Mixed Race Studies

A Chat with Kat: Marissa Hui, President of HapaSC

Her Campus
2011-02-28

Katharine Goldman

I remember clearly the first time someone used the term “hapa”: I was a freshman, waiting for Campus Cruiser in front of New/North, when a random guy asked me if I was hapa.

Not knowing what it meant, I asked for a clarification. He told me that hapa is Hawaiian for half—it’s traditionally used as a term to refer to people who are half-Asian and half-Caucasian.

Marissa Hui, a senior communications major, knows the intricacies of this term well. She’s the president of HapaSC, an organization on-campus [University of Southen California] dedicated to exploring what it means to be of mixed race, and the exploration of identity that comes with the territory.

HC: Tell me about HapaSC.

Marissa: HapaSC has been around campus for about 10 years. It started originally as a club specifically for students that fit the traditional meaning of “hapa:” half-Asian and half-white. Since then, it’s become an all-encompassing club for students of multiracial, multiethnic, and multicultural backgrounds.

Our mission is to create a diverse community where people can explore their identity. Specifically we deal with a lot of topics about being mixed raced and try to cater to that student population. Sometimes students who are mixed race don’t identify completely with [single-culture] groups, or want to be able to explore their backgrounds within one group and not have to sacrifice one group for another…

Read the entire article here.

College Essay Part II, Unabridged: The Undergraduate Years

Amherst College
The Amherst Story Project
Fall 2008

Brunnell Velázquez ’11

I enjoy looking at myself in the mirror. Lately, I find that the bathroom mirrors in Morrow dormitory give off the clearest reflections of my gorgeous, most handsome features. Since it is not in my nature to carry a portable mirror, I set a picture of myself as the wallpaper for my computer and my cellular phone. I developed a tradition of attaching photos of myself to thank you notes. All of my friends cannot help but notice my vanity. But I kept telling them that not enough people tell me how beautiful I am! No really!

What they don’t know, however, is that I use the mirror as a means for assurance—to remind myself that I do not look like how people usually perceive me.

I tell my reflection, I don’t get it, Brunnell. You don’t look Black. You’re Latino…

…The worst part is that people just assume that I am African-American. I get so offended; it’s like me being Korean and everyone thinks that I am Chinese. Upon meeting people, I have been asked about relations between the Black and African-American communities. I have been told, “Like wow, you’re, like, the first black guy I’ve met who’s not from Africa.” I have received caustic remarks for not being involved in the Black Student Union. A Jewish peer commented to a white friend of mine that I would get offended if she called me nigger. And he had the audacity to say it in front of me and he knew I was Latino. I apologize if the mentioning of this word offends anyone; just understand that to me it carries no emotional and historical weight…

… It is very hard for me to believe that I am Black because I grew up with a mixed-race family. I have family members (either by blood or marriage) who represent the whole white-black spectrum. Yet, there is the word Dominican that ties us together. I have never noted racism between the lighter ones and the darker ones. I never felt ugly because of my physical features.

Dominicans mix a lot; many cannot be easily categorized by a certain race. For example, my pastor has strong European features but has a kinky hair. A girl in my church is darker than me but has finer features and very fine hair. She looks Indian. Therefore, we transcend race and this is something I value as a Latino. Racially, we belong on the borderline between black and white.

The idea that we, Latinos, could be further categorized is absurd to me. What are White Hispanic and Black Hispanic? A “white” Dominican is never white in the U.S. because his culture and his identification with darker Dominicans “colors” him. A darker Dominican is never Black because he identifies with lighter skin people and because he is usually mixed. Black people seem to have the most problems with me not calling myself Black. Some of them claim I am product of racism. But really I must ask them, who told them that they were Black? I know that many African-Americans come in many skin tones. I look more Black than some of my African-American peers, but I see them as mixed race people. I will not tell them that in their face, but they cannot convince me otherwise. Now, if I were Black, then I would be denying my European roots. Part of being Latino is embracing our racial roots and our mixture because it is reflected in our physical features and our culture. I am now discovering that Black isn’t really a racial identity, but a categorization that people put on to mean “not-white.” Any mark of color means you are Black, which the definition is in of itself racist. So how am I a product of racism? Identifying myself Black for me is an act of defeat to racism. I should not let racists call me something that was never part of my identity…

Read the entire essay here.

Brooklyn Museum Acquires Eighteenth-Century Painting by Agostino Brunias Depicting Dominica Mixed Race Colonial Elite

The Brooklyn Museum
200 Eastern Parkway, Brooklyn, NY 11238-6052
T(718) 638-5000, F(718) 501-6134
January 2011

Agostino Brunias (Italian, ca. 1730-1796), Free Women of Color with their Children and Servants in a Landscape, ca. 1764-1796, Oil on canvas, 2010.59, Gift of Mrs. Carll H. de Silver in memory of her husband, and gift of George S. Hellman, by exchange.

The Brooklyn Museum has acquired, by purchase from the London Gallery Robilant + Voena, Agostino Brunias’s (1730–96) painting Free Women of Color with Their Children and Servants in a Landscape (circa 1764–96), a portrait of the eighteenth-century mixed-race colonial elite of the island of Dominica in the West Indies. Brunias, a London-based Italian painter, left England at the height of his career to chronicle Dominica, then one of Britain’s newest colonies in the Lesser Antilles.

The painting depicts two richly dressed mixed-race women, one of whom was possibly the wife of the artist’s patron. They are shown accompanied by their mother and their children, along with eight African servants, as they walk on the grounds of a sugar plantation, one of the agricultural estates that were Dominica’s chief source of wealth. Brunias documented colonial women of color as privileged and prosperous. The two wealthy sisters are distinguished from their mother and servants by their fitted European dresses.

The painting is a Caribbean version of contemporaneous English works made popular by artists such as William Hogarth and Thomas Gainsborough, whose art often depicts the landed gentry engaged in leisurely pursuits. Free Women of Color with Their Children and Servants in a Landscape and other Caribbean paintings by Brunias celebrate the diversity of European, Caribbean, and African influences in the region.

Although Brunias was originally commissioned to promote upper-class plantation life, his works soon assumed a more subversive, political role throughout the Caribbean as endorsements of a free, anti-slavery society, exposing the artificialities of racial hierarchies in the West Indies. Among his supporters was Haiti’s liberator, François-Dominique Toussaint L’Ouverture, who wore on his waistcoat eighteen buttons decorated with reproductions of Brunias’s paintings.

Free Women of Color with Their Children and Servants in a Landscape will go on view on March 7, 2011, in the European galleries, on the portraiture wall between contemporaneous female Spanish colonial and French subjects.

Author and scholar Adele Logan Alexander appears at the 2010 National Book Festival

2010 National Book Festival
Library of Congress
Washington, D.C.
2010-09-25
Running Time: 00:32:45

Adele Logan Alexander, Professor of History
George Washington University

Speaker Biography: Adele Logan Alexander’s research and teaching incorporate the black Atlantic world, African-American history, family history, gender issues and military and social history. Her first book examined the lives and significance of nonenslaved women of color in the rural antebellum South. Her second explored the Americanization and evolving citizenship of an African- (and Anglo-) American family in the 19th and 20th centuries. In 2003 the African American Historical and Genealogical Society recognized her contributions to the study of family history with an award for Outstanding Lifetime Contribution. She is an adjunct professor of history at George Washington University. Her books include “Homelands and Waterways: The American Journey of the Bond Family, 1846-1926” and “Ambiguous Lives: Free Women of Color in Rural Georgia.” Her latest book is “Parallel Worlds: The Remarkable Gibbs-Hunts and the Enduring (In)Significance of Race” (University of Virginia Press).

Read the Questions and Answers transcript here.

Audience question: In your significant study of African-American families and I guess particularly mixed families, how often did you come across the use of skin products–skin lighteners or whiteners or even darkeners; or was that something that you were able to research or was that something that was talked about at all or written about?

Adele Alexander: Certainly I don’t write about it because I never found it in any of the people that I happen to write about. However, I’ve done a lot of work with a woman you may know about whose name is A’lelia Bundles whose great grandmother was Madame C.J. Walker who developed hair straightening–she called them hair health products, skin health products that also served to create a more–a whiter appearance. But I guess that one of the things is that it almost seems remarkable to me not that so many people did these things, but that so many did not. Because in our culture there was so much of a premium that has been placed on whiteness–day to day inconveniences, legal restrictions and everything else. It’s easy for me to understand why a number of black people wanted to be part of the majority in this country because they were so discriminated against and any steps in that direction I think were understandable.

Shades of White

The New York Times
2011-02-25

Raymond Arsenault, Visiting Scholar, Florida State University Study Center in London
and John Hope Franklin Professor of Southern History, University of South Florida

Daniel J. Sharfstein. The Invisible Line: Three American Families and the Secret Journey from Black to White. New York: Penguin Press, 2011. 415 pp. Hardcover ISBN: 9781594202827.

Racial passing is one of America’s deeply hidden traditions, a largely unacknowledged and unstudied aspect of national life. Historically, African-Americans with identifiably dark skin have had only two choices when confronting racial discrimination and oppression: either they could try to ease their burden through accommodation, making the best of a bad situation, or they could engage in protest and active resistance. The situation was often quite different, however, for light-skinned African-Americans of mixed parentage. For them, there was a tempting third option of trying to pass as white.

In an illuminating and aptly titled book, “The Invisible Line,” Daniel J. Sharfstein demonstrates that African-Americans of mixed ancestry have been crossing the boundaries of color and racial identity since the early colonial era. An associate professor of law at Vanderbilt University and an author with a literary flair, Sharfstein documents this persistent racial fluidity by painstakingly reconstructing the history of three families. In a dizzying array of alternating chapters, he presents the personal and racial stories of the Gibsons, the Spencers and the Walls. The result is an astonishingly detailed rendering of the variety and complexity of racial experience in an evolving national culture moving from slavery to segregation to civil rights…

Read the entire review here.

Tracing lives of three ‘white’ families and their black forebears

The Boston Globe
2011-02-20

Dan Cryer, Globe Correspondent

Daniel J. Sharfstein. The Invisible Line: Three American Families and the Secret Journey from Black to White. New York: Penguin Press, 2011. 415 pp. Hardcover ISBN: 9781594202827.

Randall Lee Gibson, an urbane, Yale-educated Confederate general, mocked black people as “the most degraded of all races of men.’’ Later, as a US senator from Louisiana, he helped broker the end of Reconstruction, freeing the South to harass and lynch blacks virtually at will.

In the 20th century, his orphaned son, Preston, was raised by an aunt and her husband, who had been a justice on the US Supreme Court that legitimated racial segregation in the infamous case of Plessy v. Ferguson.

At the beginning of the 21st century, a rent-a-car employee and genealogy buff dubbed himself Sir Thomas Murphy after tracing his mother’s lineage to English aristocracy. His father’s line remained a mystery.

None of these white people knew that they had African-American ancestors who had “passed for white.’’

Race has always been an inherently unstable construct of nature, culture, and law. Should one be considered black if one grandparent or great-grandparent was black? Or does the “one-drop’’ rule hold, that a single black forebear makes one black? Does “race’’ exist in the eye of the beholder, or solely in the mind of the beheld. In today’s age of mixed-race chic—in which Mariah Carey and Derek Jeter are hailed as beautiful royalty—such questions may seem quaint. But throughout American history, the consequences have been deadly.

“The Invisible Line,’’ Daniel J. Sharfstein’s spellbinding chronicle of racial passing in America, reminds us that the phenomenon has existed since our Colonial beginnings—as escape from oppression, enhancement in status, and path to economic opportunity. However well defined in law, the racial line has always remained porous, breachable under the right conditions…

Read the entire review here.

Sister Act
 
Gazette.Net: Maryland Community News Online
2011-03-02

Topher Forhecz, Staff Writer

Montgomery College and Doorway Arts Ensemble presents the sisterly story ‘Tether’

When Julie Taiwo Oni wrote the play “Tether,” she did so not only to examine her relationship with her twin sister Jessica Kehinde Ngo, but also to answer a recurring question.

“My whole life everyone’s like ‘What’s it like to be a twin?'” Oni says. “I wanted to write a play about it.”

Co-Produced by Doorway Arts Ensemble and Montgomery College’s Arts Alive Theatre Series, “Tether” premiered at the Studio Theater in the Cultural Art Center at Montgomery College on Feb. 18 and runs through March 13. Set on a tetherball court during the 1990s, “Tether” tells the story of biracial teenage twins Lach (played by Gwen Grastorf) and Lam (Jade Wheeler) as they learn about religion, boys and race. Although they are similar in many ways, Lach’s skin is white and Lam’s is black. Oni gave the twins different skin colors after reading an article on the condition…

Read the entire article here.

Doorway Arts Ensemble and Arts Alive Theatre present: “Tether”

Doorway Arts Ensemble
February 2011

Emily Morrison, Publicist
Office: 703-892-0801

sex, race, religion, tether ball… twin sisters are coming of age [2011-02-18 through 2011-03-13]

Bethesda, Maryland Doorway Arts Ensemble presents Tether, a World Premier play by Julie Taiwo Oni, co-produced with Arts Alive Theatre Artistic Director, Perry Schwartz as part of Montgomery College Silver Spring Arts Alive Theatre Series. This production marks the first presentation by a professional theater organization of a script that received development and a stage reading as part of the 2009 Inkwell’s Inkubator Festival in Washington, DC.

In Tether, Lach and Lam are 15 year old mixed race twins. Lach is white, Lam is black and both are obsessed with tether-ball. In this rhythmic drama, life is a back-and-forth game of rules and regulations, kissing boys, movie-talk and the roots of their religious upbringing. As the sisters come into their maturity and men enter the game, they must learn to tether without their counterpart. When an obstacle swings between them, they must begin to face and embrace the differences between each other in order to be true to themselves

The odds against of a couple having twins of dramatically different color are a million to one, each twin fertilized by different sperm with different genetic input from their parents. The phenomenon is extremely rare… there are only about 5 sets of mixed race twins living in the world today.

Runs February 18 through March 13, 2011.
Performances: Thursday-Saturday at 8pm and Sunday Matinee at 2pm
Monday, March 7 at 8 PM – Special Performance

Friday Feb 18 – Press Night – followed by reception (press are welcome to all performances)
Saturday Feb 19 – Q&A follows performance featuring the dramaturg, director, playwright and actors

TICKETS: $10 for general admission/$7 for students and seniors/$5 for MC Students, Faculty and Staff. Call 240-567-5775 or order online at www.tickets.com. All performances opening weekend are Pay What You Can.

LOCATION: The Studio Theater in the Cultural Art Center at Montgomery College Silver Spring 7995 Georgia Avenue Silver Spring, MD 20910 [map & directions]…

For more information, click here.

Honoring Our Legacy: Past, Present and Future, RED/BLACK Connections

Indian Voices
October 2010
pages 8-9

Black Native American Association’s First Multi-Cultural National Pow Wow
California State University Eastbay-Hayward
September 18-19, 2010

On Friday, September 17, a workshop examined the Red/Black relationships and how to improve them. Noted participants on the panel included Black Seminole Lonnie Harrington, author of “Both Sides of the Water”, a teaching artist at the Arts Connections in New York and a Native American drummer. Others were Dr. Andrew Jolivette, Associate Professor and department chief of American Indian Studies at San Francisco State University and author of two books: ”Louisiana Creoles” and “Cultural Recovery and Mixed Race Native American Identity;” Dr. Elnora Webb-Mitchell, President of Laney College; Pastor Steve Constantine, Arwak Tribe, Guyna, South America; and Jewelle Gomez, poet, author, political activist, playwright, Native American (Wampanoag and Iowasy) and Director of Cultural Equity Grants Program of San Francisco…

Read the entire article here.

Mothering Children of African Descent: Hopes, Fears and Strategies of White Birth Mothers

The Journal of Pan African Studies
Volume 2, Number 1 (November 2007)
pages 62-76

Annie Stopford, Ph.D., Psychoanalytic Psychotherapist and Adjunct Research Fellow
University of Western Sydney, Sydney, Australia

Introduction

It is often acknowledged that African identities are “complex, contested and contingent,” and that these negotiations and contestations are conducted in many locations around the globe (Ahluwalia and Zegeye 113). However, there has been little discussion thus far about the role of non-African parents of mixed African-Western children in these processes. In many parts of the world where the African Diaspora has spread, there are increasing numbers of children being born to African and non-African parents, particularly (but not only) African fathers and non-African mothers of diverse ethnicities. Non-African parents may play a significant role in facilitating, supporting, or obstructing their children’s positive identifications and associations with Africa and “Africanness,” especially if and when the marriage or relationship breaks down and the child or children reside with the non-African parent.

In this article, I use extracts from interviews with white Australian birth mothers of African Australian children to explore how they negotiate some of the complexities, challenges, and rewards of mothering children of African descent. I argue that the contributions of non-African mothers of African-other children add an important dimension to discussions about the complexities of postcolonial and Africana hybrid identities. The article begins with a description of empirical data sources, some information about the field of research, and an exploration of the theoretical underpinnings of the discussion. This is followed by a discussion of some issues described by research participants, with an emphasis on narratives about lived experience and intersubjective dynamics. The article concludes with a brief reflection on the implications of these narratives.

…The Research Field

Despite the plethora of recent literature about interracial and postcolonial subjectivities, there has been little in-depth discussion thus far about mothering children of mixed cultural, ethnic, and racial descent. The focus of discussion in mixed race and hybridity studies tends to be on the children of couples of mixed cultures and races, rather than the parents themselves, and the damage done by racist and essentialist discourse to the children of those people who cross “the color line,” especially black/white relationships.

There have, however, been some studies of mixed race and culture families that focus on the parents and their responses to their children (Phoenix and Owens 158-177; Dalmage 1-32). There has also been some feminist and critical race research and discussion specifically about or by white mothers of African descent children in Western locations, and white mothers of African descent children living in Africa, with a particular emphasis on the way white mothers resist racism and try to foster positive identifications with blackness (Reddy 43-64; Lazarre 21-51; Twine 729-746, 878-907; Adomako Ampofo In My Mother’s House). Because fighting racism and fostering Africana identities are of course inextricably linked, I see this research as continuing the work of the aforementioned writers.

Read the entire article here.