Mixed Race Studies

“Generation Mix:” Is All This Talk of “Multiracialism” An Advance?

i MiX WHAT i LiKE
The Real News
2015-11-12

Jared A. Ball, Host/Producer and Associate Professor of Communication Studies
Morgan State University, Baltimore, Maryland

Artist, activist and creator of the multimedia comic book (H)afrocentric Juliana “Jules” Smith and Dr. Rainier Spencer, author of Reproducing Race: The Paradox of Generation Mix discuss their various critiques of popular approaches to “multiracial” identity.

Watch the entire interview (00:14:02) here.

At Last …?: Michelle Obama, Beyoncé, Race & History

Dædalus
Winter 2011, Volume 140, Number 1
Posted Online 2011-03-09
pages 131-141
DOI: 10.1162/DAED_a_00065

Farah J. Griffin, William B. Ransford Professor of English and Comparative Literature and African-American Studies
Columbia University

In this essay, Griffin brings to the fore two extraordinary black women of our age: First Lady Michelle Obama and entertainment mogul Beyoncé Knowles. Both women signify change in race relations in America, yet both reveal that the history of racial inequality in this country is far from over. As an Ivy League-educated descendent of slaves, Michelle Obama is not just unfamiliar to the mainstream media and the Washington political scene; during the 2008 presidential campaign, she was vilified as angry and unpatriotic. Beyonce, who controls the direction of her career in a way that pioneering black women entertainers could not, has nonetheless styled herself in ways that recall the distinct racial history of the Creole South. Griffin considers how Michelle Obama’s and Beyonce’s use of their respective family histories and ancestry has bolstered or diminished their popular appeal.

Read or purchase the article here.

Look! A Zombie! Race and Passing in ‘iZombie’

PopMatters
2015-10-30

Rukmini Pande
University of Western Australia

iZombie’s “passing” narrative complicates its broader racial politics.

As the fall season of US TV swings into gear, the CW’s undead caper iZombie seems poised for an interesting second outing. Helmed by Rob Thomas (of Veronica Mars fame), the show’s first season was received well by both critics and audiences, and was quickly renewed.

To recap briefly, the show follows Olivia (Liv) More (Rose McIver), a driven MD whose life is turned upside down when she is turned into a zombie. Now working in a morgue, Liv finds out that the brains she eats give her memories of the deceased persons’ lives, specifically, murder victims’ memories.

She teams up with police detective Clive Babineaux (Malcolm Goodwin) to track down various killers, while also attempting to find a cure for zombie-ism (with her ally/boss, Ravi Chakrabarthi [Rahul Kohli]). She also has to try and outwit Blaine (David Anders), an ex-drug dealer turned zombie who has created a new business out of infecting influential people and controlling them through their desire for brains.

The show has garnered kudos for its interesting plot and diverse casting—Ravi is British-Indian, Clive is African-American, and Blaine has a number of non-white accomplices—yet its narrative choices end up complicating its broader racial politics…

…Passing and Survival

The practice of passing is a complex one but may be broadly seen as occurring when, as Brooke Kroeger explains, “people effectively present themselves as other than who they understand themselves to be” (Kroeger Passing: when people can’t be who they are. New York: Public Affairs; 2003: 7). This is a deliberate fashioning of identity presentation and has been practiced across demarcations of race, gender, sexuality, and sometimes religion. While the reasons that people attempt to pass are diverse, it’s most often a “strategy for managing stigma” (Einwohner, Rachel L. “Identity Work and Collective Action in a Repressive Context: Jewish Resistance on the “Aryan Side” of the Warsaw Ghetto.” in Identity Work in Social Movements. Minneapolis: University of Minnesota Press; 2006: 121–139.126) and is employed in situations where being “outed” carries heavy consequences.

Interconnected to this is the acknowledgement that the ability to pass depends on various factors, including physical appearance, income, and community relations. As Allyson Hobbs writes in A Chosen Exile: A History of Racial Passing in America (2014), to pass successfully a person must distance themselves from their community, and the community in turn must do the same. All these factors play into the narrative of iZombie at various points, but by making this a conversation about white bodies, it ignores the historical conditions of that construction, especially in America. In a culture where the raced body is always the one under scrutiny and most likely to suffer policing, the effects of structuring a narrative that places white bodies into that space without adequate critical engagement is dangerous…

Read the entire article here.

Korean TV networks move to oust discrimination against gender, race

The Korean Herald
2015-10-18

Claire Lee

A much-criticized scene from MBC’s “Three Wheels,” where two female comedians appeared in blackface in 2012. Photo: MBC Screengrab

In 2012, South Korea’s public broadcaster MBC sparked outrage among international viewers when it aired a segment of two Korean female comedians in blackface on its comedy show “Three Wheels.”

The show received mounting criticism, mostly from overseas viewers, who claimed the particular scene was blatantly racist. The producer of the show eventually offered a public apology, explaining the two women were simply parodying Michol — a black male character featured in Korea’s hugely popular 1987 TV animated series “Dooly the Little Dinosaur.”

Regardless of the intention, many critics argued the scene was undoubtedly insensitive and discriminatory against blacks. While appearing in blackface, the two comedians sang “Shintoburi,” a 1999 Korean pop song that praises Korean heritage and culture, specifically mentioning kimchi and soybean paste.”I did not think it was funny. What were they thinking?” an international viewer said in a YouTube video she posted to criticise the show…

…Korea’s concept of “multicultural families” in particular was often used in the local media to convey negative connotations of foreign workers and migrant wives from Southeast Asia, said UN expert Mutuma Ruteere, who also urged Korea to enact a wide-ranging antidiscrimination law.

In a report submitted to Ruteere last year, local activist Jung Hye-sil pointed out the term “mixed-blood” was still being used frequently by the Korean media when referring to multiracial individuals, in spite of the UN committee on the Elimination of Racial Discrimination’s 2007 recommendation that Korea end the use of the particular expression. The committee also urged the Korean public to overcome the notion that the country is “ethnically homogeneous” back in 2007.

According to Jung’s report, however, a total of 1,287 Korean news reports — from both print and broadcast outlets — used the term “mixed-blood” when referring to multiracial individuals from 2012-2014. Jung also addressed that a number of these reports were favourable toward those with a Caucasian parent, notably by praising their physical attractiveness.

The report also pointed out that the Korean media unnecessarily differentiates between multiracial children and children of foreign-born immigrants who are not ethnically Korean.

For example, a news segment aired by MBC in 2012 used the term “mixed-blood multicultural children” when delivering information that Korean-born children of migrant wives are more likely to receive education in Korea than children immigrants who were born overseas.

“The discourse of ethnic homogeneity based on the notion of ‘pure blood’ has been causing discrimination in the form of social exclusion by placing restrictions on the lives of the multiracial population in Korea, as they are seen as a threat to Korea’s ‘pure bloodline,'” Jung wrote in her report, noting that the very first children who were sent overseas for foreign adoption in 1954 from Korea were mixed-race children born to African-American soldiers and Korean women…

Read the entire article here.

Tired of Tradition, Honey Maid’s Marketing Chief Chose to Put the Spotlight on Modern Families

Adweek
2015-10-18

T.L. Stanley

Gary Osifchin, Honey Maid portfolio lead, Mondelez Photo: Sasha Maslov

Adweek’s 2015 Brand Genius winner for CPG/food

It always seemed strange to Gary Osifchin that the characters in traditional advertising were so, well, traditional. “There was the Caucasian female lead, with the French manicure,” Osifchin says, “or the black guy in a secondary role only.”

TV spots had been this way for years, but Osifchin recognized a problem with it. “How,” he asks, “can consumers connect with [your brand] if that’s all you’re showing?”

That nagging question led Honey Maid and its agency Droga5 to break with decades of standard practice. In 2014, packaged foods giant Mondelēz sought to overhaul Honey Maid, a household name and a staple in American pantries. Getting consumers to take a fresh look at a 90-year-old brand of graham crackers would require a truly different approach.

So, it went in search of 21st century families—gay, single-parent, mixed-race and immigrant, for example. There were no actors, just regular people shot in a documentary-style for TV spots, digital shorts and other content under the tagline “This is wholesome.”…

Read the entire article here.

Brazilian television slowly confronts country’s deeply entrenched race issues

The Guardian
2015-10-07

Bruce Douglas
Rio de Janeiro

Mister Brau features a black couple known as Brazil’s Jay Z and Beyoncé in the lead roles – an unprecedented move in a country whose majority black population has long been sidelined in its leading leisure-time industry

In the middle of the night, a young black couple pull up at the entrance to an elegant mansion in an upper-class neighbourhood of Rio de Janeiro.

Excitedly, they walk through the empty building into the garden and jump into the swimming pool. Their laughter wakes a white woman living next door.

Immediately, she grabs her binoculars. “Thieves,” she cries, and orders her sleepy husband to call security…

Read the entire article here.

Color film was built for white people. Here’s what it did to dark skin

Vox
2015-09-18

Estelle Caswell

The biased film was fixed in the 1990s, so why do so many photos still distort darker skin?

For decades, the color film available to consumers was built for white people. The chemicals coating the film simply weren’t adequate to capture a diversity of darker skin tones. And the photo labs established in the 1940s and 50s even used an image of a white woman, called a Shirley card, to calibrate the colors for printing:

Concordia University professor Lorna Roth has researched the evolution of skin tone imaging. She explained in a 2009 paper how the older technology distorted the appearance of black subjects:

Problems for the African-American community, for example, have included reproduction of facial images without details, lighting challenges, and ashen-looking facial skin colours contrasted strikingly with the whites of eyes and teeth.

How this would affect non-white people seemingly didn’t occur to those who designed and operated the photo systems. In an essay for Buzzfeed, writer and photographer Syreeta McFadden described growing up with film that couldn’t record her actual appearance:

The inconsistencies were so glaring that for a while, I thought it was impossible to get a decent picture of me that captured my likeness. I began to retreat from situations involving group photos. And sure, many of us are fickle about what makes a good portrait. But it seemed the technology was stacked against me. I only knew, though I didn’t understand why, that the lighter you were, the more likely it was that the camera — the film — got your likeness right.

Many of the technological biases have since been corrected (though, not all of them, as explained in the video above). Still, we often see controversies about the misrepresentation of non-white subjects in magazines and advertisements. What are we to make of the fact that these images routinely lighten the skin of women of color?…

Read the entire article here.

Looking at Shirley, the Ultimate Norm: Colour Balance, Image Technologies, and Cognitive Equity

Canadian Journal of Communication
Volume 34, Number 1 (2009)
pages 111-136

Lorna Roth, Professor of Communication Studies
Concordia University, Montreal, Quebec, Canada

Until recently, due to a light-skin bias embedded in colour film stock emulsions and digital camera design, the rendering of non-Caucasian skin tones was highly deficient and required the development of compensatory practices and technology improvements to redress its shortcomings. Using the emblematic “Shirley” norm reference card as a central metaphor reflecting the changing state of race relations/aesthetics, this essay analytically traces the colour adjustment processes in the industries of visual representation and identifies some prototypical changes in the field. The author contextualizes the history of these changes using three theoretical categories: the ‘technological unconscious’ (Vaccari, 1981), ‘dysconsciousness’ (King, 2001), and an original concept of ‘cognitive equity,’ which is proposed as an intelligent strategy for creating and promoting equity by inscribing a wider dynamic range of skin tones into image technologies, products, and emergent practices in the visual industries.

Jusqu’à récemment, en raison d’un préjugé favorisant la peau claire dans les films couleurs et dans la conception des caméras numériques, la reproduction des couleurs de peaux non-caucasiennes a été très déficiente, exigeant le développement de diverses techniques de compensation et d’amélioration. Utilisant la carte de référence normative « Shirley » comme métaphore pour refléter l’évolution des rapports entre les races et leurs pratiques esthétiques, cet essai analyse les processus d’ajustement de la couleur dans les industries de la représentation visuelle et identifie certains prototypes de changements dans le domaine. L’auteur situe ces changements historiquement en se rapportant à trois concepts théoriques : « l’inconscient technologique » (Vaccari, 1981), la « dysconscience » (« dysconsciousness » – King, 2001), et un concept original, « l’équité cognitive », proposé comme stratégie intelligente pour créer et promouvoir l’équité en inscrivant un plus grand éventail de couleurs de peau dans les technologies et produits de l’image et dans les pratiques émergeantes des industries visuelles.

Read the entire article here.

In its focus on genetics and race, global newspaper coverage of athletics is far from “post-racial”

The LSE’s daily blog on American Politics and Policy
The London School of Economics and Political Science
London, United Kingdom
2015-09-10

Matthew W. Hughey, Associate Professor of Sociology
University of Connecticut

Devon R. Goss, Ph.D. Candidate in Sociology
University of Connecticut

With the years of racially segregated sports now long behind us, many would consider that sports coverage is color-blind and post-racial. In new research which examines newspaper coverage of race, sport and genetics from 2003 to 2014, Matthew W. Hughey and Devon R. Goss find that this is not the case. They write that the media persistently reinforces the notions that African American’s athletic success is based on biology, while whites’ comes from hard work and intelligence. They also debunk the ideas often seen in the media that race has a biological reality which can be defined by genes, and that the historic process of slavery somehow eliminated ‘weaker genes’ from the African American population, making them a more athletic race.

For many, sport represents the ultimate color-blind space, affording a level playing field where only one’s training and skills are the hallmarks of competition. Hence, racist and prejudicial beliefs and phenomena are both literally and figuratively, out-of-bounds. Moreover, sport has been understood as an activity that promotes racial harmony amongst both participants and observers. But such a claim is a bit simplistic.

To make sense of the correlation between different racial groups’ success and failures amidst different athletic events, many draw from the deep well of scientific racism to quench their thirst for explanatory knowledge. For instance, some research has found that many athletes believe that white sporting success is attributable to intelligence, while nonwhite success is accredited to genetically predisposed bodies—a longstanding cultural trope known as “white brains versus black brawn”—that has been around for at least a century. After African American boxer Jack Johnson became the heavyweight champion of the world in 1908, he precipitated a slow reconsideration of the assumption of nonwhites’ physical inferiority—a central tenet of early 20th century racial science and eugenics. Fast forward to our contemporary moment and the banal ubiquity of this trope among sports commentators is well known, and was even recently panned by the comic duo Key & Peele…

Read the entire article here.

Double-Consciousness and the Rhetoric of Barack Obama: The Price and Promise of Citizenship

University of South Carolina Press
June 2015
224 pages
6 x 9
Hardcover ISBN: 978-1-61117-531-8
eBook ISBN: 978-1-61117-532-5

Robert E. Terrill, Associate Professor
Department of Communication & Culture
Indiana University, Bloomington

An examination of President Obama’s oratory as a reflection of the African American experience

Robert E. Terrill argues that, to invent a robust manner of addressing one another as citizens, Americans must learn to draw on the delicate indignities of racial exclusion that have stained citizenship since its inception. In Double-Consciousness and the Rhetoric of Barack Obama, Terrill demonstrates how President Barack Obama’s public address models such a discourse.

Terrill contends that Obama’s most effective oratory invites his audiences to experience a form of “double-consciousness,” famously described by W. E. B. Du Bois as a feeling of “two-ness” resulting from the African American experience of “always looking at one’s self through the eyes of others.” It is described as an effect of cruel alienation that can also bring a gift of “second-sight” in the form of perspectives on practices of citizenship not available to those in positions of privilege. When addressing fellow citizens, Obama is asking each to share in the “peculiar sensation” that Du Bois described. The racial history of U.S. citizenship is a resource for inventing contemporary ways of speaking about race.

Through close analyses of selected speeches from Obama’s 2008 campaign and first presidential term, this book argues that Obama does not present double-consciousness merely as a point of view but as an idiom with which we might speak to one another. Of course, as Du Bois’s work reminds us, double-consciousness results from imposition and encumbrance, so that Obama’s oratory presents a mode of address that emphasizes the burdens of citizenship together with the benefits, the price as well as the promise.