Mixed Race Studies

Ivey, 51, is the daughter of a white woman who was raised by her black father and stepmother. She said her racial heritage was the “No.1 issue” when she launched her first political campaign in 2006 — repeatedly being asked by voters to “clarify” her racial identity.

Erin Cox, “Ivey describes herself as ‘Trayvon Martin’s mom’,” The Baltimore Sun, (October 14, 2013). http://articles.baltimoresun.com/2013-10-14/news/bs-md-gansler-ivey-20131014_1_running-mate-doug-gansler-trayvon-martin.

“I think there is an additional layer of psychological interest for me in that my vision is filtered through the lens of my personal experience as someone of mixed race growing up in Canada. I was often identified as being “different” and even persecuted for this perception. As a result, I tended to form friendships with minority kids and anyone who might have felt excluded from the “mainstream.” This has had a significant impact on my view of the world, my desire for social justice and equality, and my long-standing motivations as an artist who is interested primarily in people.” —Tim Okamura

“Q&A with Tim Okamura: A Painter with a Purpose,” SCA Close Up: News and Events From the School of Visual Arts (August 29, 2013). http://blog.sva.edu/2013/08/qa-with-tim-okamura-a-painter-with-a-purpose/.

MOsley WOtta

Oregon Art Beat
Oregon Public Broadcasting
Aired: 2013-05-30
Length: 00:08:24

MOsley WOtta is a sly play-on-words meant to remind us that we are all “mostly water.” This inclusive, hip-hop reminder helps Bend-based man-behind-the-artist Jason Graham find family wherever he goes and to share his danceable message of peace and mutual support.

An unmanageable Commodity to have imported into this white Country: Growing up Mixed-Race in India and Scotland, 1780-1830

Institute of Historical Research
Senate House (Room 103)
Malet Street
London WC1E 7HU
Tuesday, 2014-01-14, 17:15-19:15Z

Ellen Filor
University College London

Seminar Series: Life-Cycles (Spring Term 2014)

This seminar series will address issues relating to the life-cycle such as age, intergenerational relationships, parenthood, ageing, childhood and youth, from long-chronological and interdisciplinary perspectives.

For more information, click here.

Q&A with Tim Okamura: A Painter with a Purpose

SCA Close Up: News and Events From the School of Visual Arts
School of Visual Arts, New York, New York
2013-08-29

An eclectic heritage, a penchant for hip-hop, and life as an artist in New York City set Tim Okamura (MFA 1993 Illustration as Visual Essay) on a path toward social consciousness. Collected by celebrity clients (including Uma Thurman, Questlove and John Mellencamp) and exhibited in the National Portrait Gallery in London, his portraits are meant to “contribute a positive voice to the conversations going on today.” Okamura’s paintings in “The Pond, the Mirror, the Kaleidoscope” depict a trio of female boxers, suggesting women’s plight for equality and justice.

SCA: You’re known for your paintings of African American women.  You’re half-Japanese, half-Caucasian and you grew up in Canada. Many of your paintings celebrate the New York street scene. How did this juxtaposition come about?

Tim Okamura: It’s a question that comes up often—and it’s really not a short answer for me—and it’s very intriguing to me that there are people who tend to find the juxtaposition of the work, and who I am, quite “conceptual.” It’s something I hadn’t fully considered when I began making the work. The idea that there would be an intertwining assessment of both model and artist when looking at the work was vaguely in the back of my mind, but it never influenced my choices. As someone who has focused primarily on portraiture up to this point in my career, I think the biggest factor in choosing my subjects has always just been a deep interest in the “stories” of the people I paint. I consider portraiture a form of story-telling as it relates to the subject, and I really wanted to discover or reveal to my audience stories that I felt were compelling, and perhaps had not been told previously…

…I think there is an additional layer of psychological interest for me in that my vision is filtered through the lens of my personal experience as someone of mixed race growing up in Canada. I was often identified as being “different” and even persecuted for this perception. As a result, I tended to form friendships with minority kids and anyone who might have felt excluded from the “mainstream.” This has had a significant impact on my view of the world, my desire for social justice and equality, and my long-standing motivations as an artist who is interested primarily in people…

Read the entire interview here.

The story behind Dido Belle – the bi-racial Londoner who helped end slavery in Britain

London Evening Standard
2014-01-08

Susannah Butter

Susannah Butter tells the tale of Dido Belle, ahead of the release of a film about her extraordinary life starring Tom Felton and Miranda Richardson.

Among the many aristocratic faces gazing out of frames in Hampstead’s newly refurbished Kenwood House, there’s one that sticks out. Standing next to Elizabeth Murray in a print of Johann Zoffany’s portrait from c.1799, there is a smiling girl wearing pearls. But although she looks equal to her playmate, she is black. This girl is Dido Belle, the daughter of an enslaved woman. Belle was brought up at Kenwood, a house partially built with “blood money” from the Triangular Trade, and she made her own contribution to the abolition of slavery. A film of her extraordinary life, Belle, is out this spring with a cast including Tom Felton and Miranda Richardson.

It comes after two films examining the black historical experience: British director Steve McQueen’s 12 Years a Slave and Lee Daniels’s The Butler, both set in the United States. But there is another story of slavery that needs telling and it’s set in London…

…Belle was born the illegitimate daughter of Admiral Sir John Lindsay of the Royal Navy and Maria Belle, a slave who he met en route from England to Jamaica around 1761. When Lindsay went back to the navy, he entrusted five-year-old Belle to his uncle, Lord Chief Justice Mansfield, who lived at Kenwood. Lord and Lady Mansfield had no children of their own but raised Belle with Lady Elizabeth Murray, the daughter of Mansfield’s other nephew, David Murray.

“The idea that there was this girl who was part of our cultural legacy in England — a mixed race woman in the 1780s — hooked me,” says Gugu Mbatha-Raw, the London actress who plays Belle. “Speaking as a mixed-race woman in 2013, there aren’t many historical stories about people like me. When people think of ‘dual heritage,’ they think it’s a modern concept but it’s not. I wanted to do justice to Dido.”…

Read the entire article here.

Home is Where the Hurt Is: Racial Socialization, Stigma, and Well-Being in Afro-Brazilian Families

Duke University
2012
228 pages

Elizabeth Hordge Freeman

Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Sociology in the Graduate School of Duke University

This dissertation examines racial socialization in Afro-Brazilian families in order to understand how phenotypically diverse families negotiate racial hierarchies and ideologies of white supremacy. As an inductive, qualitative project, this research is based on over fourteen months of ethnographic fieldwork in Salvador, Bahia, Brazil in fifteen poor and working-class Bahian families and 116 semi-structured interviews with family members and informants. Findings suggest that one of the most prominent features of racial socialization is the pervasive devaluation of black/African influences, which is conveyed through implicit and explicit messages as well as concrete practices (including rituals) that promote the stigmatization of negatively valued racialized physical features. The study reveals a pattern of unequal distribution of affection based on racial appearance (phenotype), which is evident in parent-child, sibling, extended family, and romantic relationships. Findings suggest that negative appraisals of racial phenotype may significantly compromise affective bonds in families and have social psychological consequences impacting self-esteem and sense of belonging, while also eliciting suicidal ideations and anxieties. These outcomes are most pronounced for Afro-Brazilian females. Racial socialization also conveys the “strategically ambiguous” logic of color and racial classification, uncritically exposes family members to racist messages, jokes, and stereotypical images of Afro-Brazilians, and encourages cultural participation that superficially valorizes Afro-Brazilian culture and fosters nationalism, rather than racial identity. In contrast to traditional findings of racial socialization in the U.S., messages valorizing racial heritage are rare and efforts to prepare family members for bias rely on universal terms. Families do employ counter-discourses and creative strategies of resistance; and so, racial socialization is characterized by practices that reflect both resistance and accommodation to racial hierarchies. I conclude that racial socialization in families is influenced by and sustains racialization processes that maintain the broader system of white supremacy. Contrary to how racial socialization has been framed as having a purely protective role in families, this study illustrates how it may disadvantage blacks vis-à-vis whites and uniquely stigmatizes the most “black-looking” family members vis-à-vis those who more closely approximate an idealized (whiter) somatic norm. Future studies should triangulate data on racial socialization from other regions of the Americas.

Contents

• Abstract
• Acknowledgements
• 1. Introduction
  • 1.1 “The Face of A Slave”
  • 1.2 Background
  • 1.3 Case Selection
    • 1.3.1 Community Site
  • 1.4 Data and Methods
  • 1.5 Methodology
  • 1.6 “Second Sight” or Double Vision? My Subjectivity in the Field
  • 1.7 Organization of the Dissertation
• 2. Literature Review
  • 2.1 Crafting a Social Order: Race and Racialization
    • 2.1.1 Towards a Phenotypic Continuum
  • 2.2 Blinded by the White: Whitening and Racial Socialization in Families
    • 2.2.1 Studying Families in the U.S. and Brazil
    • 2.2.2 Mothering in Families
  • 2.3 The Stigmatized Body and Well Being
  • 2.4 The Family Systems Paradigm and Emotions
  • 2.5 Conceptual Framework
  • 2.6 Theoretical Framework
  • 2.7 The Racial Rubik: Salvador, Bahia, Brazil
• 3. “All in the Family”: Implicit and Explicit Racial Socialization
  • 3.1 Chapter Preface
  • 3.2 “Strategic Ambiguity” and Color Inconsistencies
    • 3.2.1 Family Interventions in Racial Classification
    • 3.2.2 Will the real white person please stand up?
    • 3.2.3 There are no whites, We are all black!
  • 3.3 Race and Space
    • 3.3.1 Todo no seu Lugar – Everything in its Place
  • 3.4 “Explicit Socialization Messages?.
    • 3.4.1 Educação é Salvação: Education is Salvation
    • 3.4.2 Reading Bodies, Not Books
  • 3.5 Racially (Mixed Messages) and Quotas
  • 3.6 What is racism?
  • 3.7 Media and Culture
    • 3.7.1 Novelas
    • 3.7.2 Re-Telling National Tales
  • 3.8 Conclusion
• 4. What’s Love Got to Do With It? : The Stigma of Racialized Features, Affect, and Socialization in Families
  • 4.1 Context
  • 4.2 The Hand That Rocks the Cradle: Mother-Child Relationships
  • 4.2.1 Harbingers of Racial Socialization: Babies
  • 4.3 Like a Good Neighbor
  • 4.4 Mama’s Baby is Daddy’s Maybe
  • 4.5 Racial Roulette and Sibling Rivalry
  • 4.6 She’s just my (pheno)Type: Romantic Love
    • 4.6.1 Race and Romance
  • 4.7 Discussion
• 5. Black and “Blue”: Racial Stigma and Well being
  • 5.1 Incog-negro: Abandoning Blackness
  • 5.2 When Racial Roulette is Violent
  • 5.3 Depression, Trust, and Trauma
  • 5.4 Pretty Please?! Beauty and Self-Esteem
  • 5.5 We (Don’t) Belong Together
  • 5.6 Discussion
• 6. Pigments of the Imagination: Beauty, Body, and Racialization
  • 6.1 The Bodies Exhibit
  • 6.2 Hands, Feet, and Ears, Oh My!
  • 6.3 Hair-itage
    • 6.3.1 The Good, the Bad, and the Ugly
  • 6.4 The Roots of Resistance: Afro-Aesthetics
    • 6.4.1 Hide My Roots! Afro-Aesthetics and Cultural Movements at Home
  • 6.5 Discussion
• 7. “Where There is Power, There is Also Resistance
  • 7.1 Nascimento Family Values
    • 7.1.1 Racial Names.
    • 7.1.2 Race and Privilege
    • 7.1.3 Beauty
    • 7.1.4 Racial History
    • 7.1.5 Internalized Racism
  • 7.2 The Santos Family
    • 7.2.1 Racial Rituals
  • 7.3 The de Jesus Family: The Brazilian Black Panthers
    • 7.3.1 Brief Life History of Pantera Negra
    • 7.3.2 Explicit Socialization
  • 7.4 Discussion
• 8. Conclusion – The Ties That Bind
  • 8.1 Limitations and Future Directions
  • 8.2 Conclusions
• Appendix A
• Appendix B
• Appendix C
• Appendix D
• Appendix E
• References
• Bibliography

List of Tables

• Table 1: Color Categorization by Percentage
• Table 2: Summary of the color terms used in interviews and observations
• Table 3: Summary of responses to the question: What is your race?
• Table 4: List of all color or racial nicknames used by informants

Read the entire dissertation here.