Mixed Race Studies

Will Police Killings of Blacks be the Defining Crisis of the Obama Presidency?

NewBlackMan (in Exile)
2015-04-24

Mark Anthony Neal, Host and Professor of African & African American Studies
Duke University, Durham, North Carolina

Duke University University Sociologist Eduardo Bonilla-Silva, author of the classic Racism without Racists: Color-Blind Racism and the Persistence of Racial Inequality in America (now in its 4th edition) and Left of Black host Mark Anthony Neal discuss #BlackLivesMatters and the Obama Presidency.

Watch the interview (00:06:45) here.

Race and Republicanism

Books & Ideas
2015-02-23 (Originally published in laviedesidees.fr on February 17, 2014.)

Dominique Schnapper, Director of Studies
École des hautes études en sciences sociales, Paris, France

Translated by (with the support of the Florence Gould Foundation):

Michael C. Behrent

Though race is socially constructed, it nonetheless really exists: consequently, Magali Bessone argues, the concept of race must be taken into consideration when fighting racism. But what positive content can be given to the “critical republicanism” she advocates?

Reviewed: Magali Bessone, Sans distinction de race ? Une analyse critique du concept de race et de ses effets pratiques, [Without Race Distinctions? A Critical Analysis of the Concept of Race and its Practical Effects] Paris, Vrin, “Philosophie concrète”, 2013. 240 p., 24 €.

On a topic that might seem rather overdone, Magali Bessone has written a remarkable book, one that sparkles with intelligence and culture. She seeks to deconstruct a concept that has become taboo in France, though it is commonly used by English-speaking scholars and statisticians. With great flair, she proposes an analysis that can be summed up in several propositions encompassing the very core of her arguments.

1. Biologists have now established that racial categories (not to be confused with racism, despite complex affinities with it), which became systematic following the encounter with the Other during the Age of Discovery and the eighteenth-century attempt to classify species, do not exist. There are no homogeneous populations groups that can be defined once and for all, and which are different from and unequal to others. Skin color, which for a long time was used to distinguish human races (depending on the author, there were four, five, or seven races, thus proving that race is not self-evident), is but one marker of geographic and historical affiliation among others. Essentialist ways of thinking, which attribute specific and final characteristics to particular population groups, have no biological basis. Differences between individuals are greater than differences between groups, and the boundaries between human groups are porous. “There is no racial essence that can be defined coherently from a biological point of view” (p. 71).
2. As a result of the atrocities that have been committed in the name of certain races’ claims to superiority, the French have generally replaced the term “race” with “ethnicity” or “culture.” Scholars are afraid that they will be accused of believing race exists if they use a term that, as biologists have shown, lacks any scientific basis and, as historians have demonstrated, was used to justify colonialism and genocide. Yet, as Pierre-André Taguieff has already argued, these terms are not immune to the criticisms directed against race, since ethnicity and culture are characterized by permanent and inherited traits. Consequently, this strategy does not lead to the abandonment of essentialist ways of thinking, which are constitutive of racial thinking. This is the reason I proposed getting beyond the American sociological debate over the validity of the concepts of “racial” or “ethnic group” by proposing that of “historical collectivity.”…

Read the entire review in HTML or PDF.

One Drop of Love at New York University

New York University’s Skirball Center for the Performing Arts
566 LaGuardia Place
New York, New York 10012
Friday, 2015-04-17, 20:00 EDT (Local Time)

One Drop of Love is a multimedia solo show written and performed by Fanshen Cox DiGiovanni. It asks audiences to consider: how does our belief in ‘race’ affect our most intimate relationships? The show travels near and far, in the past and present, to explore family, race, love and pain – and a path towards reconciliation. Audiences will go on a journey from the 1700s to the present, to cities all over the U.S, and to West and East Africa, where both the narrator and her father spent time in search of their racial roots.

Produced by Ben Affleck, Matt Damon, and Fanshen Cox DiGiovanni.

One Drop of Love is the closing program for NYU Ally Week.

For more information click here. To purchase tickets, click here.

IDS 243 Race, Racism, & Human Genetics

Willamette University
Salem, Oregon
Fall 2014

What accounts for human difference, and what does the biology of human variation tell us about race and the “life changes” of racial groups in contemporary society? This course examines the relationship between genes, geography, skin color and what we have come to understand as “race.” It will focus upon patterns of human genetic variation and consider how the completion of the Human Genome Project and the increasing availability of genomic data have changes our understanding of human population genetics. It will also address the historical role of science in taking the socially-constructed concept of race and turning it into scientific “fact,” and explore how this past history both shapes and constrains contemporary research in the biology of human diversity. The course will consider contemporary case studies in which race becomes—and is ascribed to—biology in ways that both reflect and contribute to dominant racial ideology. By bringing together the research about race from the natural and social sciences, the course seeks to understand how biological and social factors interact to shape racial reality and explores the political and social implications for scientific inquiry.

You’re the Model Minority until You’re Not

David Shih
Wednesday, 2015-04-08

David Shih, Associate Professor of English
University of Wisconsin, Eau Claire

As a Chinese American, I know that my racial identity occupies a space in the cultural imagination somewhere between white and black. I know that white supremacy often works in my favor to give me privilege and the benefit of the doubt. I know that the world is this way until it isn’t.

Peter Liang, who is also Chinese American, must know this too. On February 10, a grand jury ruled to indict the NYPD officer for killing Akai Gurley, who is black. Liang and his partner were in the stairwell of a public housing complex when Liang discharged his weapon and hit Gurley, who had entered from the floor below. The ruling followed three controversial grand jury decisions not to indict white officers Darren Wilson, Sean Williams, and Daniel Pantaleo for the deaths of Michael Brown, John Crawford, and Eric Garner, respectively. Because of this apparent racial double standard, the Coalition of Asian-Americans for Civil Rights plans to protest Liang’s indictment later this month and has called for national rallies on that day in support of Liang. “Officer Liang is being used as a scapegoat,” says Doug Lee, co-chair of the CAACR. Other Asian American organizations support the indictment, leading to some confusion over what justice looks like in this case. But there should be no confusion: Peter Liang should stand trial. Liang’s supporters are asking for the same standard that exonerated Wilson, Williams, and Pantaleo. It is a racist standard…

Read the entire article here.

White Puerto Rican Migration and the Effacement of Blackness

UPLIFTT: United People for Latinos in Film, TV and Theater
2015-02-13

William Garcia

t was August 2009 when I was admitted to the University of Puerto Rico in Rio Piedras and that what was when I first saw the amalgamation of a new breed of Puerto Rican I had never encountered before in my life, the guaynabit@s/blanquit@s. Most impoverished and working-class people in Puerto Rico call them guaynabit@s, guaynabich@s and/or blanquit@s; derivatives from the word blanquito, meaning white Puerto Ricans with money. I remembered that I heard those terms when I had been in the barrio of Sabana Seca in Toa Baja and somebody started saying “En poco le rompo la cara al guaynabito pendejo ese…” and also heard, “Ese es un blanquito de la YUPI…” I wondered what could a guyanabit@ or a blanquit@ be? Most of the guaynabit@s or blanquit@s were dressed in different styles: some were dressed like hipsters, others dressed like yuppies, followed by west coast-looking surfers while others dressed in European fashions. Most of them were the whitest Puerto Ricans I had ever seen in all my life and had no problem in taking pride in their whiteness.

Many of them spoke English very well but unlike New York Puerto Ricans they spoke like white Americans with the ‘bro’, ‘totally’ and ‘dude’ colloquialisms. They uttered the words, ‘like’ and ‘loca’, in the same sentence every time they spoke. I was impressed by the way they were speaking in Spanglish with an Anglo-American twist because it was these people who were supposed to hate Nuyorican Spanglish and be patriotic ‘Spanish Only’ Puerto Ricans. They behaved very similarly to U.S hipsters who talked about hipsters but never admitted they were the very hipsters they criticized. These blanquit@s were the same way, always criticizing upper-class people without looking in the mirror.

There I was with an old New York Yankees fitted baseball cap, a long white t-shirt, and my crusty Nike sneakers. My black skin covered in tattoos wanted to disappear in thin-air like Chevy Chase in the movie Invisible Man. It was obvious that they enjoyed a good chunk of white supremacy and privilege and didn’t mix with Puerto Ricans of darker hues even if Puerto Rican nationalism stressed that we were all mixed. One could tell that most of the professors at UPR-Rio Piedras came from the same blanquit@/guyanabit@ stock, which probably did not think much of me either, even though they never gave me an unfair grade and even to this day I am grateful for that. It might have been because they had the privilege of being color-blind. Most of those professors also refrained from talking about blackness, stateside Puerto Ricans or anything that questioned their privileged gatekeeping, prophetic intellectual identity and above all; archetypical Puerto Rican identity. I would spend five more years defending the Puerto Rican diaspora and contemporary blackness in those classrooms which was usually rebutted by a simple silent treatment by the professor and the students.

It was surprising for me to see white privileged Puerto Ricans play plena, bomba, and salsa music considering that those are Afro-diasporic derived musical inheritances of black resistance. This usurpation of black culture caused me frustration because I knew that black Puerto Rican culture was more than listening to salsa while getting drunk off of Medalla Lights on the Juan Ponce de Leon Blvd. I noticed that what acclaimed Afro-Puerto Rican scholar, writer and researcher, Isar Godreau argued was right: that there is a selective celebration of blackness in Puerto Rico. A selective blackness that was folklorized and distanced that does not require critically assessing inner-workings that contribute racial inequity and injustice. In these academic spaces most black Puerto Ricans seemed more interested in being accepted as Puerto Rican first before being black and never spoke about racism and white supremacy, always reinforcing racial harmony…

Read the entire article here.

One Drop Of Love Solo Show April 15, 2015

Amherst Togther Presents: One Drop of Love by Fanshen Cox DiGiovanni

Amherst Regional Middle School Auditorium
170 Chestnut Street
Amherst, Massachusetts 01002
Phone: (413) 362-1820
Wednesday, 2015-04-15, 19:00 EDT (Local Time)

Admission is free and open to the public

Produced by Ben Affleck and Matt Damon, this extraordinary one-woman show by Fanshen Cox DiGiovanni 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 affected her relationship with her father. To tell her story, DiGiovanni travels back in time to the first US census in 1790, to cities across the United States, and to West and East Africa, where both father and daughter spent time in search of their racial roots.

An award-winning actor, producer and educator, Cox DiGiovanni has been featured in the New York Times and on NPR as a spokesperson on using the arts to explore racial identity. She served as a Peace Corps Volunteer in Cape Verde, West Africa, and has designed curricula for and taught English as a Second Language to students from all over the world. She has been honored with the Peace Corps’ Franklin H. Williams Award and with Peace Corps Fellows and Hollywood Foreign Press Association scholarships. She holds a bachelor of arts in Spanish and education, a master of arts in TESOL (Teaching English to Speakers of Other Languages) and a master of fine arts in television, film and theater. DiGiovanni developed “One Drop of Love” as the thesis project for her Master of Fine Arts degree in film, television, and theater from California State University Los Angeles. DiGiovanni, who appeared in the Academy Award-winning film “Argo,” is also the co-creator, co-producer, and co-host of the award-winning weekly podcast Mixed Chicks Chat, and co-founder and co-producer of the Mixed Roots Film & Literary Festival.

“There are many different kinds of conversations occurring in our community regarding identity,” says Carol Ross. “Not everything is black or white, literally and figuratively. What Fanshen Cox DiGiovanni brings to the table is a moving and insightful microscope to our belief that there is such a thing as race and how the assignment of identity plays out in destructive ways that impact each and every one of us. This is a critical component that often gets missed in our attempts to dismantle this social construct.”

The Trouble With Race

Foreign Affairs
March/April 2015

Gideon Rose, Editor

Everybody knows that racial tensions have been at the center of American political debate in recent months, but the story of racial and ethnic division is actually a global one, with a long and tortured history. For the lead package in the March/April issue, therefore, we decided to do a deep dive into racial issues in comparative and historical perspective.

Kwame Anthony Appiah kicks it off with a sweeping review of the rise and fall of race as a concept, tracing how late-nineteenth-century scientists and intellectuals built up the idea that races were biologically determined and politically significant, only to have their late-twentieth-century counterparts tear it down. Unfortunately, he concludes, recognizing that racial categories are socially constructed rather than innate doesn’t make racial problems easier to solve.

Fredrick Harris and Robert Lieberman explore the paradox of a United States in which stark racial inequalities persist even as official and individual-level racism have dramatically declined: a country that might be postracist but is hardly postracial. They point to the influence of historical legacies that baked the racism of previous eras into the cake of contemporary institutions and practices, from housing to finance to criminal justice…

Read the entire article here.

Brazilian soap operas slowly cast black middle class

Al Jazeera America
2015-04-11

Matt Sandy

Morgann Jezequel

Actor Sílvio Guindane poses on the set of the telenovela Vitória at Record studios, Rio de Janeiro, Brazil, October, 2014. Rafael Fabres / Getty Images Assignment for Al Jazeera America

Black actors move beyond roles as maids, thieves and drug dealers, but insiders say more diverse film/TV writers needed

RIO DE JANEIRO – Dressed in a fitted white designer shirt, Sílvio Guindane stood beneath a chandelier on a grand wrought iron staircase and smiled confidently. Below, a set of ornate drinking glasses sat next to a collection of spirit bottles. Above, framed monochrome prints and color landscapes adorned the walls.

It is an archetypal image of upper middle class Brazil. And for good reason as this is the set of “Vitória,” one of the country’s ubiquitous novelas, the phenomenally popular soap operas that for more than 50 years have thrived on the country’s major television networks — often by portraying lavish lifestyles beyond the means of most viewers.

There is just one thing that is unusual: Guindane, 31, who plays a successful engineer, is black…

Read the entire article here.

Harlem and After: African American Literature 1925-present (EAS3241)

University of Exeter
Exeter, Devon, United Kingdom
2015-02-08

Taking as its point of departure the landmark special issue of Survey Graphic that announced the arrival on the artistic scene of the “New Negro” (1925), this module provides a historical survey of African American writing, 1925 to present. Through close readings of works by both canonical and emerging writers, it encourages students to situate these texts within their historical, social, political and literary contexts. Emphasising key literary and political movements and moments (the Harlem Renaissance; the Civil Rights Movement; Black Power; Hurricane Katrina) and recurring themes and motifs (lynching and racial violence; racial passing and mixed race subjectivity; the legacies of the Great Migration; the significance of music in African American culture; minstrelsy and the commodification of blackness), it invites students to consider the range and diversity of African American literature (poetry; short stories; essays; fiction; graphic novel) published from 1925 to today.

For more information, click here.