Scholarly perspectives on the mixed race experience.
While many commentators who supported the approval of BiDil for black patients state that “race” is not a scientifically precise term for identifying relevant genomic or physiological characteristics that differentiate population groups, nevertheless, they argue that “self-identified race” is a useful proxy for those characteristics. However, what is the evidence that the proxy “self-identified race” is a reliable surrogate? The best evidence derives from the fact that genetic variation conferring disease susceptibility is not equally distributed among ancestral populations. For example, sickle cell anaemia is more prevalent in populations whose ancestry can be traced to sub-Saharan Africa. However, “self-identified race” is a subjective term, influenced by cultural factors, and not even grounded in the ancestral genomics of, for example, the International HapMap Project. For the purpose of the clinical trials, “self-identified race” is interpreted as a dichotomous variable (black or non-black). If race were used as a proxy for ancestral African genomics it should be a continuous function (10%, 30%, 70%, etc). It makes no scientific sense to map a continuous function onto a dichotomous variable…
There are strength and pathos in the drawings. There are loneliness and community, a sense of the desperation of the individual – the prisoner, the victim – who, in the grasp of malevolent brutality, nevertheless maintains his will to survive.
There are watchtowers and barbed wire and closed gates and prison bars and armed guards, and there are portraits of pensive men who might be anywhere but are, in fact, confined for no crime but their existence.
The works are by Josef Nassy, a black artist of Jewish ancestry, who survived three years of Nazi prison camps during World War II and, in his art, left a lasting record of what he saw and felt.
A collection of Nassy’s works – about 115 paintings, drawings and ink washes – is now on exhibit at the Philadelphia Museum of Judaica, located in the synagogue of Congregation Rodeph Shalom, 615 N. Broad St. The exhibit, titled In the Shadow of the Tower, is the first U.S. public showing of Nassy’s works, which are on a three-year international tour that will take them to Jerusalem; Hamburg, West Germany; Brussels, Belgium; Chicago, and New York…
Jordan Peele, left, and Keegan-Michael Key in a scene from the final season of “Key & Peele.” Credit Comedy Central
The scene is a hauntingly familiar one: A white police officer stalks an unarmed black man in a dark alley and slams the man’s head into the open door of his patrol car.
But then, rather than being taken into police custody, the man is led through a magical door to the sunlit, upbeat streets of a utopia called Negrotown, whose black populace serenades the visitor about its city, where “you can walk the street without getting stopped, harassed or beat” and “you can wear your hoodie and not get shot.”
This comic sketch is one of many that have made “Key & Peele,” the Comedy Central series created by and starring Keegan-Michael Key and Jordan Peele, a television program that is uniquely calibrated to the current American moment, when real-life examples of racial polarization and conflict are ubiquitous, but opportunities in pop culture to process these divisions are rare.
It will be a bittersweet moment when this sketch comedy series concludes its final season on Sept. 9, after three years of fixing its satirical lens on stereotypes and social injustices. In its absence, there may be no alternative that so frankly addresses these enduring prejudices and disparities, especially at a moment when America’s racial divide has taken center stage in the national discourse…
…Mr. Key, 44, and Mr. Peele, 36, who are biracial, say they are ending the show by mutual agreement for the least complicated of reasons: They want to pursue other projects…
…“When Obama was elected, there was this mythology that, O.K., we’re over the racist thing — this is a postracial world,” Mr. Peele said. “And now, obviously, we’ve uncovered why that’s not true.”…
Achieving a dream career requires determination and drive, and when we look towards success it’s easy to forget that our histories are much more than just old distractions and challenges. Mixed race singing superstar May J. however has certainly not forgotten her roots. Her musical upbringing and multi-cultural heritage proudly serve as key influences in her career today; inspiring her unique direction, musical style and positive outlook on life.
May J.’s music style is as unique and as it is eclectic. Her repertoire includes classic ballads, many of which are Japanese translations of English language classics, and fresh tunes with flairs of modern J-pop, classic J-pop, and RnB. “I don’t really have one genre. I don’t like to categorise my music”…
…Growing up in homogenous Japan, May J. says she had no problem fitting in. “I was never bullied, and I enjoyed being mixed race. My friends wanted to learn languages from me! I grew up in a multi lingual household and would speak Japanese, English and a little bit of Farsi“. For those who experience prejudice for their race, May J. said, “Being mixed [race] is special. That’s who you are. Don’t feel like you’re different, [but] remember that you don’t have to be like everyone else. Believe in yourself.”…
The actress and activist talks exclusively to ELLE.com about everything from box braids to Black Lives Matter to her ambitions in front of and behind the camera.
As one of Hollywood’s most exciting young faces and voices, Amandla Stenberg—whose first name means “power” in Zulu and was used as a rally cry against apartheid in South Africa—more than lives up to the name in her presence, commentary, and poise. I know because I got to talk to the 16-year-old last week, and our conversation, which ranged fluidly from box braids to Black Lives Matter, did not disappoint. (And let’s be honest, some of us can’t even have this range of conversation with twenty- and thirty-somethings.)…
Though she wasn’t born when some of her boho, curly-haired predecessors were gracing the big and small screen in the early ’90s—actresses like Lisa Bonet and Cree Summer, who I grew up adoring—I get the feeling that Amandla is definitely a worthy heir to the crown. Of curls, of course.
First things first: Let’s talk about your style and particularly your hair. I noticed on Instagram that you experiment with different styles. Is hair a form of expression for you?
When I was younger, I struggled with my hair a lot because it was too hard to deal with—it was too poofy, it was too big, and I just wanted it to go down, flat against my head. I put treatments in my hair to try to make it look straight, and in the past year, I realized that that’s so not necessary. I really love my natural hair texture and my curls and so I went totally natural and had to do the big chop…and the curls sprung back to life.
And all of the sudden, it gave me so much more confidence. I’m so much more comfortable with my hair, my body, and everything. So hair is super central to how I express myself because it’s just kind of part of the Black experience: Doing your hair is always an event. I really love my hair, I really embrace it, and I’m so glad that I made the decision to wear it natural…
Some apples don’t fall far from the tree. Paradox Smoke Productions is proud to announce the launch of their new documentary, That Daughter’s Crazy, starring Rain Pryor. That Daughter’s Crazy is directed by Elzbieta Szoka, and produced by Sam Adelman and Daryl Sledge, and will be ready for film festivals in early 2014.
Carrying on a career as an actor/singer/comedian, beyond the shadow of her legendary father, Rain Pryor is an original, bold, and energetic voice, who brings us influences of her upbringing with a deep love and respect for her father. Her quest for individuality is exemplified in her award-winning one-woman show, Fried Chicken and Latkes, which dramatizes growing up in Beverly Hills in a bi-racial, half Jewish/half black household.
The film features footage, photos, press clippings of Rain’s life and career, as well as various interviews. A social commentary, the film explores themes of diversity, relationships between parents and children and a profound perspective of one entertainer’s journey.
Paradox Smoke Productions is devoted to developing unique and provocative stories; a fusion of narrative of films, documentaries, and theater pieces. Other credits include the Academy Award nominated short documentary film, Salim Baba, as well as Screen Door Jesus, Welcome to Academia and Beautiful People.
“What attracted me to our project at first was an electrifying performance of Rain Pryor in her highly acclaimed one woman show. As an “intellectual/artistic globetrotter” from what is still called “Eastern Europe,” I was curious what hid beneath her evocative title. The religious and performance ritual at its best! Axé, Rain! Shalom, my brother,” said Elzbieta Szoka, Director.
All media inquiries in reference to That Daughter’s Crazy, please contact Sam Adelman, tel: 212.600.5920 or email: sam@paradoxsmoke.com.
The history of race in the United States is often told in terms of black and white, a binary that leaves many out of the equation. “Blaxican” researcher Walter Thompson-Hernandez is trying to expand the conversation, with a project that features people who, like him, are African-American and Mexican. As part of a research project for the Center for the Study of Immigrant Integration at USC, where he works, he began interviewing people of “Blaxican” identity. The personal stories inspired him to take his project beyond academia and onto social media. So he started Blaxicans of L.A. on Instagram to share what he was seeing firsthand.
Blaxicans are dual minorities,” he told the Los Angeles Times. “We represent two of the largest ethnic minority groups. And I think because Blaxicans represent two of the most aggrieved groups in Los Angeles, it’s important to understand that certain sets of issues and challenges that have been traditionally labeled as African American or Latino, ultimately, do not exist for people who self-identify as Blaxicans.” They are affected by both the killings of unarmed black men by police and mass deportations…
A study of how notions of place and race inform the identities and performances of musicians in contemporary Cuba
Derived from the nationalist writings of José Martí, the concept of Cubanidad (Cubanness) has always imagined a unified hybrid nation where racial difference is nonexistent and nationality trumps all other axes identities. Scholars have critiqued this celebration of racial mixture, highlighting a gap between the claim of racial harmony and the realities of inequality faced by Afro-Cubans since independence in 1898. In this book, Rebecca M. Bodenheimer argues that it is not only the recognition of racial difference that threatens to divide the nation, but that popular regional sentiment further contests the hegemonic national discourse. Given that the music is a prominent symbol of Cubanidad, musical practices play an important role in constructing regional, local, and national identities.
This book suggests that regional identity exerts a significant influence on the aesthetic choices made by Cuban musicians. Through the examination of several genres, Bodenheimer explores the various ways that race and place are entangled in contemporary Cuban music. She argues that racialized notions which circulate about different cities affect both the formation of local identity and musical performance. Thus, the musical practices discussed in the book—including rumba, timba, eastern Cuban folklore, and son—are examples of the intersections between regional identity formation, racialized notions of place, and music-making.
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…
Speaking to the online entertainment journal TheWrap, one of the show’s stars Keegan-Michael Key said that it was time for him and his co-star, Jordan Peele, “to explore other things, together and apart.”
“It’s not because of Comedy Central, it’s us,” Mr. Key said.
“Key & Peele” premiered on the network in 2012 and won a Peabody Award in 2013 for its “inspired satirical riffs on our racially divided and racially conjoined culture.” The show, currently in its fifth season, received seven Emmy nominations this year, including a nod for Outstanding Variety Sketch Series…
…Both comedians are biracial and much of their comedy is given to exploring, mocking and confounding racial stereotypes. In accepting the show’s Peabody Award, Mr. Key expressly thanked the network for allowing “Key & Peele” to tell a diverse set of stories.
“We’d like to thank Comedy Central for giving us the opportunity to show the African-American experience as not a monolith, because it’s not,” he said. “It’s so many different stories and the danger of the world sometimes is trying to assign a single story to an entire group of people.”…
