Black Like Us

Posted in Books, Media Archive, Novels, Passing, United States, Women on 2016-11-11 01:45Z by Steven

Black Like Us

Original Works Publishing
2016-11-08
102 pages
Paperback ISBN: 978-1630920944

Rachel Atkins

Foreword by Allyson Hobbs, Ph.D

Family secrets ripple through time when three present-day sisters discover the truth about a young African-American woman passing for white sixty years before. What happens in between is a frank and funny look at the shifting boundaries of tolerance and what identity really means.

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BrownBox Theatre and Sound Theatre Company to Present Encore Reading of BLACK LIKE US

Posted in Articles, Media Archive, Passing, United States, Women on 2016-11-10 21:22Z by Steven

BrownBox Theatre and Sound Theatre Company to Present Encore Reading of BLACK LIKE US

Broadway World
2016-11-05

BWW News Desk

To celebrate the publication of the play Black Like Us, BrownBox Theatre joins forces with Sound Theatre Company to present an “encore” staged reading of the Gregory Award Winning Play at the Langston Hughes Performing Arts Institute. Black Like Us is a funny, poignant, and deeply relevant story about the bonds of family, the struggles of identity, and the far-reaching effects of one woman’s decision. The play is set in Seattle’s Central District neighborhood, not far from the location of the Langston Hughes Performing Arts Institute, and spans decades of change that have impacted that community.

In their second collaboration, BrownBox Theatre and Sound Theatre Company present the staged reading of Gregory Award winning play

Black Like Us at the Langston Hughes Performing Arts Institute. Performances are Saturday, November 19 at 2:00pm and at 7:00 pm and free and open to the public. There is a reception between the performances to celebrate the publication of this script and the work of playwright Rachel Atkins and the companies of artists who helped to develop this multi-award-winning play.

Sound Theatre Company and BrownBox Theatre last collaborated on the 2015 production of Marcus Gardley’s visionary and poetic play, …And Jesus Moonwalks the Mississippi at the Center Theatre at the Seattle Center Armory.

In 1958, a young African-American woman makes the life-changing decision to start passing for white, creating a ripple effect through multiple generations. In 2013, her granddaughters accidentally discover her secret and seek out the family she left behind. Moving back and forth through time, what happens in between is a frank and funny look at the shifting boundaries of tolerance, as they are all faced with the many questions of what identity really means…

Read the entire article here.

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‘Loving’ inspires a DIY Film Festival of miscegenation films and shows you need to see…

Posted in Articles, Arts, Communications/Media Studies, Media Archive, Passing, United States on 2016-11-10 21:12Z by Steven

‘Loving’ inspires a DIY Film Festival of miscegenation films and shows you need to see…

CinemaInMind: Thinking about film… and other stuff
2016-11-03

Tim Cogshell, Critic At Large
Alt Film Guide

You don’t need to wait for the local art house to put on a themed film festival. Tim Cogshell, film critic for KPCC’s Filmweek and Alt Film Guide, and who blogs at CinemaInMind, is producing a series of DIY Film Festivals for Off-Ramp listeners to throw in the comfort of their own homes…

Read the entire article here.

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From Raised Eyebrows To Raised Curtains: Rachel Atkins Tackles Racial Identity

Posted in Articles, Arts, Media Archive, Passing, United States on 2016-11-10 20:57Z by Steven

From Raised Eyebrows To Raised Curtains: Rachel Atkins Tackles Racial Identity

KUOW.org 94.9 FM: Seattle News & Information
Seattle, Washington
2014-02-27

Marcie Sillman, Arts and Culture Reporter


Actresses Kia Pierce and Marquicia Dominguez in Rachel Atkins’ play, “Black Like Us.”
Credit Courtesy of Annex Theatre/Shane Regan

When Rachel Atkins was 7, she and her sisters got a new stepfather. Atkins loved this man, but when she and her family went out in public, they raised a lot of eyebrows.

“My stepdad, who raised me, was black,” says Atkins. “We were three little white Jewish girls in New Jersey, when multi-racial families were not that common. We would get asked all the time, ‘Who’s that guy with your family?’ And we’d say, ‘That’s our dad.'”

Decades later, Atkins’ experience was part of the impetus behind her new play “Black Like Us,” currently having its world premiere production at Seattle’s Annex Theater.

“Black Like Us” is about two black sisters in 1950s Seattle. Feisty Maxine is attracted to the nascent Civil Rights movement; lighter-skinned Florence is in love with a white man. Following her heart, Florence passes herself off as white and estranges herself from her entire family…

Read the entire article here. Listen to the interview here.

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When will Rachel Dolezal stop trying to get in formation?

Posted in Articles, Media Archive, Passing, Social Justice, United States on 2016-11-07 00:36Z by Steven

When will Rachel Dolezal stop trying to get in formation?

gal-dem
2016-06-23

Paula Akpan and Ella Wilks-Harper

When the story of Rachel Dolezal first broke – the NAACP president who has been misrepresenting herself as black – I snorted derisively.

When she was interviewed by VICE’s Broadly and mused over how “it’s so hard to explain this to people: I don’t feel white,” I rolled my eyes.

However, upon discovering that Dolezal had joined the Twittersphere, I had a cursory stalk and came across the following tweet…

Read the entire article here.

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The White and Black Worlds of Loving v. Virginia

Posted in Articles, Biography, History, Media Archive, Native Americans/First Nation, Passing, United States, Virginia on 2016-11-05 01:30Z by Steven

The White and Black Worlds of Loving v. Virginia

TIME
2016-11-04

Arica L. Coleman


AP Photo
Richard and Mildred Loving on this Jan. 26, 1965, prior to filing a suit at Federal Court in Richmond, Va.

Richard and Mildred Loving—the couple who inspired the new film Loving—lived in a world where race was not simply binary

Hollywood interpretations of true events always take some liberties with the truth, but the new film Loving—based on the intriguing story of Richard and Mildred Loving, the plaintiffs of the case Loving v. the Commonwealth of Virginia—adheres relatively closely to the historical account. Writer-director Jeff Nichols’ two-hour film chronicles the nine-year saga of the couple’s courtship, marriage, arrest, banishment and Supreme Court triumph in 1967, which declared state proscriptions against interracial marriage unconstitutional.

The film also, however, sticks close to popular myths that have dogged the case for decades, particularly by contextualizing the story within a black/white racial binary—when in fact Richard and Mildred Loving are prime examples of the way such lines have long been blurred…

Read the entire article here.

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Passing Strange

Posted in Articles, Autobiography, Media Archive, Mississippi, Passing, United States on 2016-11-04 15:44Z by Steven

Passing Strange

The Common
2016-11-04

W. Ralph Eubanks

All thinking Southerners, at some point, find their minds at war with their hearts, a battle that often ends with the heart claiming victory. It is this triumph of the heart that landed me, a black expatriate Mississippian, back in my home state again. Yet returning to Mississippi after nearly forty years, albeit temporarily, as a visiting professor, has left me torn somewhere between acceptance and separateness. In some ways, the longer I am in the South, the less I try to maintain my distance from the place.

One way my divide from the South has been bridged is in the way I speak when I am here. When I left Mississippi I scrubbed away any outward sign that would mark me as a native son, even succeeding at losing my accent as well as the elongated vowels of my youth. But these days a decided twang has begun to creep into my voice. And rather than correcting my linguistic lapses, I’m reclaiming this part of my Southern background.

But there is one thing I have had difficulty accepting: people thinking I am a white man…

Read the entire article here.

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October 29, 1949

Posted in Articles, Communications/Media Studies, Media Archive, Passing, United States on 2016-10-30 20:48Z by Steven

October 29, 1949

Black Quotidian: Everyday History in African-American Newspapers
2016-10-29

Matthew F. Delmont, Professor of History
Arizona State University

On October 29, 1949, the Chicago Defender published Walter White’s review of Elia Kazan’s film Pinky. The film, a drama about racial passing starring Jeanne Crain and Ethel Waters, was the top-grossing film of 1949. White, who led the NAACP from 1931 until his death 1955, wrote, “I have never in all my life wanted so much to like a moving picture as much as I did ‘Pinky.’ As I bought tickets at the Rivoli Theatre in New York I hoped fervently that the praise of most of the New York critics and friends of mine, both colored and white, would be justified…Unhappily for me, I have to say that, as far as my judgement is concerned, [producer Darryl] Zanuck has failed. Some new ground have been broken but they are mere scratches in the vast field of human relationships the picture sought to plow. Southern white police brutality and lechery are vividly and courageously exposed. But one would never know, unless he had other sources of information, that Negroes, even in the most backward areas of Mississippi are not resigned to their ‘place’ and are not only working but making progress against the kind of conditions portrayed in ‘Pinky.'” This review of this film about racial passing is particularly interesting because Walter White was very light skinned, and sometimes passed as white while working as a civil rights investigator in the South…

Read the entire article here.

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How America Bought and Sold Racism, and Why It Still Matters

Posted in Articles, Communications/Media Studies, History, Literary/Artistic Criticism, Media Archive, Passing, Slavery, United States on 2016-10-25 20:06Z by Steven

How America Bought and Sold Racism, and Why It Still Matters

Collectors Weekly
2015-11-10

Lisa Hix, Associated Editor

Today, very few white Americans openly celebrate the horrors of black enslavement—most refuse to recognize the brutal nature of the institution or actively seek to distance themselves from it. “The modern American sees slavery as a regrettable period when blacks worked without wages,” writes Dr. David Pilgrim, the Vice President for Diversity and Inclusion and a sociology professor at Ferris State University and the author of Understanding Jim Crow: Using Racist Memorabilia to Teach Tolerance and Promote Social Justice, who has spent his life studying the artifacts that have perpetuated racist stereotypes.

The urge to forget this stain on our nation’s history is everywhere. In Texas, McGraw-Hill recently distributed a high-school geography textbook that refers to American slaves as immigrant workers. At Southern plantation museums that romanticize the idea of genteel antebellum culture, the bleak and violent reality of enslaved plantation life is whitewashed and glossed over. Discussions about how slavery led to modern-day racism are often met with white defensiveness. How many times have black people heard this line? “Slavery happened a long time ago. You need to get over it.”

The truth is when President Lincoln signed the Emancipation Proclamation in January 1863, the economic subjugation of African Americans, and the terrorism used to maintain it, did not come to a grinding halt. The Jim Crow racial caste system that emerged 12 years after the Civil War ended in 1865 was just as violent and oppressive as slavery—and it lasted nearly a century. Up through Martin Luther King Jr.’s assassination in 1968, black people across the country, in Northern states as well as Southern ones, were routinely humiliated, menaced, tortured and beaten to death, and blocked from participating in business and public life. Thanks to smartphone and social-media technology, we’re seeing how such violence continues in 2015, 50 years after the height of the Civil Rights Movement


Puerto Rican actress Rita Moreno played the “tragic mulatto” in the 1960 film “This Rebel Breed.”(From Understanding Jim Crow)

…Another caricature was inflicted upon mixed-race women: the “tragic mulatto,” which is based on the “one-drop rule” that says any African American blood in your lineage makes you a black person. In this story, the mixed-race woman grows up living as a privileged white person. When her white father dies, her black heritage is revealed, and she’s enslaved and subjected to violence by white men. Rejected by both racial groups, she’s often suicidal and alcoholic, and she in particular loathes her black side.

Reality, of course, tells a different story. In Understanding Jim Crow, Pilgrim says it’s true that in the days of slavery, mixed-race slaves (usually the illegitimate sons and daughters of their owners), sometimes sold for higher prices, and masters saw these women as particularly sexually desirable, claiming their beauty drove them to rape. Enslaved mixed-race women were also frequently sold into prostitution, and freeborn mixed-race women sometimes became the mistresses of white men under the “plaçage system.” Some people with “Negro blood” worked to “pass” as whites, which helped them get better education, pay, and homes. But throughout history, mixed-race people—who had the slur “mongrels” hurled at them by whites—have been well accepted in the black community: Take for example, W.E.B. Du Bois, Booker T. Washington, Mary Church Terrell, Thurgood Marshall, Malcolm X, Louis Farrakhan, Langston Hughes, and Billie Holiday

Read the entire article here.

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DNA tests show fallacy of Jim Crow

Posted in Articles, Health/Medicine/Genetics, History, Media Archive, Passing, United States on 2016-10-20 01:04Z by Steven

DNA tests show fallacy of Jim Crow

The Albuquerque Journal
2014-03-21

Henry Louis Gates Jr., Alphonse Fletcher University Professor and Director of the Hutchins Center for African and African American Research
Harvard University

I am filming guest interviews for Season 2 of the genealogy series “Finding Your Roots,” airing on PBS this September. One of the most intriguing pieces of information shared with our guests is the “admixture” results contained in their DNA – their percentages of European, Native American and sub-Saharan African ancestors over the past 200 years or so.

The record of your ancestral past, in all of its complexity, is hidden in your autosomal DNA.

African-Americans almost always guess that they have much higher percentages of Native American ancestry and much lower percentages of European ancestry than they have. That is not surprising since African-Americans have long embraced the myth that their great-grandmother with “high cheeks and straight black hair” looked that way because of a relationship between an ancestor who was black and another one who was Native American.

But scientific results show that very few African-Americans have a significant amount of Native American ancestry: In fact, according to a study just published by 23andMe researcher Katarzyna “Kasia” Bryc, only about 5 percent of African-Americans have at least 2 percent of Native American ancestry, while the average African-American has only 0.7 percent Native American ancestry…

At the same time, Bryc’s research shows that the average African-American has a whopping 24 percent of European ancestry, which explains why great-grandma had those high cheekbones and that straight black hair.

But what about the presence of recent African ancestors in a “white” person’s family tree?…

Read the entire article here.

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