Mixed Race Studies

Staceyann Chin Worries About Money, and Selling Out

The New York Times
2016-01-14

Laura Collins-Hughes

The day she traded in her little two-door convertible for a crossover S.U.V. — “a mom car,” she calls it — the performance poet Staceyann Chin went home and cried. It wasn’t enough that pregnancy had forever altered her body. Now, as she saw it, motherhood was taking away her sex appeal, too.

“But those are the ways it changes your life,” said Ms. Chin, 43, who has a curly, deep-red mohawk, a Jamaican lilt to her speech and, at her throat, a pair of silver necklaces, one of which is emblazoned with a single word: BadAss.

“And then you meet a whole bunch of other people who think moms are sexy,” she added cheerfully over dinner on Lafayette Street before a performance of her latest solo show, “MotherStruck!,” at the Culture Project. “Very strange, but true. They’re everywhere.”

The play tells the story of Ms. Chin’s determined quest to have a child in the face of considerable obstacles, such as being a cash-strapped, single, lesbian artist-activist with paltry health insurance. (In vitro fertilization? Definitely not included.) When at last she does get pregnant, it’s a victory, but a fragile one. At 14 weeks, she begins to bleed. And bleed…

Read the entire article here.

Color Lines: Racial Passing in America

BackStory with the American History Guys (A program of the Virginia Foundation of the Humanities)
Charlottesville, Virginia
2016-01-15

M. H. Kimball portrait of Isaac White and Rosina Downs, two New Orleans slave children, c. 1863. (Library of Congress).

On this episode of BackStory, the Guys will consider how and why Americans throughout the centuries have crossed the lines of racial identity, and find out what the history of passing has to say about race, identity, and privilege in America. We’ll look at stories of African-Americans who passed as white to escape slavery or Jim Crow and find out how the “one-drop rule” enabled one blonde-haired, blue-eyed American to live a double life without ever arousing suspicion. We’ll also explore the story of an African-American musician who pioneered a genre of exotic music with a bejeweled turban and an invented biography, and examine the hidden costs of crossing over.

Guests Include:

• Carol Wilson, Washington College
• Annette Gordon-Reed, Harvard University
• Martha Sandweiss, Princeton University
• Johanna Lanner-Cusin, high school history teacher
• Eva Garroutte, Boston College
• Allyson Hobbs, Stanford University
• Vasanth Subramanian, business consultant
• R. J. Smith, former senior editor, Los Angeles Magazine
• Adrienne Hernandez, great niece of Korla Pandit
• Maya Hernandez, great niece of Korla Pandit

Segments

• The Spark of Recognition
  • Historian Carol Wilson tells the story of a New Orleans slave named Sally Miller, who sued for her freedom after a German woman became convinced that Sally was really a long-lost German girl named Salomé Müller.
• Double Image
  • Historian Martha Sandweiss explains how the one-drop rule enabled a blue-eyed, blonde-haired geologist named Clarence King to lead a second life as a Black Pullman porter, without ever drawing suspicion.
• “Code-Switching”
  • Listener Johanna Lanner-Cusin, who identifies as black, talks about people’s assumptions about her race, not having experiences similar to darker African Americans, and “qualifying her blackness.”
• Blood Brothers
  • Historian Annette Gordon-Reed illustrates the fluidity of race with the stories of two sons of Thomas Jefferson and his slave Sally Hemings, one of whom passed into white society while the other lived his life as an African-American.
• High Stakes
  • Sociologist Eva Garroutte tells the story of Sylvester Long, a multiracial man who rose to silent film stardom in the 1920s after adopting the persona of an “authentic” Native American—until it all came crashing down.
• Passing In, Passing Out
  • Brian Balogh talks with historian Allyson Hobbs about an enormous but overlooked cost of racial passing: leaving one’s family, community, and heritage behind.
• “Guess Your Ethnicity”
  • Listener Vasanth Subramanian wishes society allowed him to choose his identity. He talks in detail about the prejudices children of immigrants face.
• Drawing the Line
  • The Guys explain how American slavery practices created racial boundaries, and, at the same time, complicated them.
• Playing Indian
  • Producer Nina Earnest explores the boundary between passing and performance with the story of John Roland Redd, an African-American organist who donned a bejeweled turban and rewrote his life story to become “Godfather of Exotica” Korla Pandit.

CORRECTION: This show includes a story about Sylvester Long, a man of mixed descent who styled himself as a pure-blooded Native American named Chief Buffalo Child Long Lance. We refer to him as a movie star who published a famous autobiography. In fact, Long Lance published his autobiography first—the popularity of the book catapulted him into movie stardom.

Listen to the podcast (01:05:14) here. Download the podcast here.

Phoebe Boswell: The Matter of Memory

Africanah.org: Arena for Contemporary African, African-American and Caribbean Art
Amsterdam, Kingdom of the Netherlands
2015-02-05

Yvette Greslé, Art Historian/Writer

Edited by Rob Perrée

Phoebe Boswell. ‘The Matter of Memory’, 2013-14. Installation view at Carroll/Fletcher [detail]. Courtesy the artist and Carroll/Fletcher.

I settle into an armchair and am surprised by voices audible from a mechanism buried in the fabric. I hear the voice of the artist, Phoebe Boswell, but also simultaneously, the voice of another. I discover that the chair on the right hand side (as I face the screen) transmits the voice of Boswell’s mother; and the other that of her father. Each parent narrates their memories of life in Kenya, where both were born, raised and married. As they narrate, their child (the artist) repeats their words. This device of multiple, simultaneous narration, does not obscure the speech of each. When the father pauses, the daughter pauses, when the mother sings, the daughter sings. This is a work of memory, a deliberate, staged act of remembering, but it is also a work of familial intimacy. The daughter appears to cherish the memories of the parents, repeating them so as not to forget. This gesture is poignant, it resists erasure and forgetting, and anticipates the inevitability of loss.

The armchairs, with their audio, are titled ‘When I Hear My Own Voice, I Can Hear Kenya’ (2013/14). These sound-objects are an important component in what is an immense spatial installation occupying the whole of the basement level of the Carroll/Fletcher Gallery. Titled ‘The Matter of Memory’ the work encompasses sound, looped projections, animations, objects, and drawings. It embodies the existence of multiple, simultaneous narratives functioning strategically to oppose assumptions about the world in which we live. Deeply sedimented racial prejudices that still hold the world in their thrall are potently countered and resisted. Boswell’s ‘The Matter of Memory’ draws attention to the continued critical significance of human subjectivity, and memory-work, as a counterpoint to the tyranny of singular, overarching narratives…

…Narratives of multiple-heritage and displacement are ones that many twenty-first century subjects, emerging out of historical conditions of travel and migration, can relate to. Boswell’s British-born, Kenyan father, is a fourth generation Kenyan settler and her mother is Kikuyu Kenyan. Visual significations of colonial settler life into which the artist’s father was born, and the Kikuyu Kenyan heritage of her mother is present throughout the installation. The story of this family is one wound up in migration: Boswell who moved to London in 2000, was born in Kenya but grew up in the Middle-East. She now lives and works in London having studied painting at the Slade School of Art and 2D Character Animation at Central St Martins. ‘The Matter of Memory’ invites us into the most intimate spaces of Boswell’s family history. It speaks about the presence of love despite the borders dreamed up by the historical obsession with racial difference. But this work is certainly no idealistic account of the transcendent capacities of love in conditions of trauma and social and political violence. Kenya inhabits the memories and the emotional life of mother, father and daughter who negotiate belonging, displacement, and ideas of ‘Home’….

Read the entire article here.

Musician Chi-chi Nwanoku discussing her life and work on Talking Africa

BlackRook Media
2015-05-12

Musician Chi-chi Nwanoku has been discussing her life and work on Talking Africa. Chi-Chi is a passionate advocate of music and particularly the double bass. She is a Principal Double Bass and founder member of the Orchestra of the Age of Enlightenment and Endymion Ensemble. Born in London of Nigerian and Irish parents, Chi-Chi is also a Professor at Royal Academy of Music, a broadcaster, writer and mentor.

Meet Team One Drop: Dr. Chandra Crudup

Fanshen Cox
2016-01-12

Meet One Drop of Love’s Production Manager, Dr. Chandra Crudup. She makes sure all technical aspects of the show are in place and lends lots of other support to Fanshen when we travel. She also often calls the show and hosts our Q&A talkbacks. She has her PhD in Social Work and is an experienced actor, choreographer and theatre producer. She’s also on the Boards of Mixed Roots Stories and MAViN. We are so grateful to have her on the team!

One Drop of Love is a multimedia one-woman show exploring the intersections of race, class, gender, justice and LOVE.

For more information, click here.

Why I’m Over The White-Washing Of ‘The Bachelor’ Every Season

Elite Daily
2016-01-05

KiMi Robinson
Los Angeles, California

I just cyber-stalked my ex and his new flings — except I never dated the guy, nor will I ever have that opportunity.

In other words, I went through all 28 contestant’s profiles from the upcoming season of “The Bachelor” to judge who I think will be the best fit for our Colorado sweetheart, Ben Higgins.

No matter how much I pride myself on being an independent, educated woman, I’m also a slave to this cruel franchise…

…Don’t get me wrong; I’m just as obsessed with the latter two couples as the next person, but I’m starting to get tired of the predictability of it all.

As a mixed-race child of Japanese and Caucasian parents, I’m eager to see things spiced up in the “Bachelor” franchise. In other words, when am I going to get to see an interracial couple?…

Read the entire article here.

How Our February Cover Star Amandla Stenberg Learned to Love Her Blackness

Teen Vogue
2016-01-07

Solange Knowles

Edited by Elaine Welteroth

Photograph by Ben Toms

She tells all to Solange Knowles in our latest issue.

I have a confession to make: I didn’t prepare for my interview with Amandla Stenberg. Though we had never met, from the outside looking in, I recognized her so deeply that I didn’t think I’d need to. There’s a secret language shared among black girls who are destined to climb mountains and cross rivers in a world that tells us to belong to the valleys that surround us. You learn it very young, and although it has no words, you hear it clearly. You sense it when you walk into rooms with your hair in full bloom, each coil glorious, your sway swift and your stance proud. You feel it like a rhythm you can’t shake if you even dared to quiet the sounds

Our conversation quickly reveals that Amandla knows it all too well: “I think that as a black girl you grow up internalizing all these messages that say you shouldn’t accept your hair or your skin tone or your natural features, or that you shouldn’t have a voice, or that you aren’t smart,” she says. “I feel like the only way to fight that is to just be yourself on the most genuine level and to connect with other black girls who are awakening and realizing that they’ve been trying to conform.”…

Read the entire interview here.

Multiracial in a Monoracial World: Interaciality Informing Academic Work

University of Michigan Hatcher Graduate Library
Gallery (Room 100)
913 S University Ave
Ann Arbor, Michigan 48109
2015-10-26

Martha Jones, Prof. of History and Afroamerican & African Studies, co-director of the Michigan Law Program in Race, Law & History. Dr. Jones’ scholarly interests include the history of race, citizenship, slavery, and the rights of women in the United States and the Atlantic world.

Edward West, Thurnau Prof. of Art and Design. Professor West’s photographs and writing examine the lives and experiences of multiracial people around the world. His recent exhibit and publication, So Called, drew from his travels around the world photographing multiracial people.

Mark Kamimura-Jimenez, Director, Graduate Student Success, Rackham Graduate School, Lecturer, Oakland University. Dr. Kamimura-Jimenez’s research examines the college experience for multiracial students.

What Does it Mean to be Multiracial in a Monoracial World? Part of a year-long series of events that explore what it means to be multiracial in a monoracial world. This faculty panel includes: Martha Jones, Prof. of History and Afroamerican & African Studies, co-director of the Michigan Law Program in Race, Law & History. Dr. Jones’ scholarly interests include the history of race, citizenship, slavery, and the rights of women in the United States and the Atlantic world. Edward West, Thurnau Prof. of Art and Design. Professor West’s photographs and writing examine the lives and experiences of multiracial people around the world. His recent exhibit and publication, So Called, drew from his travels around the world photographing multiracial people. Mark Kamimura-Jimenez, Director, Graduate Student Success, Rackham Graduate School, Lecturer, Oakland University. Dr. Kamimura-Jimenez’s research examines the college experience for multiracial students.

Watch the entire video (01:34:22) here.

The Free State of Jones Movie to be released May 13, 2016

Renegade South: Histories of Unconventional Southerners
2016-01-05

Vikki Bynum, Distinguished Professor Emeritus of History
Texas State University, San Marcos

The Free State of Jones Movie poster

Victoria E. Bynum is author of the book The Free State of Jones, Movie Edition: Mississippi’s Longest Civil War from which the move is based.

From the Archives: Adrian Piper’s “Blacks, Whites and Other Mythic Beings”

Art in America
2015-05-29 (Orignially published November 2001)

Eleanor Heartney

Adrian Piper, the uncompromising Berlin-based American artist and philosopher whose work applies the rigorous strictures of conceptual art to questions of race and identity, was awarded a Golden Lion award at the 56th Venice Biennale earlier this month. Piper received the honor for her participation in “All the World’s Futures,” where she showed The Probable Trust Registry. The piece asks participants to pledge to live by one or more of the following tenets: “I will mean everything I say”; “I will do everything I say I will do”; and “I will always be too expensive to buy.”

In this A.i.A. article from the November 2001 issue, reproduced below, contributing editor Eleanor Heartney reflects on Piper’s tendency “to favor the confrontational over the conciliatory” on the occasion of several traveling retrospectives of her work.

Blacks, Whites and Other Mythic Beings

By Eleanor Heartney

Adrian Piper has long pursued twin careers in art and philosophy. In response to a traveling retrospective, the author ponders the artistic consequences—and seeming contradictions—of Piper’s analytical observations about race.

Does race exist? Henry Louis Gates, Jr., among others, believes not. Labeling race a biological myth, the Harvard scholar has added that from a social and political perspective, race is best understood as a metaphor for something else and not an essence or a thing in itself. [1]

Adrian Piper’s career has been, in one sense, an exploration of this theory. As a light-skinned black woman who, she points out in works like Colored (1988) and My Calling (Cards), 1986-90, could easily pass for white, Piper questions the validity of racial categorization and examines the prevalence of social stereotyping. If race cannot be defined by science or be determined by a person’s visual appearance, she asks, why does it continue to retain such a powerful hold on the human psyche? And what, if anything, can be done to expose its artificiality in a way that will destroy its power?

Many artists have explored the subject of race in recent years, but Piper has been conducting her inquiry from a rather uncommon position. For the last quarter century she has pursued parallel careers as a visual artist with an extensive international exhibition history and as a professor of philosophy, currently on the faculty of Wellesley College. If autobiography provided the starting point for her exploration of race and racism, philosophy has shaped the form of her inquiries. But in the process, the application of abstract philosophical principles to this seemingly intractable social problem produces certain contradictions which suggest that even Piper is not immune to the insidious fictions of race…

Read the entire article here.