Mixed Race Studies

Show Boat: Performing Race in an American Musical [Review by Alan Gomberg]

Talkin’ Broadway
2013-03-27

Alan Gomberg

Much of Todd Decker’s Show Boat: Performing Race in an American Musical should prove fascinating to readers who have a deep interest in the creation and performance history of this classic, much-revived and -revised musical. Many of those Show Boat devotees probably already have Miles Kreuger’s superb 1977 book, Show Boat: The Story of a Classic American Musical, but Decker goes into more detail on many matters (while going into less detail on some others) so his book is far from being a rehash of Kreuger’s.

Also, the performance history of Show Boat since 1977 has been (to put it mildly) extensive and complex, giving Decker much new history to relate. Still, the most rewarding parts of the book are those that cover earlier productions and the 1936 film version. There is much information here on the major productions from 1927 through the late 1940s that is likely to be new even to those who already know a good deal about Show Boat.

One thing that separates Decker’s book from Kreuger’s is his focus on a sociological theme, as suggested by the book’s subtitle: Performing Race in an American Musical. He writes in his introduction, “My emphasis on race rests equally on definitions of whiteness and blackness. Magnolia and Ravenal perform their whiteness every bit as much as Joe performs his blackness and any actress playing Julie must perform that character’s mixed-race identity, whatever that has meant in particular times and places.” Part of the way in which Decker examines these matters is by discussing in detail the unique contributions of some of the performers in each major production. This extends beyond those who played the characters mentioned above…

Read the entire article here.

Show Boat: Performing Race in an American Musical

Oxford University Press
October 2012
328 pages
ISBN13: 9780199759378; ISBN10: 0199759375

Todd Decker, Assistant Professor, Musicology
Washington University in St. Louis

Show Boat: Performing Race in an American Musical tells the full story of the making and remaking of the most important musical in Broadway history. Drawing on exhaustive archival research and including much new information from early draft scripts and scores, this book reveals how Oscar Hammerstein II and Jerome Kern created Show Boat in the crucible of the Jazz Age to fit the talents of the show’s original 1927 cast. After showing how major figures such as Paul Robeson and Helen Morgan defined the content of the show, the book goes on to detail how Show Boat was altered by later directors, choreographers, and performers up to the end of the twentieth century. All the major New York productions are covered, as are five important London productions and four Hollywood versions.

Again and again, the story of Show Boat circles back to the power of performers to remake the show, winning appreciative audiences for over seven decades. Unlike most Broadway musicals, Show Boat put black and white performers side by side. This book is the first to take Show Boat’s innovative interracial cast as the defining feature of the show. From its beginnings, Show Boat juxtaposed the talents of black and white performers and mixed the conventions of white-cast operetta and the black-cast musical. Bringing black and white onto the same stage—revealing the mixed-race roots of musical comedy—Show Boat stimulated creative artists and performers to renegotiate the color line as expressed in the American musical. This tremendous longevity allowed Show Boat to enter a creative dialogue with the full span of Broadway history. Show Boat’s voyage through the twentieth century offers a vantage point on more than just the Broadway musical. It tells a complex tale of interracial encounter performed in popular music and dance on the national stage during a century of profound transformations.

Features

• First book to look at the complete history of this landmark work of the Broadway stage through the prism of race.
• Uses exhaustive archival research conducted in Hollywood, New York, London, and elsewhere
• Draws on previously unknown sources, including scripts and scores from the earliest productions, rejected draft scripts for all three Show Boat films, and a musical source for Jerome Kern’s famous melody for “Ol’ Man River.”
• Moves important historical figures such as Paul Robeson to the center of the story of how Show Boat was made.
• Based on over twenty stage productions of Show Boat—including those in London’s West End—and four Hollywood film versions

Race is defined not by its purity but rather by the impurity conferred upon it by a system of domination. Bastard and mixed-blood are the true names of race.

Gilles Deleuze and Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, (Minneapolis: University of Minnesota Press, Minneapolis, 1980).

Some commentators predict that ethnoracial distinctions in the United States will disappear in the twenty-first century.  Perhaps they are right, but there is ample cause to doubt it. And a glance at the history of Brazil, where physical mixing even of blacks and whites has magnificently failed to achieve social justice and to eliminate a color hierarchy, should chasten those who expect too much from mixture alone. Moreover, inequalities by descent group are not the only kind of inequalities. In an epoch of diminished economic opportunities and of apparent hardening of class lines, the diminution of racism may leave many members of historically disadvantaged ethnoracial groups in deeply unequal relation to whites simply by virtue of class position.  Even the end of racism at this point in history would not necessarily ensure a society of equals.

David A. Hollinger, “Amalgamation and Hypodescent: The Question of Ethnoracial Mixture in the History of the United States,” The American Historical Review, Volume 108, Number 5, December 2003. http://www.historycooperative.org/journals/ahr/108.5/hollinger.html.

Multiracialism should not be confused with multiculturalism. Where multiculturalism generally promotes the acceptance of divergent people and cultures for the sake of diversity, multiracialism maintains a decidedly conservative agenda of colorblind ideology that strives to blur the color line at the expense of racialized (particularly black) politics, culture, and identity. (I say particularly black because, as critics have long argued, blackness is one of the most, if not the most explicitly, racialized identities in the United States).  The driving force behind multiracialism is not a celebration of racial and ethnic diversity, but rather a disappearing of this diversity and a supposed de-emphasis of race.  Despite its idealized intentions, what multiracialism tends to achieve is a re-emphasis of rigid racial classifications by subsequently “othering” those who cannot “transcend” race.  The politics of multiracialism can only apply to the people who are privileged enough to be seen as, or who see themselves as, “race neutral” or crossover figures, or as racially ambiguous.  It does little to affect the lived realities of those whom society still continues to stereotype and demonize on a daily basis as a result of their explicit racialization, or identifiable racial identity. Furthermore it disregards and de-legitimizes people who choose to identify with, and take pride in their race or ethnicity, whatever that means to them.

Kirin Wachter-Grene, “Charles W. Chesnutt and the Engendering of a Post-Reconstruction Multiracial Politics,” The Conversation, Number 2 (2009-2010). http://mals.retroforward.com/papers/charles-w-chesnutt-and-the-engendering-of-a-post-r.shtml

“Founding Mothers:” White Mothers of Biracial Children in the Multiracial Movement (1979-2000)

Wesleyan University, Middletown, Connecticut
April 2012
142 pages

Alicia Doo Castagno

A thesis submitted to the faculty of Wesleyan University in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Departmental Honors in American Studies

TABLE OF CONTENTS

• Acknowledgements
• Introduction: Interrogating Multiracial Advocacy
  • The Multiracial Movement
  • Methodology
  • Chapter Outline
• Chapter 1: The Multiracial Movement
  • Pre-History of the Multiracial Movement
  • First Steps Towards a Movement: Interracial Family Organizations
  • AMEA, Project RACE, and Multiracial Activism
  • Census 2000
  • Post-Census 2000
• Chapter 2: Founding Mothers – A Study in White Privilege
  • Altered Perspectives, Shifting Identities
  • Race and Family: Locating Interracial Relationships
  • White Racial Identity Development
  • White Racial Identity and Interracial Family Organizations
  • Flesh and Blood: Complicating Sentimental Politics
• Chapter 3: Whiteness and Privilege in the Multiracial Movement – Project RACE as Case Study
  • Complicating the Multiracial Politics of Recognition
  • Project RACE
• Conclusion: The Thwarted Utopian Potential of Multiracial Politics
• Appendix I: Sample Interview Permission Form
• Appendix II: Transcript of Telephone Interview with Mandy – I-Pride
• Appendix III: Transcript of Interview with Mandy – I-Pride
• Appendix IV: Transcript of Telephone Interview with Anonymous – I-Pride
• Appendix V: Transcript of Telephone Interview with Susan Graham – Project RACE (part I)
• Appendix VI: Transcript of Telephone Interview with Susan Graham – Project RACE (part II)
• Appendix VII: Helms’s White Racial Identity Development Model
• Bibliography

INTRODUCTION: INTERROGATING MULTIRACIAL ADVOCACY

In early November 2010, I interrupted my junior semester abroad in Lima, Peru, to attend the Critical Mixed Race Studies Conference hosted by DePaul University in Chicago. I had been asked to participate in a roundtable discussion regarding the student forum I co-created and co-taught the fall semester of my sophomore year at Wesleyan University entitled, “Mixed Heritage Identity in Contemporary America.” After speaking only Spanish for three months, I found myself clumsy and thick-tongued in English as I attempted to describe my experience as a student facilitator and my involvement with mixed race activism. Later in the day, DePaul featured another roundtable entitled, “Community-Based Multiracial Movements: Learning from the Past, Looking toward the Future.” Representatives from multiracial organizations MAVIN; Swirl, Inc.; Mixed Roots Film & Literary Festival; Multiracial Americans of Southern California (MASC); Lovingday.org; and Biracial Family Network (BFN) Chicago led the discussion. I have been involved with mixed heritage politics since the age of fifteen, when I was an intern at Seattle’s MAVIN Foundation, a 501(c)3 nonprofit organization that deals specifically with mixed heritage issues. I was already aware of the history of the Multiracial Movement and some of its internal tensions. It was not until I attended the DePaul roundtable, however, that I began to question some of the movement’s more unusual historical characteristics…

…Chapter Outline

In Chapter 1, “The Multiracial Movement,” I chronicle the history of the Multiracial Movement from 1979-2000, focusing specifically on the role of interracial family organizations within the movement. I reveal the tensions between different players within the movement, such as AMEA and Project RACE, as well as the tension between multiracial activists and monoracial civil rights groups. I briefly outline the pre-Multiracial Movement socio-political history that set the foundations for Census 2000 and formal multiracial recognition to become the movement’s cornerstones. I argue that focusing on multiracial politics of recognition limited the movement’s potential for radical change.

Chapter 2 is entitled, “Founding Mothers: A Study in White Privilege,” and tracks the various ways in which being part of an interracial relationship or family altered the way white women in the 1970s-90s perceived themselves and the world. I situate white women’s political involvement in a historical context that favors monoracial families and emphasizes racial belonging as an important aspect of healthy childrearing. Moreover, I link white mothers’ campaigning for multiracials to separate spheres ideology and sentimental politics. I assert that the coping mechanisms white mothers of biracial children employed to deal with being an interracially married white woman in the 1970s-90s ultimately resulted in the formation of interracial family groups and participation in multiracial politics that unwittingly attempted to regain racially privileged experiences and status.

In Chapter 3, entitled “Whiteness And Privilege In The Multiracial Movement—Project RACE as Case Study,” I examine the ways in which white female involvement led to the movement’s focus on multiracial politics of recognition, and the ways in which these politics of recognition ultimately limited the movement’s potential. I connect the arguments I have laid out in my first two chapters through the example of Project RACE, and elaborate on the history of the Multiracial Movement discussed in Chapter 1. Susan Graham did groundbreaking political work as the head of Project RACE, and facilitated the entry of multiracial politics into the OMB’s discussion of changing racial categories for Census 2000. However, her politics remained grounded in a perspective of white privilege. The political alliances she made and her unwillingness to sympathize with monoracial civil rights groups’ concerns lost her the support both of monoracial people of color and multiracial activists…

Read the entire thesis here.

Talkin’ Race with Laura and Wei Ming

The Magic Mulatto: Bringing the fine art of Race Talk straight to the people
2013-03-26

Brett Russell Coleman, Doctoral Student of Community & Prevention Research
University of Illinois, Chicago

“In 1969, we weren’t at war with China.”

If that sentence leaves you perplexed in any way, you need to do two things. First listen to the audio of the conversation I had with Laura Kina and Wei Ming Dariotis…

…The second thing you need to do is check out their project, War Baby / Love Child: Mixed Race Asian American Art, which investigates constructions of mixed heritage Asian American identity in the United States. This is a “multi-platform project (book, traveling art exhibition, website and blog) that examines how, or even if, mixed heritage Asian Americans address hybrid identities in their artwork, as well as how perspectives from critical mixed race studies illuminate intersections of racialization, war and imperialism, gender and sexuality, and citizenship and nationality.”…

Read the article and listen to the interview here.

Multiracial Identity: An International Perspective

Palgrave Macmillan
September 2000
186 pages
5 1/2 x 8 1/4 inches
ISBN: 978-0-312-23219-1
ISBN10: 0-312-23219-5

Mark Christian, Professor of African & African American Studies
Lehman College, City University of New York

Multiracial Identity provides an accessible account of the social construction of racialized groups. Using both primary (in-depth interviews) and secondary data, four nations are examined: the UK, US, South Africa, and Jamaica. The author discusses how little attention has been traditionally been given to theorizing multiracial identity in the context of white supremacist thought and practice.

Table of Contents

• Foreword–Diedre L. Badejo
• Part I: Theorizing Multiracial Identity
  • Toward a Definition of Identity
  • Multiracial Identity as a Term in the 1990s
  • Historical Theories of ‘Mixed Race’ Persons
  • Contemporary US Theories in Multiracial Identity
  • Contemporary UK Theories in Multiracial Identity
• Part II: Speaking forThemselves (I)
  • How the Liverpool, UK Respondents Define Themselves in a Racial Sense
  • Parental Influence in the Construction of a Racialized Identity
• Part III: Speaking for Themselves (II) Shades of Blackness
  • Is Wanting to Change One’s Physical Appearance an Issue?
• Part IV: South Africa and Jamaica: “Other” Multiracial Case Studies
  • South Africa and the Social Construction of “Coloureds”
  • Jamaica in Context
• Part V: Assessing Multiracial Identity White Supremacy and Multiracial Identity
  • Social Status and Multiracial Identity
  • Nomenclature Default and Multiracial Terminology