Mixed Race Studies

Drum Dream Girl: How One Girl’s Courage Changed Music

Houghton Mifflin Harcourt
2015-03-31
48 pages
Hardcover ISBN-13/ EAN: 9780544102293
eBook ISBN-13/ EAN: 9780544102286

Margarita Engle

Rafael López

In this picture book bursting with vibrance and rhythm, a girl dreams of playing the drums in 1930s Cuba, when the music-filled island had a taboo against female drummers.

Girls cannot be drummers. Long ago on an island filled with music, no one questioned that rule—until the drum dream girl. In her city of drumbeats, she dreamed of pounding tall congas and tapping small bongós. She had to keep quiet. She had to practice in secret. But when at last her dream-bright music was heard, everyone sang and danced and decided that both girls and boys should be free to drum and dream.

Inspired by the childhood of Millo Castro Zaldarriaga, a Chinese-African-Cuban girl who broke Cuba’s traditional taboo against female drummers, Drum Dream Girl tells an inspiring true story for dreamers everywhere.

Joseph Emidy: From slave fiddler to classical violinist

BBC News
2015-06-21

Miles Davis, BBC News Online

Joseph Emidy led the Truro Philharmonic Orchestra

The remarkable life of a former slave who became a pioneer of classical music has been commemorated.

The “genius” violinist Joseph Emidy, from West Africa, was enslaved for two long periods of his eventful life.

But having finally gained his freedom in 1799, Emidy became “Britain’s first composer of the African diaspora”.

His achievements were marked at Truro Cathedral on Sunday with the erection of a ‘boss‘ – a painted wooden carving featuring a violin and a map of Africa.

On his death in 1835, The West Briton newspaper reported in Emidy’s obituary: “As an orchestral composer, his sinfonias may be mentioned as evincing not only deep musical research, but also those flights of genius.”…

…Emidy was finally discharged four years later in the port of Falmouth on 28 February 1799.

He married a local woman, Jenefer Hutchins, in 1802, started taking on music students and became involved with the the first of Truro’s biennial concerts in 1804.

Beverley Wilson (far right) the great, great, great, great grand-daughter of Joseph Emidy met kora player Sona Jobarteh (centre)

Silk Buckingham described him as “an exquisite violinist, a good composer, who led at all the concerts of the county, and who taught equally well the piano, violin, violoncello, clarionet and flute”…

Read the entire article here.

Misty Copeland: meet the ballerina who rewrote the rules of colour, class and curves

The Telegraph
2015-06-21

Jane Mulkerrins

Facing opposition about her race, shape, even her hair, the ballet dancer Misty Copeland battled the establishment – and her own mother – to make it to the top

Misty Copeland can pinpoint the precise moment when she realised her success in ballet held a broader significance. “It was the night I danced The Firebird at the Metropolitan Opera House in June 2012. I had never seen an audience that was 50 per cent African-American. It was overwhelming to know that so many of them were there to support what I stood for.”

As only the third black soloist (one rung down from a principal dancer, or prima ballerina) in the history of New York’s prestigious American Ballet Theatre (ABT) – and the first in two decades – Copeland, 32, is elegantly dismantling the barriers of race and class that have long surrounded the art form. “When I talk to [black] families, they tell me, ‘We never went to the ballet before. Why would we bring our children when they can’t see themselves reflected on the stage?’ ” she says.

Her profile reaches beyond the rarefied realms of ballet: she has performed with Prince on stage, her recent advert for the sportswear brand Under Armour has had eight million views, and she has been namechecked as an inspiration by both Barack Obama and Beyoncé.

In April, she was named as one of Time magazine’s 100 most influential people in the world and was one of the five cover stars for the issue, along with Bradley Cooper, Kanye West, the US news anchor Jorge Ramos and the supreme court justice Ruth Bader Ginsberg. That month, she sparked huge media coverage – and a frenzied rush on the box office – when she and Brooklyn Mack became the first black duo to dance the leading roles of Odil/Odette and Prince Siegfried in Swan Lake for a major ballet company.

But Copeland’s prominence and influence is all the more incredible given her wholly untraditional path to the top. As she recounts in her bestselling autobiography, Life in Motion: An Unlikely Ballerina, which is now being developed into a Hollywood film, she did not begin lessons until the age of 13 – positively geriatric in the dance world…

Read the entire article here.

One Drop of Love: Written and Performed by: Fanshen Cox DiGiovanni

2015 TCG National Conference
Theatre Communications Group
Westfield Insurance Studio Theatre, IDEA Center
1375 Euclid Avenue
Cleveland, Ohio
Friday, 2015-06-19, 20:00 EDT (Local Time)

Produced by Ben Affleck, Matt Damon and Fanshen Cox DiGiovanni, this extraordinary one-woman show incorporates filmed images, photographs and animation to tell the story of how the notion of ‘race’ came to be in the United States and how it affects Cox DiGiovanni’s relationship with her father. A moving memoir, One Drop takes audiences from the 1700s to the present, to cities all over the U.S. and to West and East Africa, where both father and daughter spent time in search of their ‘racial’ roots. The ultimate goal of the show is to encourage everyone to discuss ‘race’ and racism openly and critically. Watch the trailer here. The performance will be followed by a brief discussion with Ms. DiGiovanni.

For more information, click here.

‘We Are Not Alone’: Festival Celebrates Multiracial America

NBC News
2015-06-12

Frances Kai-Hwa Wang

Nearly 700 people from across the country—including artists, writers, comedians, musicians, multiracial and multicultural families—are expected to gather at the Mixed Remixed Festival on June 13 at the Japanese American National Museum in Los Angeles, to celebrate the stories and lives of multiracial people and families…

Read the entire article here.

Exhibit: “AfroBrasil: Art and Identities”

National Hispanic Cultural Center
Art Museum
1701 4th Street SW
Albuquerque, New Mexico
Friday, December 12, 2014 to mid-August, 2015; Tuesday-Sunday 10:00-17:00 MT; Tuesday-Sunday 10:00-17:00 MT

Brazil^* hosted soccer’s World Cup in the summer of 2014, and soon will host the 2016 Summer Olympics. While many are familiar with these events and Brazil’s other achievements, they may be unaware of the cultural and ethnic complexity of this large South American country.

The largest Portuguese-speaking country in the world, Brazil is home to the second largest population of African origin outside the African continent. Yet, despite its sporadic economic dynamism, its soccer prowess (who has not heard of Pelé, the “Black Pearl”?), the fame of its Carnaval, and the acclaim given the 1959 Oscar-winning French film Black Orpheus (Orfeu Negro), starring Afro-Brazilian actors, many aspects of its Afro-Brazilian identity, art, and culture have not received the status or attention they merit.

Today, Afro-Brazilian art and identities saturate the core of Brazilian culture and society, but may not rise commensurately to the surface in galleries, museums, or the works of art historians. The artists, writers, musicians, and critics who do tackle Afro-Brazilian reality more often than not narrate; in doing so they include their personal experiences in a unique multi-racial and multi-ethnic nation-state. AfroBrasil: Art and Identities shows the multiple important ways in which Afro-Brazilian artists and their colleagues from other countries address the complexities of Brazil’s African heritage and its impact across frontiers and oceans.

Using a team approach, the exhibition has been curated to comprise four distinct, yet inter-related, sections, which can be visited in any order to make different connections and gain different perspectives…

…Photograph: Baianas (Praça de Sé, Salvador, Bahia), Paulo Lima, 2013, courtesy of the artist

^*Brasil is spelled with an “s” in Portuguese and Spanish, with a “z” in English. Text and label materials in this exhibition use both spellings, depending on context.

For more information, click here.

Crowe’s ‘whitewashing’ sparks criticism from advocates

BBC News
2015-06-07

Elena Boffetta, BBC Washington

Hollywood’s reliance on bankable – and often white – actors has led to another round of sharp criticism of filmmakers for “whitewashing” roles where race and ethnicity play a part.

In Aloha, Cameron Crowe’s latest film, Emma Stone, a American actress with blonde hair and green eyes, was cast as Allison Ng – a junior fighter pilot who was part-Chinese, part-Hawaiian and part-Swedish.

Soon after the release, there was an uproar of criticism from social media against Crowe’s casting choice.

Both Asians and non-Asians asked why they didn’t pick an Asian actress to play a character who is part-Asian.

One advocacy group called Aloha “a whitewashed film” that failed to portray the ethnical diversity of Hawaii.

The Media Action Network for Asian Americans (MANAA) noted 60% of Hawaii’s population is Asian-American Pacific Islanders and 30% Caucasian, a fact not reflected in the film.

Crowe apologised on his website but said he based the Ng character on a real-life redheaded Hawaiian who felt compelled to constantly over-explain her unlikely ethnicity.

“I can understand what Crowe said about his intention that he based his character on someone that didn’t look Asian but identified with the culture but you could have casted someone who was part Hawaiian,” Guy Aoki, the founding president of MANAA, said.

“Whitewashing” casting differs from “colour-blind casting,” where a role is cast when factors of race or ethnicity are irrelevant to the character or plot…

…Hollywood has been accused of whitewashing Asians for decades…

Read the entire article here.

The beauty contest winner making Japan look at itself

BBC News
2015-06-04

Rupert Wingfield-Hayes, Tokyo Correspondent

At first sight even I am a little confused by Ariana Miyamoto. She is tall and strikingly beautiful. But the first thing that pops in to my head when I meet the newly crowned Miss Universe Japan is that she doesn’t look very Japanese.

In just two years here I have clearly absorbed a lot of the local prejudices about what it means to be “Japanese”.

My confusion lasts only until Ariana opens her mouth. Suddenly everything about her shouts out that she is Japanese, from the soft lilting tone of her voice, to her delicate hand gestures and demure expression.

Well of course she is. Ariana was born in Japan and has lived here all her life. She knows little of her father’s home back in Arkansas in the United States. But to many Japanese, and I really do mean many, Ariana Miyamoto is not Japanese. Not fully anyway.

Ariana is what is known in Japan as a “hafu”, taken from the English word “half”. To me the word sounds derogatory. But when I ask her Ariana surprises me by defending the term, even embracing it…

…Many people here genuinely believe Japanese are unique, even genetically separate from the rest of us.

When my (Japanese) wife got pregnant, one of her friends congratulated her with the words: “It’s not easy for us Japanese to get pregnant with a foreigner”. I didn’t know whether to laugh or cry.

Of course this myth is complete nonsense. Japanese are an ethnic hotch-potch, the result of different migrations over thousands of years, from the Korean peninsula, China and South East Asia. But the myth is strong, and that makes being different here hard…

Read the entire article here.

Mystery, and Discovery, on the Trail of a Creole Music Pioneer

The New York Times
2015-05-28

Campbell Robertson, Southern correspondent

PINEVILLE, La. — Somewhere among the thousands beneath a grassy hill here lies the body of Amédé Ardoin.

He was singular in life: one of the greatest accordion players ever to come out of south Louisiana. A Creole prodigy who traveled the countryside playing his bluesy two-steps and waltzes, he changed Cajun music and laid down the roots for zydeco.

At his death at the age of 44 in 1942, he was Case No.13387 in the state psychiatric hospital, destined for an anonymous burial.

Years of attempts to recover the body of Amédé, as he is widely known, have come to nothing. As with Mozart’s grave, Amédé’s is known only by its general vicinity: the area where the blacks were buried. But a desire for some sort of physical commemoration of his life, beyond a few documents and a blurry photograph, has not gone away.

“I started thinking of possible symbolic ways of bringing Amédé home, placing a kind of image of him in the culture, something physical,” said Darrell Bourque, a former state poet laureate, who has been trying to raise funds to have a statue erected, most likely in Eunice, La., where Amédé spent much of his life.

Mr. Bourque described Amédé as bringing the white Cajun and black Creole traditions together in a society that policed racial boundaries so rigidly that it ultimately brought about his death. His music, Mr. Bourque said, represented “a little pocket of possibility that didn’t get replicated in the larger culture.”

It was only after he began looking for Amédé that Mr. Bourque came to learn how complicated those boundaries could be for whites and blacks at that time — and how deeply connected he was to the people who crossed them…

Read the entire article here.

Tony Williams’ “Wilderness” and Mixed-Race Identity through Jazz

Soundscapes and Such: Critical Thoughts on Sonic Subjects
2015-05-27

Shawn M. Higgins
University of Connecticut

Tony Williams (source: Wikipedia)

Why do song writers choose the song titles they do? Perhaps Herbie Hancock’s 1980 track “4 A.M.” was recorded at that exact time – or maybe finished then? The song isn’t sleepy and lethargic as I might connotatively connect with the before-dawn hour, but jazz musicians are infamously night owls, and the song’s rhythm suggests this might be the funkiest, most active hour of the cycle. The title of John Coltrane’s 1967 song “Stellar Regions”, through the frenzied, echoing cymbal work of Rashied Ali and Coltrane’s trilling, screaming saxophone, could serve in a Romantic sense to invoke feelings of a paean to the heavens. The listeners, upon closing their eyes, are sonically shot into space and flung around the cosmos through the combination of music and such a song title. And of course, one of Duke Ellington’s most famous songs, which is in turn an absolute standard of jazz today, was given a title by the composer Billy Strayhorn after Duke gave him directions to his house and told him to “Take the ‘A’ Train.” None of these songs at the time of their composure had any lyrics to support these titles either in a refrain or in any thematic way. Rather, the listener is encouraged to interpret the sounds alongside the title or through the title. What happens in this exchange between artist, product, and consumer is my primary interest, and I would like to point to one artist in particular who used his song titles as a conscious way of addressing his newly discovered mixed-race identity.

Tony Williams, the legendary jazz drummer who is credited with inventing the “blast beat” and who called legends like Miles Davis, Herbie Hancock, and John McLaughlin his musical partners, candidly explained in a 1995 BET interview a recent revelation in his life. Williams had discovered at the age of roughly forty-nine that he was of a racially mixed ancestry – he was phenotypically African American but also of Chinese and Portuguese background…

Read the entire article here.