citizenship. Even though some of the country’s most iconic freedom fighters and early politicians had African roots, their accomplishments fed a celebration of the broader mestizo culture. The history of Afro-Mexicans ever since has been one of erasure and marginalization. Today, there are 1.4 million citizens of African descent in Mexico, but the government did not recognize them officially until a 2015 census count…

Read the entire article here.

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Mixed Art Conference

Posted in Arts, Canada, Live Events, Media Archive on 2017-06-02 19:16Z by Steven

Mixed Art Conference

Toronto Central Grosvenor St. YMCA Centre
20 Grosvenor Street
Toronto, ON M4Y 2V5, Canada
2017-06-03

“The aim of this multidisciplinary biennial art conference is to co-create an inclusive dialogue about racialized mixed identities and lived realities through an intersectional lens.”

For more information, click here.

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Australia’s ‘Stolen Generations’ Tell Their Stories

Posted in Articles, Arts, Autobiography, Media Archive, Oceania on 2017-05-28 22:50Z by Steven

Australia’s ‘Stolen Generations’ Tell Their Stories

Lens: Photography, Video and Visual Journalism
The New York Times
2017-05-24

Evelyn Nieves


Margaret Furber was born in Alice Springs, Australia, in 1947. She was placed in St. Mary’s Hostel on the outskirts of town because her mother was not able to take care of her. Her siblings were all sent to the Tiwi Islands. “We were all taken and separated in different ways,” she told the photographer. Nov. 6, 2015.
Matthew Sherwood

Alfred Calma was 4 years old when the police snatched him from his mother, never to live with her again. Joyce Napurrula-Schroeder was not quite 2 when it happened to her. Luke Morcom was a newborn, barely a week on this earth.

All had the bad luck of being born “half caste” during Australia’s disastrous experiment with forced assimilation. For 60 years, until 1970, government policies rounded up Aboriginal and Torres Strait Islander children deemed to be part-white and sent them to boarding schools and church-run missions. Like the Canadian First Nations’ and the United States’ Indian boarding schools that served as its model, Australia’s program aimed to beat out all traces of indigenous culture, often literally.

Run more like penal colonies than schools, these institutions scarred their young wards and their communities for life.

Decades later, when Matthew Sherwood, a Canadian photojournalist, began documenting survivors of the boarding schools — the “stolen generations,” as Australia calls them — they unleashed hellish memories where neglect was the best it ever got…

Read the entire article here.

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Open auditions being held to find someone to play Phil Lynott on the big screen

Posted in Articles, Arts, Biography, Europe, Media Archive on 2017-05-28 14:58Z by Steven

Open auditions being held to find someone to play Phil Lynott on the big screen

TheJournal.ie
Dublin, Ireland
2017-05-27


Image: PA Archive/PA Images

Jim Sheridan is working on the documentary about his rise to stardom.

PRODUCERS ARE LOOKING for someone to play the part of Phil Lynott on the big screen.

An open casting is being held in Dublin this afternoon for an actor/musician/singer, aged 18 – 35, to play the part of Lynott in a feature documentary about his rise to stardom.

Six-time Oscar nominee Jim Sheridan and award winning documentary maker Colm Quinn are working together on the documentary. Sheridan said:

“Having known Phil, and loving his music from the very start, it’s a great honour to celebrate his life and work on the big screen…

Read the entire article here.

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The struggles of war babies fathered by black GIs

Posted in Arts, Autobiography, History, Media Archive, United Kingdom on 2017-05-24 01:14Z by Steven

The struggles of war babies fathered by black GIs

BBC News Magazine
2017-05-21


Getty Images

About 100,000 black GIs were stationed in the UK during the war. Inevitably there were love affairs, but US laws usually prevented black servicemen from marrying. So what happened to the children they fathered? Fiona Clampin met two such children in Dorset, now in their seventies, who have not given up hope of tracing their fathers.

A bottle of champagne has sat on a shelf in Carole Travers’s wardrobe for the past 20 years. Wedged between boxes and covered with clothes, it’ll be opened only when Carole finds her father. “There’s an outside chance he might still be alive,” she reflects. “I’ve got so many bits of information, but to know the real truth would mean the world to me – to know that I did belong to somebody.”

The possibility of Carole tracking down her father becomes more and more remote by the day. Born towards the end of World War Two, Carole, now 72, was the result of a relationship between her white mother and a married African-American or mixed-race soldier stationed in Poole, in Dorset.

Whereas some “brown babies” (as the children of black GIs were known in the press) were put up for adoption, Carole’s mother, Eleanor Reid, decided to keep her child. The only problem was, she was already married, with a daughter, to a Scot with pale skin and red hair.

“I had black hair and dark skin,” says Carole. “Something obviously wasn’t right.”…

Read the entire article here.

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Misty Copeland, a Ballerina With Real Acting Chops

Posted in Articles, Arts, Media Archive, United States, Women on 2017-05-14 18:47Z by Steven

Misty Copeland, a Ballerina With Real Acting Chops

The New York Times
2017-05-09

Gia Kourlas


As Misty Copeland gets older, she seeks even more depth in her acting.
Credit Dolly Faibyshev for The New York Times

Misty Copeland isn’t one of those principals who step onstage a few times a season. She dances. A lot.

“It’s crazy how I took jumping for granted all these years,” Ms. Copeland, 34, said as she stretched out on the floor between rehearsals at American Ballet Theater’s studios. Stella Abrera, a fellow principal, nodded in agreement. “What did you just do?” she asked.

“Kitri,” Ms. Copeland replied.

“Ouch,” Ms. Abrera said.

This season — Ms. Copeland’s second year as a principal — is a killer that includes her debut as Kitri in “Don Quixote” on Tuesday, May 16, and her New York debut as Giselle on May 26. As the company’s artistic director, Kevin McKenzie, put it, it’s symbolic because “she’s taking the mantle of the classics on.”…

…During a rehearsal the night before a performance in Washington earlier this year, Ms. Copeland described how after her first fouetté, she felt a pop in her neck and a warm sensation travel down her spine. “Even just approaching the fouettés,” she said, “it was like something tensed up in me and made that happen.”

So she reached out to a sports psychologist in California. “I spent 10 hours with this guy nonstop, talking about my feelings about myself in connection to my career and how I feel people are judging me,” she said. “Especially when it comes to that role, and what it means to be a black woman doing it. I’m trying to get to the root of all of it, and just be like as pure as I can be when I go out there and not carry all that baggage.”…

Read the entire article here.

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Let’s talk about sex (and race, and gender, and intersectionality)

Posted in Articles, Arts, Asian Diaspora, Interviews, Media Archive, United States, Women on 2017-05-06 01:40Z by Steven

Let’s talk about sex (and race, and gender, and intersectionality)

Open City
2015-03-23

Esther Wang

N’jaila Rhee is many things — a writer; a phone sex operator, web cam girl, and former exotic dancer; a nerd; and a self-described “Blasian bitch.”

A native of New Jersey and a Rutgers University alumna, she’s carved out a niche for herself as a vocal critic and commentator on issues ranging from sex workers’ rights to favorite toys to racism in the porn industry. She uses her blog, social media, and “After Dark,” the popular podcast she co-hosts on the “This Week in Blackness” network, as platforms to voice her provocative positions.

N’jaila’s mission, it seems, is to get us all to bring our private desires out from the bedroom and into the open. Do this, and “we’re all going to be a little more healthy,” she explained on a recent evening in a Brooklyn coffee shop.

We chatted about the need for more Asian American porn, her thoughts on 50 Shades of Grey, and what it’s like to, as she put it, be constantly “dancing at the intersections of race, sex, and identity.”,,,

You became a stripper in college. Why did you decide to become a dancer?

Sex is the most natural way that I can relate to other people. And it’s always something that just felt innately right. So because it was so easy for me to express myself sexually, it was something that I felt very comfortable with…

Did being Blasian impact the kind of work you got?

Certain promoters would want to highlight that I was mixed race, and they’d want me to say that I was like, Southeast Asian, or not Black. Or one guy wanted me to not speak English. I was uncomfortable with a lot, obviously.

I was told I couldn’t have my hair natural. It’s not like I have the curliest of ‘fros. But they didn’t want me to have natural hair, so I would wear a hair weave because you couldn’t be a mixed Blasian if you didn’t have silky straight hair.

I had to buy my identity for $220 a pop…

Read the entire interview here.

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Enrico Dungca’s The Amerasian Photography Project: The Forgotten Americans

Posted in Articles, Arts, Asian Diaspora, History, Media Archive, United States on 2017-05-05 23:15Z by Steven

Enrico Dungca’s The Amerasian Photography Project: The Forgotten Americans

Resource
2015-08-05

Marky Ramone Go

As one of the free world’s oldest allies, the United States and the Philippines have shared a storied past together. From fighting alongside each other to delay the Japanese’ war plans in World War II, to forming an armed presence in the Pacific by virtue of the United States two military bases; Clark Air Base and US Naval Base in Northern Luzon. However, hidden from these historical bonds lies a complex weave of direct blood descendants, of abandoned children sired by some members of the US Military during their service at the US bases in the Philippines, a large legion of fatherless men and women who possess multi-ethnicity looks born to single mothers, remains in search of half their roots. Often bullied in school for growing up in a broken household, these individuals harbors a secret wish of knowing their real fathers. For photographer Enrico Dungca, photographing them in order to send their message across the globe became a personal mission “The story begins with a young man I met during a trip in my birthplace, Angeles City. I was born and raised there and lived near the former Clark Air Base. I knew about the Amerasians and in fact witnessed many of them bullied and discriminated. I didn’t think much of it then for I was young and naive,” Dungca tells Resource Magazine.  More than 20 years after the last US Military Base closed down, an undeniable footprint of our Superpower ally still remains – and for some, something that needs to find closure soon…

Read the entire article here.

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One Drop of Love: Fanshen Cox discusses mixed race in America

Posted in Articles, Arts, History, Media Archive, Social Justice, United States on 2017-05-04 03:41Z by Steven

One Drop of Love: Fanshen Cox discusses mixed race in America

The Williams Record
Williamstown, Massachusetts
2017-05-03

Alex Medeiros, Opinions Editor


Fanshen Cox discusses her new work, ‘One Drop Love,’ while exploring history, family, class and love. Photo courtesy of Fanshen Cox

Last Thursday, the Students of Caribbean Ancestry (SOCA) coordinated a one-woman show produced and written by Jamaican-American Fanshen Cox DiGiovanni. This performance was part of “Heritage Week” celebrating SOCA heritage. Cox’s interactive show, called “One Drop of Love,” explores history, family, class, justice and love. It challenges the audience to recognize the enduring power of the “one drop rule.”

In the 18th century, when the slave trade was in full force, many of the colonists who came to the Caribbean islands raped their slaves, resulting in mixed race children. Although some of these children were lighter skinned, like Cox, the “one drop rule” pronounced that one drop of African blood meant that the child was of African descent and therefore could not benefit from being the son or daughter of a white man. In fact, many millions of people in the United States still endure the repercussions of such an arbitrary rule, centuries after it was created.

Cox’s performance, also produced by Ben Affleck and Matt Damon, aimed to address this issue of the “one drop rule.” As a half-Jamaican half-Caucasian woman, Fanshen has experienced her fair share of racial confusion…

Read the entire article here.

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#RedefineAtoZ: Blasian Narratives, a ‘Vulnerable’ Exploration Into Racial, Cultural Identities

Posted in Articles, Arts, Asian Diaspora, Identity Development/Psychology, Media Archive, United States on 2017-05-04 02:22Z by Steven

#RedefineAtoZ: Blasian Narratives, a ‘Vulnerable’ Exploration Into Racial, Cultural Identities

NBC News
2017-05-01


Blasian Narratives is a “multi-media docu-theatre project that takes an intimate look into the lives of Black and Asian individuals to explore the constructs of racial and cultural identities, and to explore difference and marginalization in the United States and beyond.” Paulo Chun / NBC News

NAME: Jivan Atman (creator, director); active cast: Julian Booker, Marlon Booker, Cenisa Gavin, Shiranthi Goonathilaka, Janei Maynard, Chris Sanders

(Past and recent contributors: Jessica Lam, Malcolm Lizzappi, Audrey Williams, Fredrick Cloyd, Paula Reyna Williams, Whitney Francis, Charon Cummings, Sabrina Im)

AGES: Early and late 20’s, a 40-something and 60-something

HOMETOWNS: Phnom Pehn, Cambodia; Anchorage, Alaska; Honolulu, Hawaii; Atlanta, Georgia; Oakland, California; San Francisco, California; San Diego, California; Long Beach, California; London, UK; St. Paul, Minnesota; Westminster, California; Houston, Texas; Aurora, Colorado; Sarasota, Florida

TWITTER: @blasianproject / INSTAGRAM: @blasianproject / FACEBOOK: Blasian Narratives

Read the entire article here.

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