Mixed Race Studies

The Best of Both Worlds? Family Influences on Mixed Race Youth Identity Development

Qualitative Social Work
Volume 7, Number 1 (March 2008)
pages 81-98
DOI: 10.1177/1473325007086417

Susan E. Crawford
Halton Multicultural Council, Canada

Ramona Alaggia
University of Toronto, Canada

This study explored influences on racial identity of mixed race youth who identified themselves to be part of mixed African (Black) and European (White) origin. Research questions emerged following a review of the literature identifying the ways in which views of self, family, peers and society impact youth and their racial identification. Eight in-depth interviews employing the Long Interview Method were conducted, transcribed and coded to determine themes. Family influences emerged as playing a significant role in biracial identity formation. Three major themes were identified: (1) level of parental awareness and understanding of race issues; (2) impact of family structure; and (3) communication and willingness to talk about race issues. Implications for researchers and social work practitioners working with this population are discussed.

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Portraits of the New Negro Woman: Visual and Literary Culture in the Harlem Renaissance (review)

Legacy
Volume 26, Number 1 (2009)
pages 182-184
E-ISSN: 1534-0643
Print ISSN: 0748-4321
DOI: 10.1353/leg.0.0069

Martha Jane Nadell, Associate Professor
Brooklyn College of the City University of New York

Cherene Sherrard-Johnson opens her provocative and intriguing book, Portraits of the New Negro Woman, with a reading of a painting by Harlem Renaissance artist Archibald Motley. One of Motley’s many portraits of mixed-race women in a 1928 solo exhibition, A Mulatress, drew a great deal of attention, even appearing on the front cover of the exhibition catalogue and in reviews of the show. Critics used a language of racial classification, rather than of painterly inquiry, to discuss Motley’s work; they described it and other works in terms of race and primitivism, rather than as meditations on line, color, or composition. Sherrard-Johnson uses the portrait and reactions to it to set up the central concern for her book: the aesthetically and culturally complex representations of the mulatta in the visual and literary work of the Harlem Renaissance. Images of mixed-race women—in novels, films, paintings, and illustrations—engage with racially inflected discourse, evident in interpretations of Motley’s portraits: Mulattas in Sherrard-Johnson’s visual and textual sources are simultaneously proper and primitive, domestic and desirable, civilized and sexual.  As such, they are most significantly also a central part of the Harlem Renaissance’s wrestling with race.