Mixed Race Studies

A president’s past yields a modern parable

The Berkshire Eagle
Pittsfield, Massachusetts
2017-01-24

Jenn Smith

A tree is planted and dedicated to the descendants of Thomas Jefferson and his slave, Sally Hemings, at Monticello’s Mulberry Row. Mulberry Row was the center of activity of Jefferson’s 5,000-acre agricultural enterprise. According to the Monticello website, it was populated by more than 20 dwellings, workshops, and storehouses between 1770 and the sale of Monticello in 1831. PHOTO PROVIDED BY JANE FELDMAN

Students learn about black history in Thomas Jefferson’s family

PITTSFIELD — History can play a crucial role in our futures, if we listen to it.

In 2002, photographer, Jane Feldman, who shares her time between the Berkshires and New York City, and Shannon Lanier, the sixth great-grandson of U.S. President Thomas Jefferson, worked together to publish through Random House, “Jefferson’s Children: The Story of One American Family.”

The book details, in family album and portrait style, Lanier’s trip across the country to retrace the footsteps of his maternal ancestor, Madison Hemings, the son of Thomas Jefferson and Sally Hemings. Hemings was Jefferson’s African-American slave.

With increasing discussions and divides developing across the nation regarding race and rights, Lanier and Feldman have decided to revive a series of tours and talks — originally conducted after the book’s release — about the book and its themes of identity, family and the varying perspectives of American history and culture.

“We believe that one of the things that will help us all navigate through this complicated time in our history is the ability to understand where we’ve come from and where we are going as individuals and as a nation,” Feldman said…

…The co-authors also noted how people aren’t always as they seem; for example how many light-skinned members of the Jefferson-Hemings lineage would go on to “pass” in society, that is, take advantage of the social statuses that came with looking like a white person, including freedom from slavery.

But the side effect of passing, is some future generations grew unaware of their black heritage, some even becoming racist, without knowing their own black blood lines…

Read the entire article here.

Passing Beauty

Public Books
2014-07-01

Anne Anlin Cheng, Professor of English; Professor of African American Studies
Princeton University

How do you break a spell? How do you get over the grief of racial, gendered, and childhood injuries? Helen Oyeyemi’s novel Boy, Snow, Bird is not a black-and-white parable but a black-and-blue story. A bruising tale about miscegenation, passing, and beauty, this novel brings to life the idealization and wounding that haunt the American racial psyche, and suggests that the price we pay for this history is nothing less than our own reflection.

Imagine a collision (or a collusion) between Anne Sexton’s Transformations, Nella Larsen’s Passing, and Elizabeth Taylor’s striking and stricken face in the 1957 film Raintree County. The tortured hybrid that would result might resemble Helen Oyeyemi’s new novel Boy, Snow, Bird. What brings these three unlikely predecessors to mind is not simply Oyeyemi’s haunting fusion of passing narratives and fairy tales but also the way this Nigerian-born British novelist harnesses the sonic, the textual, and the cinematic to produce an uncanny world in which the quotidian tips effortlessly into the surreal and vice versa.

In Oyeyemi’s version, Snow is the beloved, glowing, blonde girl-child of a jewelry maker named Arturo Whitman, and Bird is her dark-skinned half sister, whose birth exposes the Whitmans as light-skinned African Americans who have been passing as white. The wicked queen is the young bride and new mother named Boy who marries into the Whitman family without knowing their secret and who herself is the victim of a horrendously abusive childhood. The narrative voice shifts between Boy, whose first-person narration opens and closes the book, and her biological daughter Bird, who offers us her point of view in the middle section of the book and who in a sense speaks for her missing sibling, as Snow’s voice comes to us through a series of letters between the half sisters recorded by Bird…

Read the entire review here.

ENLS 4012-01 Lit: Cross-Dressing and Racial Passing

Tulane University
New Orleans, Louisiana
Spring 2017

Lauren Heintz, Mellon Postdoctoral Fellow
Department of English

The genre and literary trope of passing, most commonly expressed in characters who are “legally” black but who are able to pass for white, is a popular narrative that runs throughout American fiction from the mid-nineteenth to late-twentieth century. The importance of the passing narrative rests is in its ability to expose how race is a social construct, set down in legal codes like “one-drop-rules.” Alongside narratives of racial passing also runs narratives of cross dressing and gender passing (man for woman or woman for man). This course will examine why and how racial passing is often aided and abetted by gender passing. Taking an intersectional approach, this course will continuously think through how race, gender, class, and sexuality are social constructs. We will begin with foundational texts of racial passing and the discourse of blackface, and we will build on this by moving to texts in which race and gender passing converge. We will come to better understand these constructs through the language of fiction, metaphors of race, performances of gender, and the visual strategies of film. Literary selections will include works by Mark Twain, Kate Chopin, Ellen and Willian Craft, Pauline Hopkins, Billy Tipton, Nell[a] Larso[e]n, Patricia Powell, Toni Morrison. Films may include A Florida Enchantment and Boys Don’t Cry.

An Octoroon: Education Guide

The Wilma Theater
Philadelphia, Pennsylvania
2016
27 pages

Anne Holmes, Education Director
Lizzy Pecora, Education Assistant

BY Branden Jacobs-Jenkins
DIRECTED BY Joanna Settle
March 16 – April 10, 2016

Introduction

A NOTE FROM THE EDUCATION DIRECTOR

Thank you for choosing to bring your students to the Wilma’s production of An Octoroon, by Branden Jacobs-Jenkins. I applaud your willingness to take a risk on this one. While on some level we all understand that the most extraordinary learning opportunities emerge when we venture outside our comfort zone, most of us still gravitate toward what’s familiar and safe. An Octoroon promises to be a powerful catalyst for discussions around race, identity and stereotypes; if there’s a more urgent conversation we should be having with young people at this moment, I don’t know what that is. Brandon Jacobs-Jenkins has written a smart, intricately layered text to propel these discussions. Director Joanna Settle adds a live seven-piece band, with an original score composed in the rehearsal room alongside the actors, and dynamic step infused choreography to create a theatrical event big enough to encompass such a play. This is a risk worth taking.

If the Wilma were producing Dion Boucicault’s The Octoroon, the original 1859 melodrama upon which Branden Jacobs-Jenkins’ play is based, I would have a much tougher time arguing for its value in a high school classroom today. While Boucicault is still considered one of the great writers of the 19th century melodrama, there are so many cringe worthy moments throughout the play that it can feel like a minefield of political incorrectness. Similar questions have been raised about the value of reading Mark Twain’s The Adventures of Huckleberry Finn in 2016. I believe those concerns have validity and ignoring them would be irresponsible. What is it then about Branden Jacobs-Jenkins’ An Octoroon that makes it different, particularly given that the playwright has preserved so much of Boucicault’s original text? The crucial difference is that Jacobs-Jenkins provides a meta-theatrical lens through which to view the play, forcing us to consider a contemporary critical perspective on what we are seeing and hearing. Beyond that, he never tells us what to think or feel, leaving us to navigate our own way through this unsettling play. At times it feels like an irreverent romp, delighting in its own theatricality and celebrating the craftsmanship of the great 19th century melodramas. There are moments when we can’t help but laugh and yet we’re not sure if laughing is really okay. In many ways, An Octoroon is so suited to the classroom because it repeatedly eschews easy answers, all the way up through the final moments of the play’s deliberate non-ending.

In this education guide we tried to focus on providing key historical background on Boucicault and his original melodrama, as well as introducing you to this astounding, two-time Obie Award Winning Playwright (Best New American Play for An Octoroon and Appropriate) Branden Jacobs-Jenkins. BJJ’s character breakdown page as well as Boucicault’s plot breakdown page should help with getting clarity on the basics. With this play in particular, Lizzy Pecora and I both found ourselves repeatedly drawn back to the written, video and podcast interviews with Branden Jacobs-Jenkins because we really wanted to hear from the playwright himself as much as possible. We’ve included most of our favorite links to those interviews in the appendix, but I would leave these for after your students have already seen or read the play, so as not to clutter their experience of it with too much imposed meaning. The In the Classroom section includes our suggestions for introducing the play with interactive lessons designed to engage students in discussion and get them making their own predictions about its content and themes.

Thanks again for agreeing to go on this ride with us. Your students are going to love you for it!…

Read the entire guide here.

Lt. Stephen Atkins Swails

Kingstree News
Kingstree, South Carolina
2017-02-07

Cassandra Williams Rush, Special to The News

Lt. Stephen Atkins Swails Photo by Ronald Walton

Lt. Stephen Atkins Swails, an attorney, a member of the Electoral College, a member of the 54th Massachusetts Regiment, was the Mayor of Kingstree. He was born February 23, 1832 in the city of Columbia, Lancaster County, Pennsylvania and died May 17, 1900 in the Kingstree.

Swails was biracial and born a free black whose complexion was so light he was often mistaken as white…

Read the entire article here.

African Americans in Atlanta: Adrienne Herndon, an Uncommon Woman

Southern Spaces: A Journal about Real and Imagined Spaces and Places of the US South and their Global Connections
2004-03-16
DOI: 10.18737/M7XP4B

Carole Merritt

Portrait of Adrienne Herndon, date unknown. (c) The Herndon Home.

Overview 

Ahead of her time and outside of her assigned place, Adrienne Herndon achieved acclaim in education, drama, and architecture in turn-of-the-century Atlanta. As head of the drama department at Atlanta University, as aspiring dramatic artist, as architect of what would be designated a National Historic Landmark, Adrienne Herndon set her own course in a society that rejected such independence in women. She was one of the most highly trained professional women in Atlanta, having graduated from Atlanta University normal school in preparation for teaching, and having received degrees from the Boston School of Expression and the American Academy of Dramatic Arts in New York.

Adrienne Herndon (1869–1910)

“It is simply inevitable that I should end up on the stage,” Adrienne stated in 1904 just before her Boston debut as a dramatic reader. “The footlights have beckoned me since I was a little child and I simply must respond. It has always been my dream to portray all the heroic feminine characters of Shakespeare.” (Boston Traveler, January 25, 1904). From her childhood in Savannah, through her drama studies in Boston and New York, Adrienne held on to this dream of a career on the legitimate theater stage. The harsh realities of race and gender in America, however, doomed the realization of this dream. Except for vaudeville, minstrelsy, and all-Black dramatic productions, there was no place for Blacks on the American theater stage. As the daughter of light-skinned, slave-born house servants with considerable White ancestry, Adrienne’s skin was white. She identified herself as a Creole, a racially ambiguous term by which she was neither admitting nor denying her race.

Passing for White, she made her debut in Boston…

Read the entire article here.

Captain “Hell Roaring” Mike Healy: From American Slave to Arctic Hero

University Press of Florida
2017-04-35
352 pages
6.125 x 9.25
Hardcover ISBN 13: 978-0-8130-3368-6
Paper ISBN 13: 978-0-8130-5485-8

Dennis L. Noble, Senior Chief Petty Officer (Retired)
United States Coast Guard

Truman R. Strobridge

Foreword by James C. Bradford and Gene Allen Smith, Series Editors

One of the Coast Guard’s great heroes and the secret he kept hidden

In the late 1880s, many lives in northern and western maritime Alaska rested in the capable hands of Michael A. Healy (1839-1904), through his service to the U.S. Revenue Cutter Service. Healy arrested lawbreakers, put down mutinies aboard merchant ships, fought the smuggling of illegal liquor and firearms, rescued shipwrecked sailors from a harsh and unforgiving environment, brought medical aid to isolated villages, prevented the wholesale slaughter of marine wildlife, and explored unknown waters and lands.

Captain Healy’s dramatic feats in the far north were so widely reported that a New York newspaper once declared him the “most famous man in America.” But Healy hid a secret that contributed to his legacy as a lonely, tragic figure.

In 1896, Healy was brought to trial on charges ranging from conduct unbecoming an officer to endangerment of his vessel for reason of intoxication. As punishment, he was put ashore on half pay with no command and dropped to the bottom of the Captain’s list. Eventually, he again rose to his former high position in the service by the time of his death in 1904. Sixty-seven years later, in 1971, the U.S. Coast Guard learned that Healy was born a slave in Georgia who ran away to sea at age fifteen and spent the rest of his life passing for white.

This is the rare biography that encompasses both sea adventure and the height of human achievement against all odds.

Invisibly Black: A Life of George Herriman, Creator of ‘Krazy Kat’

The New York Times
2017-01-12

Nelson George

KRAZY: George Herriman, a Life in Black and White
By Michael Tisserand
Illustrated. 545 pp. Harper/HarperCollins Publishers. $35.

In our superficially more enlightened age, the phrase “mixed race” has become the accepted term to describe people with parents of different races. In fact the phrase has become a tool of marketers and brand-conscious celebrities to suggest whatever they’re selling is all-inclusive, a living embodiment of diversity. Many take great care in, for example, their Instagram biographies to list their hyphenated backgrounds.

But there are limits to the term’s utility, especially for people with African ancestry. Barack Obama was America’s first mixed-race president. His father was Kenyan and his mother a white woman from Kansas. Yet the tawdry racial history of this Republic demanded that he claim blackness as his primary identity because one drop of black blood has always decided your fate in this country. “Mixed race” notwithstanding, an African heritage in America is never just a cool exotic spice; one taste and it becomes all anyone remembers of the meal.

This rigid attitude toward race is often enforced by black Americans as fiercely as whites. For them the “mixed race” label, when employed by black people with a nonblack parent or grandparents, seems more a transparent attempt to dodge racial pigeonholing than a heartfelt assertion of identity. Jim Crow, which ended officially in the 1960s, has never been completely dismantled. So attempts to escape its grip, while understandable, create resentment in those unable to slip across the racial boundaries.

All of which makes Michael Tisserand’s “Krazy: George Herriman, a Life in Black and White” a fascinating and frustrating biography. Though Herriman’s “Krazy Kat” comic strip was admired in his lifetime, it wasn’t until years after his death in 1944 that his vast influence received widespread critical respect. Herriman’s depiction of the tangled relationships among the black cat Krazy, his white mouse tormentor and sometime love interest Ignatz and the bulldog Officer Pupp, set against a desert backdrop in fictional Coconino County (taken from a real area of Arizona), inspired several generations of cartoonists. Charles M. Schulz’s “Peanuts,” Ralph Bakshi’s “Fritz the Cat” and Art Spiegelman’s “Maus” all owe a debt to Herriman’s draftsmanship and poetic sense…

Read the entire review here.

The Boyden affair just got murkier: Salutin

The Toronto Star
2017-01-13

Rick Salutin

Celebrated author agrees to select interviews, insists he never embellished or lied about his heritage, but also offered platitudes versus confronting precise criticisms

I found Joseph Boyden’s interview Wednesday on CBC — in a word rarely called for — unctuous. He surfaced three weeks after saying he wouldn’t deal with questions about his Indigeneity publicly but only in a “speaking circle.” This after filling what he calls “airtime” for 10 years on every form of media.

Now he’s back out there on CBC and in the Globe, though solely with “acceptable” interviewers. APTN, which started all this with a cautious, respectful piece by Jorge Barrera on Boyden’s claims, called it a “PR push.”…

Boyden’s language was strikingly vague for someone who writes literary fiction. He talked about stories told in his family but gave few examples, instead repeatedly calling them “beautiful” and “amazing.” He said Holy Mackerel and Ohmygosh. He denied making things up but host Candy Palmater didn’t push very hard. As she said, they’re friends and “I know it would be a different conversation if we were alone over a glass of wine.” As troublemaker Robert Jago bracingly tweeted: “Candy Palmater. WTF?”…

Read the entire article here.

Full interview: Joseph Boyden on his heritage

CBC Radio
2017-01-11

Jesse Kinos-Goodin

Author Joseph Boyden addresses the recent controversy surrounding his Indigenous ancestral claims. (Penguin)

“A small part of me is Indigenous, but it’s a big part of who I am.”

Is Joseph Boyden really Indigenous?

It’s a question a lot of people have been asking, and one the author himself addressed in an exclusive interview Wednesday with CBC Radio’s Candy Palmater.

“Absolutely,” Boyden said. “I’m a white kid from Willowdale (Ontario) with native roots — a small part of me is Indigenous, but it’s a big part of who I am.”

It was Boyden’s first interview since the Aboriginal Peoples Television Network (APTN) released an investigation last month that called into question his Indigenous heritage and sparked a major controversy. The Giller Prize-winning author of Through Black Spruce is known for writing about Indigenous culture and communities in his novels, which also include Three Day Road and The Orenda. Boyden also has become a familiar voice when it comes to speaking on Indigenous issues in Canada…

Read the entire article here. Listen to the interview (00:32:32) here.