Mixed Race Studies

Brown Babies: The Mischlingskinder Story

Regina Griffin Films, Inc.
2011
102 minutes
color
United States

Regina Griffin, Director

Brown Babies: The Mischlingskinder Story reveals the tragic lives of biracial, bicultural children, unwanted, ignored and forgotten by enemy nations. Imagine being born in a place and time where racism and hatred run rampant, and your mother is white and German and your father is a black American serviceman. Brown Babies: The Mischlingskinder Story tells the painful and personal story of a forgotten piece of world history through eyes of the people who suffered most.

• ŸBest Documentary, American Black Film Festival 2011
• Best Film, Audience Award, African-American Women in Cinema 2011
• HBO Finalist, Martha’s Vineyard Black Film Festival, 2011
• Best Documentary Nominee, Black Reel Awards, 2012

How my white mother shaped me into a black man

Melissa Harris-Perry
MSNBC
2013-08-13

Albert L. Butler, Radio Host
900 AM WURD, Philadelphia

I am an avid watcher of Melissa Harris-Perry, so I was not at all surprised–and was quite pleased–when host Melissa Harris-Perry tackled the subject of white mothers raising black boys in America in the wake of the George Zimmerman verdict. Prior to turning to her panel, the professor reminisced about her white mother offering a relevant (yet often overlooked) point that white mothers of black boys are confronted by the same realities as black mothers.

As the segment continued, I found myself nodding in agreement as the panel of mothers discussed how important it was to talk about race, discrimination, and culture with their black children. I know firsthand how important this is; I am the black son of a white mother, and my mom made sure she addressed those issues in various ways from my early childhood to my early adulthood. Even now, as I stretch across the 40-year-old threshold, we still discuss all of it. Her choices, in very large measure, empowered me to be the strong, confident black man that I am today…

Read the entire article here.

Actor Guilt

2nd Story
Chicago, Illinois
2012-06-07

Khanisha Foster

Coming up on two years ago I moved to L.A., and since that time I have been writing. Writing creative non-fiction for 2nd Story, an organization that has stolen my heart, and writing my memoir—I’m the kid of a former Black Panther career criminal and heroin-addicted parents, one black and one white (so there’s lots to write about there), and with the help of UCLA’s professional program I’m in screenplay Heaven. All of this is work, commitment, and time well spent FO SHO, but here I am feeling like I’m cheating on acting.

Acting was the first and only thing I ever wanted to do. It taught me about my brain, my heart, my sexuality. I felt alive on stage before I ever felt it in real life. I was ready for the business you hear about when you grow up wanting to be an actor. I was going to be rejected. No problem. I was going to be poor. Since I had never been anything else, that was fine by me. I was going to have to work my butt off. This, to me, seemed to be the easiest part. My childhood was more than challenging, and my father always taught me I’d have to work twice as hard to get half as far, so hard work seemed habitual. What I wasn’t ready for was the complete challenge of identity I was about to undergo.

I’m mixed; the list, which changes in specifics based on my audience and how they wish to receive it (everybody thinks they know more about being mixed than you do), goes like this: black and white, which then breaks down into Creole, which then breaks down into African, French, Spanish (Spain), plus Native American (I prefer this to American Indian), Scottish, Irish, and German. Are you trying to picture what I look like? If you don’t know me or haven’t seen a picture, my skin is honey-colored (or so every base makeup I ever bought tells me), while my hair is almost black like both of my parents’; its waves fall into curls and it is shiny soft, and even though it looks full, quite thin. Everyone thinks I’m Latina…

Read the entire article here.

Kiss & Tell: A Romantic Résumé, Ages 0 to 22

HarperCollins
2011-03-15
336 pages
Trimsize: 6 3/4 x 9 1/4
Paperback ISBN: 9780062009234; ISBN10: 0062009230
eBook ISBN: 9780062078650; ISBN10: 0062078658

MariNaomi

From her father and mother’s interracial marriage to her own “you show me yours, I’ll show you mine” moments on the playground—from drug experimentation to sexual/identity questions—MariNaomi lays her inner life bare. Kiss & Tell is her funny and frank memoir in graphic form: a fresh and offbeat coming-of-age story unfolding against the colorful backdrop of San Francisco in the ’80s and ’90s. Through deft storytelling and charming illustration, MariNaomi carries us through first love and worst love, through heartbreak and bedroom experimentation, as she grows from misfit teen to young woman.

Pig Candy: Taking My Father South, Taking My Father Home—A Memoir

Free Press (an imprint of Simon & Schuster)
2008
320 pages
Hardback ISBN: 9781416547662
Paperback ISBN: 9781416547679

Lise Funderburg

Pig Candy is the poignant and often comical story of a grown daughter getting to know her dying father in his last months. During a series of visits with her father to the South he’d escaped as a young black man, Lise Funderburg, the mixed-race author of the acclaimed Black, White, Other, comes to understand his rich and difficult background and the conflicting choices he has had to make throughout his life.

Lise Funderburg is a child of the ’60s, a white-looking mixed-race girl raised in an integrated Philadelphia neighborhood. As a child, she couldn’t imagine what had made her father so strict, demanding, and elusive; about his past she knew only that he had grown up in the Jim Crow South and fled its brutal oppression as a young man. Then, just as she hits her forties, her father is diagnosed with advanced and terminal cancer—an event that leads father and daughter together on a stream of pilgrimages to his hometown in rural Jasper County, Georgia. As her father’s escort, proxy, and, finally, nurse, Funderburg encounters for the first time the fragrant landscape and fraught society—and the extraordinary food—of his childhood.

In succulent, evocative, and sometimes tart prose, the author brings to life a fading rural South of pecan groves, family-run farms, and pork-laden country cuisine. She chronicles small-town relationships that span generations, the dismantling of her own assumptions about when race does and doesn’t matter, and the quiet segregation that persists to this day. As Funderburg discovers the place and people her father comes from, she also, finally, gets to know her magnetic, idiosyncratic father himself. Her account of their thorny but increasingly close relationship is full of warmth, humor, and disarming candor. In one of his last grand acts, Funderburg’s father recruits his children, neighbors, and friends to throw a pig roast—an unforgettable meal that caps an unforgettable portrait of a man enjoying his life and loved ones right up through his final days.

Pig Candy takes readers on a stunning journey that becomes a universal investigation of identity and a celebration of the human will, familial love, and, ultimately, life itself.

One Drop of Love

Hollywood Fringe Festival
L.A.’s Largest Celebration of the Performing Arts
2013-06-13 through 2013-06-30

Fanshen Cox DiGiovanni, Playwright, Producer, Actress, Educator

Jillian Pagan, Director

Produced by: Ben Affleck, Matt Damon and Chay Carter

Performances:

Friday 2013-06-21, 14:30 PDT (Local Time)
Lounge Theatre
6201 Santa Monica Boulevard, Los Angeles, California

Friday 2013-06-28, 16:15 PDT (Local Time)
Lounge Theatre
6201 Santa Monica Boulevard, Los Angeles, California

Sunday 2013-06-30, 18:00 PDT (Local Time)
Lounge Theatre
6201 Santa Monica Boulevard, Los Angeles, California

One Drop of Love is a multimedia solo show that journeys from the U.S. to East & West Africa and from 1790 to the present as a culturally Mixed woman explores the influence of the “one -drop rule” on her family and society. All proceeds from the Sunday, June 30th show will go to MASC – Multiracial Americans of Southern California – in celebration of Loving Day.

For more information, click here.

Hay winner’s search for identity

BBC News
2003-05-27

A first-time writer who travelled halfway round the world to trace her roots has won the Welsh Book of the Year award at the Hay Festival.

Charlotte Williams’ tale of her search for her identity, entitled Sugar and Slate, took her to three different continents.

Ms Williams, who has Welsh, African and Latin American heritage, wrote the book following trips across the world to find more about her background.

She overcame challenges from 60 other writers to claim the £3,000 first prize.

The daughter of a white Welsh-speaking mother and a black father from Guyana in the Caribbean, Ms Williams said the journey to research her past became a confrontation with herself and the idea of Welshness.

In the book she recalls feeling as a child growing up in Llandudno, north Wales, that “somehow to be half-Welsh and half Afro-Caribbean was to be half of something but never quite anything whole at all”…

Read the entire article here.

Coming Out As Black, When You Were Hispanic

Tell Me More
National Public Radio
2013-06-06

Celeste Headlee, Guest Host

High school senior Elaine Vilorio wrote that she started seriously contemplating her blackness when she stopped straightening her hair.
Elaine Vilorio

Teen Elaine Vilorio spent years trying to make sense of her racial identity. She describes herself as Hispanic, but other people see her as black. Vilorio speaks to guest host Celeste Headlee about her recent HuffPost Teen blog, ‘Coming Out As Black.’

This is Tell Me More from NPR News. I’m Celeste Headlee. Michel Martin is away. Coming up, a celebrity chef shares some tasty summertime recipes and juicy stories about his clients. But first, we’ll turn to the issue of race and identity. The question of, what am I, is one that a lot of teens ask themselves and the answer can be quite complicated for multiracial kids.

It’s something that Elaine Vilorio has thought a lot about. She’s a high school senior, originally from the Dominican Republic. Over the course of her life, people assumed she was black and that bothered her. But two years ago, after she stopped chemically straightening her hair, the change in her appearance made her rethink her roots. She wrote about that in a Huffington Post piece titled “Coming Out as Black,” and Elaine Vilorio is now here to tell us more. Welcome to the program, first of all.

ELAINE VILORIO: Thank you, I’m happy to be here.

HEADLEE: First of all, let me ask you, why did you phrase it that way, coming out as black?

VILORIO: Well, people have always asked me, you know, like you said, you know, if I was black consistently, and I’ve always denied that. So I thought that was a very fitting way, a very dramatic way to say that I finally have admitted, you know, this Afro identity, so to speak, when it’s always been there. Coming out, I finally can say it out loud, and I can finally explain to people, yes, I have African roots in me and that’s okay.

HEADLEE: Well, when you talk about racial identity, it’s something you’ve written about quite a bit as well.

VILORIO: Yes.

HEADLEE: What is racial identity for you? Is it about the way you see yourself or how others see you?

VILORIO: I mean, it’s a combination of both. I think people perceive me and they separate Afro-descendancy from, you know, the Hispanic identity. Hispanic identity doesn’t really take into account that African racial root. You know, I see myself as a predominantly black Hispanic. And then other people, you know, they just see a mixed person, just mixed. Blackness isn’t really, you know, acknowledged…

Read the transcript here.  Listen to the interview here.  Download the interview here.

Coming Out As Black

The Blog
The Huffington Post
2013-05-24

Elaine Vilorio, High School Senior
Northern New Jersey

I’m Black. After many years in the closet, after many years of breathing that stale air of self-denial, I can finally say this.

Growing up, I dreaded the question “What are you?” I always proudly answered that I was Hispanic. In fact, I made it a point to emphasize my Hispanicity simply because I knew what was coming next. “I’m Hispanic; I speak Spanish; my parents come from Dominican Republic. I’m Hispanic. And, just to clarify, I’m Hispanic.” To this, the other person confessed: “Oh… I thought you were Black. You definitely look Black.” The problem was I perceived the identification of “Hispanic” outside the realm of Blackness; but then, I wasn’t the only one. Take note that the other person in my scenario thought the same thing. Right after my declaration of Hispanicity, he/she stripped away the “Black” label with the phrases “I thought” and “You definitely look.”

The conventional definition of “Black” completely leaves out Hispanics, and this is because the latter is ashamed of African ancestry. As a result of this shame, American society has excused Latinos from identifying themselves as Black or African American. I recently read Henry Louis Gates, Jr.’s Black in Latin America, and I’m amazed at what I learned. Eleven million Africans survived the Middle Passage and came to the Western Hemisphere. Out of this almost unfathomable number, only 450,000 Africans came to the United States. Gates expresses the significance of these numbers nicely: “The ‘real’ African American experience…unfolded in places south… of Texas, south of California, in the Caribbean islands and throughout Latin America.” [1] Why, then, has the stereotypical Hispanic comprised mostly European and Indigenous features? Where did the Black go? It was buried under unofficial segregation, under whitening campaigns of populations and national histories, under racism…

Read the entire article here.

Representing Mixed Race: Beyond “What are you?”

Talking Race: A Digital Dialog
2013-05-28

Laura Kina, Vincent DePaul Associate Professor of Art, Media and Design
DePaul University

My 2011-12 oil paintings Issei, Nisei, Sansei, Yonsei, and Gosei are on view in “Under My Skin: Artists Explore Race in the 21st Century” at the Wing Luke Museum of the Asian Pacific American Experience in Seattle May 10-November 17, 2013. The Japanese language titles mark the first, second, third, fourth, and fifth generations from my father’s lineage to live in the United States.

Issei is a ghostly indigo blue portrait of my great grandmother, who came in 1919 through the “picture bride” system of arranged marriage from Okinawa, Japan to the Big Island of Hawai’i to work on a sugar cane plantation in Pi’ihonua (near Hilo). Her image flickers in front of a row of female sugar cane workers dressed in protective work clothes made from repurposed kasuri kimono fabrics. Nisei features a similarly blue tinged portrait of my grandmother in front of a steamship, the Kamakura Maru, circa 1937-39 when she was sent back to Okinawa for high school. Sansei is a sepia toned image based on my mom and dad’s engagement photo from 1968. Next to their image is a colorful patchwork quilt made from vintage Aloha shirts. Yonsei features my own black and white wedding portrait rendered on top of an auspiciously celebratory red enameled background. I wore a white kimono and constructed Japanesque identity and my husband, who is Ashkenazi Jewish, looked like a young Sean Penn in his black tuxedo. Gosei is a portrait of our daughter Midori wearing a Hello Kitty t-shirt, the ubiquitous consumer sign of global Japaneseness. I painted her during the first weeks of September 2012. She is standing on the beach at once a little girl, my baby, and on the cusp of tweendom and about to enter her Hebrew school education. Midori’s expression and the formal composition directly reference the viewer back to Issei while the exaggerated blueness of her eyes and lightness of her skin signal her potential passing into whiteness…

…I identify as hapa (half Asian), yonsei (fourth generation), Uchinanchu (Okinawan diaspora), and more generally and politically as Japanese American, Asian American, and mixed race. I’m also white but in Chicago, where I live, I am usually read as “Latina” but I have yet to embrace a Hispanic identity (I do have a Mexican American stepdaughter though). I live in an urban South Asian/Orthodox Jewish immigrant community. I’m a convert to Judaism, but no one ever guesses I’m Jewish. I don’t look the part. I’m more likely to be mistaken as Indian, vaguely reminiscent of the Bollywood movie actress Preity Zinta. My father is Okinawan and grew up on a sugar cane plantation on the Big Island of Hawai’i and my mother is from Kingston, Washington, where her family ran a roadside motel near the Kingston ferryboat landing. Her mom was a seamstress from a Basque-Spanish agricultural family and she grew up speaking Spanish in Vallejo, California. Her father was French, English, Scotch-Irish, and Dutch heritage (aka “white”) and hailed from Wacko, Texas, by way of cotton fields in Tennessee. He was a descendent of James Knox Polk, the eleventh president of the United States, as well as Major General George Pickett, whose infamous charge was the last battle of Gettysburg. Sometimes I think it’s funny that I’m simultaneously eligible to claim membership as a Daughter of the American Revolution and to throw my lot in history as a descendent of a Japanese “picture bride.”…

Read the entire article here.