Mixed Race Studies

Soul Search

The Post
Cork, Ireland
2010-09-05

Nadine O’Regan

When poet and novelist Jackie Kay started the search for her birth parents, she didn’t realise how traumatic a journey it would be, though she doesn’t regret doing it.

Jackie Kay met her birth father for the first time in a hotel room in Abuja, Nigeria, in 2003. Then in her early 40s,Kay was expectant, excited and nervous. She had brought him a present, an expensive watch.

However, before they could talk, her father, a born-again Christian, said there was something he had to do. For more than an hour, he prayed, frantically whirling, wild-eyed, like a dervish around the room, asking the Lord to cleanse the sin before him.

In her new memoir, Red Dust Road, which paints a vivid portrait of her search for her birth parents, Kay, an atheist, describes how her tears began to flood down her face as she understood that the sin being referred to was herself. ‘‘I realise with a fresh horror that Jonathan is seeing me as the sin, me as impure, me the bastard, illegitimate.”…

…Assembled in a kind of jigsaw manner – with events nipping back and forth across the years – Red Dust Road combines a compelling search story with a vivid portrait of struggling to deal with issues of race and roots. Long-term fans of Kay’s work will spy occasional references to her break-up with her lover of 15 years, British poet laureate Carol Ann Duffy, and get a sense of her current life: living in a terraced house in Chorlton, Manchester, teaching part time at the University of Newcastle and bringing up a university-age son…

…Born in 1961 to a Scottish nurse and a Nigerian student, Kay was adopted at the age of five months, and grew up as the daughter of two colourful, outspoken, lifelong socialists: her adoptive father was a member of the Communist Party and her mother was the Scottish secretary of CND…

…Absorbing the fact of her adoption wasn’t the only issue Kay had to face during her childhood. She was also mixed race in 1970s Glasgow – ‘‘Being black in a white country makes you a stranger to yourself’’ – and gay at a time when nobody was allowed to be.

‘‘We live in a society where people have civil partnerships and people understand what the word ‘homophobia’ means and gay people have children openly,” she says. ‘‘But when I told my mum, that was really unusual, and she was really quite shocked.”

Kay began writing poetry at the age of 12, as a response to the racist names she was called and the beatings she received. ‘‘I found writing to be a sanctuary. I’d write a little poem as revenge.”…

Read the entire article here.

Queer Punk Macha Femme: Leslie Mah’s Musical Performance in Tribe 8

Cultural Studies↔Critical Methodologies
Volume 10, Number 4 (August 2010)
pages 295-306

Deanna Shoemaker, Assistant Professor of Applied Communication (Performance Studies)
Monmouth University, West Long Branch, New Jersey

This essay analyzes the musical performances of Leslie Mah, biracial lead guitarist and backup vocalist for the legendary all-female, queercore punk band Tribe 8, whose members broke up in 2005 after fifteen years together. Inspired by the recent turn in performance studies toward studies of music as performance, this work employs multiple methods and objects to get at the complex totality of popular music’s performativity. Mah’s macha femme persona, playing style, and performance of identity as a lesbian woman of color within queercore punk music allow her to enter a carnivalesque realm of feminist menace, palpable rage, and unruly pleasure. Mah’s performance strategies and articulations of her queer and biracial identities in interviews are contextualized within feminist performance, riot grrrl, and punk music studies. Tribe 8’s lyrics, music, marketing, and band member personas provide cultural context for Mah’s distinctive performance of macha femme.

Read or purchase the article here.

Blackberries and Redbones: Critical Articulations of Black Hair/ Body Politics in Africana Communities

Hampton Press
July 2010
484 pages
Paper ISBN: 978-1-57273-881-2
Cloth ISBN: 978-1-57273-880-5

Edited by

Regina E. Spellers, President and CEO
Eagles Soar Consulting, LLC

Kimberly R. Moffitt, Assistant Professor of American Studies
University of Maryland, Baltimore County

This book features engaging scholarly essays, poems and creative writings that all examine the meanings of the Black anatomy in our changing global world. The body, including its hair, is said to be read like a text where readers draw center interpretations based on signs, symbols, and culture. Each chapter in the volume interrogates that notion by addressing the question, “As a text, how are Black bodies and Black hair read and understood in life, art, popular culture, mass media, or cross-cultural interactions?” Utilizing a critical perspective, each contributor articulates how relationships between physical appearance, genetic structure, and political ideologies impact the creativity, expression, and everyday lived experiences of Blackness. In this interdisciplinary volume, discussions are made more complex and move beyond the “straight versus kinky hair” and “light skin versus dark skin” paradigm. Instead efforts are made to emphasize the material consequences associated with the ways in which the Black body is read and (mis)understood. The aptness of this work lies in its ability to provide a meaningful and creative space to analyze body politics—highlighting the complexities surrounding these issues within, between, and outside Africana communities. The book provides a unique opportunity to both celebrate and scrutinize the presentation of Blackness in everyday life, while also encouraging readers to forge ahead with a deeper understanding of these ever-important issues.

Table of Contents

• Foreword, Haki R. Madhubuti
• Introduction, Regina E. Spellers and Kimberly R. Moffitt
• SECTION ONE: Hair/Body Politics as Expression of the Life Cycle
  • The Big Girl’s Chair: A Rhetorical Analysis of How Motions for Kids Markets Relaxers to African American Girls, Shauntae Brown White
  • Pretty Color ’n Good Hair: Creole Women of New Orleans and the Politics of Identity, Yaba Amgborale Blay
  • Invisible Dread: From Twisted: The Dreadlocks Chronicles, Bert Ashe
  • Social Constructions of a Black Woman’s Hair: Critical Reflections of a Graying Sistah, Brenda J. Allen
  • What it Feels Like for a (Black Gay HIV+) Boy, Chris Bell
• SECTION TWO: Hair/Body as Power
  • Dominican Dance Floor, Kiini Ibura Salaam
  • Covering Up Fat Upper Arms, Mary L. O’Neal
  • Cimmarronas, Ciguapas, and Senoras: Hair, Beauty, and National Identity in the Dominican Republic, Ana-Maurine Lara
  • Of Wigs and Weaves, Locks and Fades: A Personal Political Hair Story, Neal A. Lester
  • “Scatter the Pigeons”: Baldness and the Performance of Hyper-Black Masculinity, E. Patrick Johnson
• SECTION THREE: Hair/Body in Art and Popular Culture
  • From Air Jordan to Jumpman: The Black Male Body as Commodity, Ingrid Banks
  • Cool Pose on Wheels: An Exploration of the Disabled Black Male in Film, Kimberly R. Moffitt
  • Decoding the Meaning of Tattoos: Cluster Criticism and the Case of Tupac Shakur’s Body Art, Carlos D. Morrison, Josette R. Hutton, and Ulysses Williams, Jr.
  • Blacks in White Marble: Interracial Female Subjects in Mid-Nineteenth-Century Neoclassicism, Charmaine Nelson
  • Changing Hair/Changing Race: Black Authenticity, Colorblindness, and Hairy Post-ethnic Costumes in “Mixing Nia”, Ralina L. Joseph
  • “I’m Real” (Black) When I Wanna Be: Examining J. Lo’s Racial ASSets, Sika Alaine Dagbovie and Zine Magubane
• SECTION FOUR: Celebrations, Innovations, and Applications of Hair/Body Politics
  • Diaspora in My Hair: A Poetic Narrative of My Experience in Europe, Nadège Tanite Clitandre
  • Broken Mirrors and Reflections of One’s Self: Blackness, Indianness, and Hybridity, Hershini Bhana Young
  • Sun Kissed or Sun Cursed?: Exploring Color Consciousness and Black Women’s Tanning Experiences, Regina E. Spellers
  • African Men in the United States: Stories of Race, Gender, Sexuality, and Power, Hameed S. (Herukhuti) Williams
  • Weaving Messages of Self-Esteem: Empowering Mothers and Daughters through Hair Braiding, Tracey Y. Lewis-Elligan
• SECTION FIVE: Contradictions, Complications, and Complexities of Hair/Body Politics
  • Divas to the Dance Floor Please!: A Neo-Black Feminist Readin(g) of Cool Pose, D. Nebi Hilliard
  • Coming Out Natural: Dreaded Desire, Sex Roles, and Cornrows, L. H. Stallings
  • “I am More than a Victim”: The Slave Woman Stereotype in Antebellum Narratives by Black Men, Ellesia A. Blaque
  • Two Warring Ideals, One Dark Body: Hegemony, Duality, and Temporality of the Black Body in African-American Religion, Stephen C. Finley
  • The Snake that Bit Medusa: One (Phenotypically) White Woman’s Dreads, Kabira Z. Cadogan
• Author Index
• Subject Index

Women-Loving Women: Queering Black Urban Space during the Harlem Renaissance

Women’s Studies 197: Senior Seminar
2010-06-07
Professor Lilith Mahmud

Samantha Tenorio

The experience of black “women-loving-women” during the Harlem Renaissance is directly influenced by what Kimberlé Crenshaw terms intersectional identity, or their positioning in the social hierarchies of race, gender, class, and sexual orientation that are simultaneously intertwined. Considering contemporary terms like lesbian and bisexual, it is difficult to define the sexual identity of many famous black women of the early 20th century, such as Gertrude “Ma” Rainey, Bessie Smith, and Bessie Jackson to name a few. However, their work both on and off the stage contributes to the construction of identities during the Harlem Renaissance that transgress both racial and sexual conventions. Although these social identities emerged from a long history of slavery and sexual oppression, they nonetheless produced a seemingly free space for the expression of lesbian sensibilities in the black community during the Harlem Renaissance. At a time of racial segregation in America, but also of ideologies of uplift within the black community, social spaces existed in Harlem where sexual “deviance” and race-mixing could be articulated and seen explicitly. Using song lyrics, literature, and scholarly work on social and cultural spaces of the time period between 1919 and 1939, this paper analyzes how certain forms and sites of cultural production, specifically the blues, the cabaret, and literature helped to construct these transgressive identities.

…Relating Racial Movement to a Queer Politics

Similarly, but not at all equivalent, racial passing implies a more fluid movement between the worlds of black and white. Both Irene and Clare partake in passing for their own gain, though doing so in differing degrees. Their movement between the worlds of black and white represent a fluidity that speaks to a queer reading of Passing and can be read as representing sexual mobility insomuch as segregation was established in order to protect the purity of the white race. This protection is what makes Clare‘s passing, and marriage to a white man, that much more compelling. Here her passing is in direct opposition to segregation and the fear of miscegenation, which are based on the sexual reproduction of a pure white race. Thus, I understand Clare and her passing to be a symbol for the transgression of both racial and sexual boundaries. Her racial fluidity as well as her transgression both speak to a queer reading of Larsen‘s fiction…

Though an act of agency, the movement employed by Larsen can also be read as relating to the theme of mobility and fluidity that is present within queer politics. The figure of the “tragic mulatta” employed by [Nella] Larsen in Quicksand illustrates a point of mediation, or a movement between two worlds, one who is constantly taking part in criminal intimacies. Helga is eternally caught between two worlds, yet being a victim of the “one-drop rule” she is always marked as ultimately belonging to the black race.  Here, though she is of mixed-race, her character illustrates that the bi-racial character cannot exist, she must always be defined as ultimately belonging to one race, and when this individual‘s races include black, she is always labeled as such. This marks the limitations of the tragic mulatta’s movement, but still speaks to a movement that is constantly a theme of queer politics.

Read the entire paper here.

Interzones: Black/White Sex Districts in Chicago and New York in the Early Twentieth Century

Columbia University Press
August 1997
248 pages
Paper ISBN: 978-0-231-10493-7
Cloth ISBN: 978-0-231-10492-0

Kevin Mumford, Professor of African-American History
University of Iowa

Interzones is an innovative account of how the color line was drawn—and how it was crossed—in twentieth-century American cities. Kevin Mumford chronicles the role of vice districts in New York and Chicago as crucibles for the shaping of racial categories and racial inequalities.

Focusing on Chicago’s South Side and Levee districts, and Greenwich Village and Harlem in New York at the height of the Progressive era, Mumford traces the connections between the Great Migration, the commercialization of leisure, and the politics of reform and urban renewal. Interzones is the first book to examine in depth the combined effects on American culture of two major transformations: the migration north of southern blacks and the emergence of a new public consumer culture.

Mumford writes an important chapter in Progressive-era history from the perspectives of its most marginalized and dispossessed citizens. Recreating the mixed-race underworlds of brothels and dance halls, and charting the history of a black-white sexual subculture, Mumford shows how fluid race relations were in these “interzones.” From Jack Johnson and the “white slavery” scare of the 1910’s to the growth of a vital gay subculture and the phenomenon of white slumming, he explores in provocative detail the connections between political reforms and public culture, racial prejudice and sexual taboo, the hardening of the color line and the geography of modern inner cities.

The complicated links between race and sex, and reform and reaction, are vividly displayed in Mumford’s look at a singular moment in the settling of American culture and society.

Red Dust Road: An Autobiographical Journey

Picador an Imprint of PanMacmillan
2010-06-04
304 pages
214mm x 135mm, 0.43 kg
ISBN: 9780330451055

Jackie Kay, Professor of Creative Writing
Newcastle University

‘What makes us who we are? My adoption is a story that has happened to me. I couldn’t make it up.’

From the moment when, as a little girl, she realizes that her skin is a different colour from that of her beloved mum and dad, to the tracing and finding of her birth parents, her Highland mother and Nigerian father, the journey that Jackie Kay undertakes in Red Dust Road is full of unexpected twists, turns and deep emotions.

In a book shining with warmth, humour and compassion, she discovers that inheritance is about much more than genes: that we are shaped by songs as much as by cells, and that our internal landscapes are as important as those through which we move.

Taking the reader from Glasgow to Lagos and beyond, Red Dust Road is revelatory, redemptive and courageous, unique in its voice and universal in its reach. It is a heart-stopping story of parents and siblings, friends and strangers, belonging and beliefs, biology and destiny, and love.

Don’t tell me who I am

The Guardian
2002-01-12

Libby Brooks, Deputy Comment Editor

Jackie Kay has become used to all kinds of assumptions being made about her identity—literary, national, sexual and familial. The more annoying, because the joy of being a writer is that you can create any persona you like. On the other hand, she does want to stand and be counted. She explains to Libby Brooks

Jackie Kay tells a tale of mistaken identity. “I went to sit down in this chair in a London pub and this woman says, ‘You cannae sit doon in that chair – that’s ma chair.’ I said, ‘Oh, you’re from Glasgow, aren’t you?’ and she said, ‘Aye, how did you know that?’ I said, ‘I’m from Glasgow myself.’ She said, ‘You’re not, are you, you foreign-looking bugger!'” Kay roars delightedly. “I still have Scottish people asking me where I’m from. They won’t actually hear my voice, because they’re too busy seeing my face.” Meanwhile, in Glasgow, her black female friends are stopped in the street and asked if they’re Jackie Kay…

…Born in Edinburgh to a Scottish mother and Nigerian father, Kay herself was adopted by a white couple and brought up in Glasgow. A lesbian – she lives in Manchester with poet Carol Ann Duffy, her own 13-year-old son, Matthew, and Duffy’s daughter, Ella, six – Kay has found her own identities too easily commodified for comfort. “Your characters are fiction, but when you’re a public writer people often try to make them you. Often, they have this real need, which seems to come out of our culture, to relate things back to this big thing called the personality. There’s something discomforting about that gaze being on you because, by writing, you’ve deliberately chosen to put yourself behind the scenes…

…Kay has always read and always written. As a young girl growing up in predominantly white Glasgow, books such as Anne Of Green Gables and the Famous Five series offered her other lives, while writing gave her the chance to create her own. When she was 12, she wrote the 80-page One Person, Two Names in a school jotter, illustrated by a pal, about a girl living in the States who was black but pretended to be white. “It interests me that I still write about the same things,” she notes dryly…

Read the entire article here.

Biracial-Bisexual Individuals: Identity Coming of Age

International Journal of Sexuality and Gender Studies
Issue Volume 5, Number 3 (July, 2000)
Pages 221-253
ISSN 1566-1768 (Print) 1573-8167 (Online)
DOI: 10.1023/A:1010137025394

J. Fuji Collins, Assistant Vice Chancellor for Student Health & Wellness – Vice Chancellor
University of California, Merced

There is considerable controversy regarding the means by which bisexual and biracial individuals achieve a sense of identity. In this paper, the concepts of bisexual and biracial identity are reviewed, and the literature on identity developmental models are critiqued. Further, a qualitative study is presented that explored the complexity of biracial identity development in Japanese-Americans. It is based on the constant comparative method of analysis, or grounded theory. The study focused on how Japanese-Americans perceived themselves in relation to other individuals, groups, and/or their environment. Findings related to initiating explorations of identity and perseverance in pursuing a biracial identity, which depended on the degree of support or negative experience within their social networks. Participants explored identity options attempting to develop their own meaning of identity, to develop a confident sense of themselves and secure a positive ethnic identity. Based on research and dialogue, there appears to be parallels between bisexual and biracial identity development. A model is proposed that suggests that individuals who are bisexual or biracial go through four phases in their development of their positive identity. These phases are: Phase I—Questioning/Confusion; Phase II—Refusal/Suppression; Phase III—Infusion/Exploration; and Phase IV—Resolution/Acceptance. These phases describe people who have two distinct identities that place them in a position of self-devaluation. From there they move to a position where there is a positive perception of identity based on the coexistence of their identities.

Read or purchase the article here.

A Knock Out: A film by Tessa Boerman and Samuel Reiziger

Women Make Movies
Netherlands, 2004
53 minutes
Color, VHS/DVD
Subtitled
Order No. W05882

Boxing champion Michele Aboro grew up in South London, where life for a girl was never easy, let alone for a mixed-race lesbian girl. Thanks to her tenacious spirit and an uncanny talent for combat sports, she put her difficult past behind her and managed to sign a contract with the biggest boxing promoter in Europe. She won all 21 fights, 18 of them with a knockout – an exceptional achievement in women’s boxing. But despite her spectacular record in the ring, her career came to a sudden halt when her promoter broke her contract under the belief that she was not “promotable.”

Refusing to vamp up her image and pose naked in magazines, this undefeated world champion was abandoned by an industry more interested in selling sex than sport. A Knock Out interweaves Aboro’s personal story with interviews with boxers whose wild success strikes a painful contrast with Aboro’s struggles. Searching for logic behind Aboro’s case, this poignant documentary captures a universal story of fighting for one’s identity and offers a probing look at the intersection of gender, ethnicity, sexuality and the increased commercialization of women’s sports.

Deconstructing Binary Race and Sex Categories: A Comparison of the Multiracial and Transgendered Experience

San Diego Law Review
Volume 39, Number 3 (2002)
pages 917-942

Julie A. Greenberg, Professor of Law
Thomas Jefferson School of Law, San Diego

This Article explores the potential difficulties that exist as legal institutions develop a classification of transgendered people, and suggests that an examination of how legal institutions have classified race and sex in the past can help shape the way that legal institutions shape transgendered classifications in the future. The article summarizes the development of race classifications for multiracial people. The author then examines the development of sex classifications for various legal purposes like marriage, identity, and the right to pursue discrimination claims. The author also examines how the medical community contributes to the stereotypical definitions of sex as binary and biologically determinable. The author then proceeds to evaluate some of the challenges that face the development of multiracial classifications, and how those challenges may affect the development of transgendered classifications. The author argues that in developing sex classification systems, legal institutions should be aware of the problems that can arise when seeking to adopt a single unified standard for determining sex, because where in some instances the acceptance of sex as a sociopolitical construct can promote greater acceptance of sexual minorities, it might also further contribute to discrimination.

Read the entire article here.