Mixed Race Studies

The Year We Obsessed Over Identity

The New York Times
2015-10-06

Wesley Morris, Critic at Large

2015’s headlines and cultural events have confronted us with the malleability of racial, gender, sexual and reputational lines. Who do we think we are?

A few weeks ago, I sat in a movie theater and grinned. Anne Hathaway was in ‘‘The Intern,’’ perched on a hotel bed in a hotel robe, eating from a can of overpriced nuts, having tea and freaking out. What would happen if she divorced her sweet, selfless stay-at-home dad of a husband? Would she ever meet anybody else? And if she didn’t, she would have no one to be buried next to — she’d be single for all eternity. And weren’t the problems in her marriage a direct result of her being a successful businesswoman — she was there but never quite present? ‘‘The Intern’’ is a Nancy Meyers movie, and these sorts of cute career-woman meltdowns are the Eddie Van Halen guitar solos of her romantic comedies.

But what’s funny about that scene — what had me grinning — is the response of the person across the bed from Hathaway. After listening to her tearful rant, this person has had enough: Don’t you dare blame yourself or your career! Actually, the interruption begins, ‘‘I hate to be the feminist, of the two of us. … ’’ Hate to be because the person on the other side of the bed isn’t Judy Greer or Brie Larson. It’s not Meryl Streep or Susan Sarandon. It’s someone not far from the last person who comes to mind when you think ‘‘soul-baring bestie.’’ It’s Robert freaking De Niro, portrayer of psychos, savages and grouches no more.

On that bed with Hathaway, as her 70-year-old intern, he’s not Travis Bickle or the human wall of intolerance from those Focker movies. He’s Lena Dunham. The attentiveness and stern feminism coming out of his mouth are where the comedy is. And while it’s perfectly obvious what Meyers is doing to De Niro — girlfriending him — that doesn’t make the overhaul any less effective. The whole movie is about the subtle and obvious ways in which men have been overly sensitized and women made self-estranged through breadwinning. It’s both a plaint against the present and a pining for the past, but also an acceptance that we are where we are…

…In June, the story of a woman named Rachel Dolezal began its viral spread through the news. She had recently been appointed president of the local chapter of the N.A.A.C.P. in Spokane, Wash. She had been married to a black man, had two black sons and was, by most accounts, a black woman. Her white biological parents begged to differ. The ensuing scandal resurrected questions about the nature of identity — what compelled Dolezal to darken her skin, perm her hair and pass in reverse? She might not have been biologically black, but she seemed well past feeling spiritually white.

Some people called her ‘‘transracial.’’ Others found insult in her masquerade, particularly when the country’s attention was being drawn, day after day, to how dangerous it can be to have black skin. The identities of the black men and women killed by white police officers and civilians, under an assortment of violent circumstances, remain fixed.

But there was something oddly compelling about Dolezal, too. She represented — dementedly but also earnestly — a longing to transcend our historical past and racialized present. This is a country founded on independence and yet comfortable with racial domination, a country that has forever been trying to legislate the lines between whiteness and nonwhiteness, between borrowing and genocidal theft. We’ve wanted to think we’re better than a history we can’t seem to stop repeating. Dolezal’s unwavering certainty that she was black was a measure of how seriously she believed in integration: It was as if she had arrived in a future that hadn’t yet caught up to her…

Read the entire article here.

The Greatest Pretender: Korla Pandit, music’s most magnificent fraud

Dead 2 Rights: A Folksy Down-Home Blog
2013-05-19

Joe Blevins

A few of Korla’s two dozen albums. You might notice a recurring visual motif on the LP covers.

“For wisdom is better than rubies, and all things to be desired are not to be compared unto it. We bring you musical gems from near and far, blended into a pattern of glorious harmony, a program based on the universal language of music. It is our pleasure to present to you…”

Korla Pandit spoke not a word when he was on camera. He just wore a bejeweled turban, played the organ… and stared. That was the extent of his act. It was all he needed — the shimmery tones of his music, the vague evocation of the Far East, and that indelible Mona Lisa countenance with its piercing dark eyes and intriguing half-smile. It was a potent combination which carried him along for nearly half a century. And yet, Korla Pandit never really existed at all. It depends, I suppose, on your definition of “existed.” Either way, his story is one of the most implausible and oddly inspiring in the history of popular music.

I first encountered Korla Pandit without any clue to his identity or knowledge of his past. Portraying himself, Korla made a memorable cameo in Tim Burton’s 1994 film, Ed Wood. In the scene, notorious director Edward D. Wood, Jr. (Johnny Depp) is holding a wrap party for his 1955 sci-fi/horor anti-epic, Bride of the Monster. The wild celebration, attended by Bela Lugosi and the other oddballs and grotesques who orbited Wood, is held in the meat-packing plant of the film’s major backer, wealthy rancher Donald McCoy (Rance Howard). While the carcasses of slaughtered animals hang from hooks all around them, the revelers are treated to a suggestive dance routine performed by Wood himself, costumed as a harem girl. Korla Pandit, immaculately attired in a Nehru jacket and the ever-present turban, accompanies him on the organ with a composition called “Nautch Dance,” referring to a seductive style of dance popularized in early-1900s India…

Read the entire article here.

Exotic Korla Pandit hid race under swami persona

SFGate
2015-08-15

Jessica Zack

Eric Christensen grew up in San Francisco in the 1950s and remembers his mother, “like a lot of women then, being transfixed by Korla Pandit on television. He wore a jeweled turban and had these mesmerizing eyes that made women feel he could see right through them. Korla was this otherworldly, captivating guy, and we all thought he and his music were from another land.”

Christensen, who lives in Mill Valley, and his former KGO TV colleague John Turner of Berkeley have chronicled Pandit’s life story in their new documentary “Korla,” which has its Bay Area premiere at San Francisco’s Museum of the African Diaspora on Aug. 20.

From his first 1949 episodes of “Adventures in Music” on Southern California’s KTLA, Pandit rode an almost 50-year-long wave of success — as a TV sensation, prolific recording artist (13 albums with Berkeley’s Fantasy Records) and “grandfather of exotica music” — based not only on his keyboard prowess but on his enigmatic swami persona.

With his heavily kohl-rimmed eyes and upturned half-smile, Pandit coaxed unusual sounds from the Hammond B-3 organ, playing “musical gems from far and near” — faux-Polynesian sounds, Hawaiian war chants, “hypnotiques” — while extolling the virtues of “divine consciousness” and “the universal language of music.”

Yet, unbeknownst to his legions of fans until after his death in Petaluma in 1998, at age 77, Pandit’s hypnotic Svengali look and supposedly Hindu name were part of an expertly crafted fiction of self-invention. A magazine profile by R. J. Smith in 2001 revealed that Pandit was actually African American, a minister’s son born John Roland Redd, from Columbia, Mo…

…The film incorporates interviews with music and sociology experts — including Carlos Santana (who likens Pandit to Miles Davis), The Chronicle’s Radio Waves columnist Ben Fong-Torres and UC Berkeley Professor Emeritus Harry Edwards — as well as with Pandit’s nephew Gary Cloud, to examine, says Christensen, “this amazing act, even by show business standards. This wasn’t an act that occurred onstage for an hour or two, this was 24/7, all through his life. Korla put on this persona and couldn’t take it off. Living a lie on a daily basis must have been very difficult.”

“Korla’s life story illustrates what African Americans knew at the time: ‘If I can be anything other than black, my life could change dramatically,’” says Stanford University Assistant Professor of History Allyson Hobbs, whose new book “A Chosen Exile” explores the stories of individuals who passed as someone else racially from the late 19th century through the 1950s. “If they could just twist people’s perception of them even one degree — in this case, from black to another minority — doors previously closed would open.”…

Read the entire article here.

Musician’s life brings more than passing interest in passing

San Francisco Chronicle
2015-07-28

Leah Garchik, Features Columnist

As colleagues at KGO-TV, Eric Christensen and John Turner — Eric was a sports producer, John a news editor/arts producer — shared a passion for exotic cultural phenomena. Retired, they’ve combined know-how with that passion to make the doc “Korla, the Movie,” about organist Korla Pandit.

Turban-wearing Pandit, who said he was born in India, had his own TV show in the late ’40s and early ’50s. He was known for playing exotic “foreign” music. He was living in Petaluma when he died, in 1998. A subsequent magazine profile revealed that he was African American, born in Missouri.

A documentary about Pandit as an exotic performer — the likes of Yma Sumac — would be interesting at any time. But now, in the midst of a national discussion about identity that intensified with the recent revelation that Rachel Dolezal had chosen to identify as black, the movie’s tale of “passing” seems particularly relevant. It will be shown Aug. 20 at the Museum of the African Diaspora…

Read the entire article here.

The most famous ‘Indian’ on 1950s American TV

The Times of India
2015-10-04

Malini Nair

Korla Pandit was the first African American to have a TV show to himself – by pretending to be an exotic Indian musician

The story is almost unbelievable. In the US of the 1940s, a light-skinned African American youth discovers his prodigious talent at playing the electric organ. The mystical Orient and all its clichés are in vogue at the time and radio shows like Chandu the Magician and films like Midnight Shadow are the rage, featuring fakirs and assorted Indian exotica. The ambitious African American, John Roland Redd, decides to reinvent himself for the TV music market – as Korla Pandit, the mysterious Indian musician.

Deeply kohled eyes fixed in a hypnotic gaze, a bejewelled turban on his head, Pandit would play the Hammond B2 organ and piano with both virtuosity and theatricality on TV shows. Around him, a stagey exotic east played out – smoky haze, play of light and shade, Oriental dancers undulating in shimmery lehengas and short dhotis.

“I was born in New Delhi, India,” he announced silkily in a TV interview with an anchor seeking the backstory to Pandit (pronounced ‘panned-it’). He was, he claimed, the son of a Brahmin priest and a French opera singer who was sent to the US to study. Pandit reached the peak of his popularity with the ’50s TV show ‘Adventures in Music with Korla Pandit’, where he appeared as some kind of Indian musician-maharaja–swami. What he played on the organ and the piano was called exotica music – the closest it comes to contemporary music is trance or lounge. Before long, he came to be known as the Godfather of Exotica…

Read the entire article here.

Boy, Snow, Bird by Helen Oyeyemi review – serious issues, fairytale narrative

The Guardian
2015-10-04

Anthony Cummins

Oyeyemi, Helen, Boy, Snow, Bird: A Novel (New York: Riverhead Press, 2014)

Oyeyemi’s fifth novel finds her treating the horrors of racism in 1950s America with gentle, magical style

Helen Oyeyemi, a Granta best of young British novelist, was born in Nigeria, grew up in London and has lived around Europe and North America. She specialises in unorthodox, freewheeling plots, rooted in myth and narrated in an innocent-seeming style. Her fifth novel is a historical narrative of American racism set in the 1950s and 60s.

At the start a woman named Boy Novak tells us how she ran away aged 20 from New York to escape her rat-catcher father, Frank, a drunk who beat her (her mother was absent). She pitches up in a small town in Massachusetts to marry a widowed jeweller and former historian, Arturo, who has a seven-year-old daughter, Snow, whose mother died after complications in childbirth.

The central crisis of the novel comes when Arturo has another daughter, with Boy – named Bird – and she is born dark-skinned. Arturo’s family accuse Boy of being unfaithful but the truth, as they all know, is that they have been passing for white. What follows is the painful background to that decision, as Arturo’s family recount the horrors of life in the south and their disappointed hopes for how things might improve when they moved north…

Read the entire book review here.

Rachel/Racial Theory: Reverse Passing in the Curious Case of Rachel Dolezal

Transition Magazine
2015-06-26

Damon Sajnani (AKA ProfessorD.us), Professor of African Cultural Studies
University of Wisconsin, Madison

Rachel Dolezal has done more than break the internet and fuel Black twitter and emcee cyphers with innumerable punchlines. She has provided the first high-profile contemporary case of racial passing from white to Black.

The vast majority of responses on mainstream and social media, even those claiming attention to nuance, pretty much accept—without justification or interrogation—that her parents’ version of the story is right and that she is wrong. Specifically, both her critics and most of her sympathizers accept the following as a “fact”: Rachel was pretending to be Black when she was really white all along. My aim here is not to defend or to condemn her, but to show that this one simple “fact” is neither simple nor self-evident.

Race is a social construct. It is a social reality, not a biological one. This fact is widely acknowledged by academics but many of them misunderstand it. Often, people who claim to know that race is a social construct make statements exposing that they really do not recognize it as such.

In “The Passing of Anatole Broyard,” Henry Louis Gates Jr. recounts the details of how “Broyard was born black and became white” (181-2). Throughout American history untold numbers of light skinned Blacks assumed white identities. This phenomenon became known as “passing” in the 1920s. Some did so temporarily, as for a job open only to whites. Sometimes they were white during the work day and Black when they returned to their families in the evening. But in many other cases, such as Broyard’s, people cut themselves off from their families completely, marrying white and raising white children oblivious to their Black ancestry. If we think of race as biological, as we have been taught, then these people were living a deception their whole lives and their children were not really white. But when we understand race as a social construct, we understand that they actually became white. There is nothing more to being, or not being, a given race than the social acceptance and societal ascription of a race to a person…

Read the entire article here.

White or black? Sometimes it’s not so clear-cut

StarNews Online
Wilmington, North Carolina
2015-10-03

Beverly Smalls

In June, as Rachel Dolezal of Spokane, Wash., confused members of the NAACP as well as her family, friends and the public about her choice to identify as an African-American, new conversations began.

Dolezal was accused of being a white person trying to pass as a black person. She stepped down as head of the NAACP’s chapter in Spokane.

Ironically, Americans of mixed heritage who appeared to be white in past centuries could gain better socio-economic opportunities by relocating to regions far from relatives known to be part African or Native American.

Unlike Dolezal, they preferred the advantages of being classified as white.

A different term, “mulatto,” defined those of mixed race, often with one white and one black parent.

If it were known, one drop of Indian or African blood in a family line could propel an individual or group of people into a lifetime of forced segregation and disadvantages in a minority community.

Having pale African-American skin could have provided advantages or separations from other black people, according to a 1930s Federal Writers’ Project.

A Wilmington man known as “Uncle Jackson,” born in 1851 and interviewed for the New Deal writers’ project, reported that there were lots of “mulatto Negros” in this region. Having a father who was part Indian and a mother who was considered mulatto, Jackson said he was not allowed to even play with “common chil’en,” white or colored.

Bygone cultural identity practices in 20th century Wilmington resulted in notable memories from descendants of mixed-race families…

Read the entire article here.

Controversial Hire Won’t Serve as Dartmouth’s Native American Program Director

Valley News
White River Junction, Vermont
2015-10-02

Rob Wolfe, Valley News Staff Writer

Susan Taffe Reed stepped down as director of Dartmouth’s Native American Program. (Dartmouth College – Eli Burakian)

Hanover — Dartmouth College officials said Thursday that the school’s new Native American Program director has left that position in response to controversy over her representation of her ancestry and tribal affiliation.

“Susan Taffe Reed will no longer serve as the director of the Native American Program,” college spokeswoman Diana Lawrence said in an email Thursday. “Unfortunately, the distraction around her appointment prevents her from effectively serving in this role. It does not prevent her from contributing to Dartmouth in other ways, and we are currently exploring opportunities with her.”

She remains an employee of the college, according to Lawrence.

Taffe Reed, who says she is of Native American descent, is president of the Eastern Delaware Nations, a nonprofit group not recognized by federal or state authorities that says it represents Delawares who remained in their ancestral lands of Northeastern Pennsylvania — a claim that the federally recognized Delaware Tribe contests…

Read the entire article here.

Every Family Has Its Secrets: Lacey Schwartz Connects with Film Forward Audiences in Taiwan

Sundance Film Forward
2015-09-24

Lacey Schwartz, Director Little White Lie

This Sundance Film Forward trip to Taiwan marked the Asian Premiere of Little White Lie. It also was my first time ever in Asia. The things that people seemed to say I had to experience while there were the food and the shopping – I was told soup dumplings and night markets were mandatory. I learned that their passion fruit is addictive. What I didn’t have a sense of was how the audiences in Taiwan would respond to Little White Lie. I wondered if they would be confused by the racial identity dynamics. Would they think the film was revealing too much in a public manner? Would they relate to the struggle to come to terms with family secrets and denial? I had shown the film previously in countries that had much more diversity in their society such as Trinidad where the story seemed to strongly resonate. I wondered if the homogeneity of the people in Taiwan would make Little White Lie harder for them to connect to. The screenings showed that my concerns were unwarranted…

Read the entire article here.