Mixed Race Studies

Rutherford’s Bill Galloway reflects on genealogy, racial history

NorthJersey.com
Woodland Park, New Jersey
Thursday, 2014-02-20

Kelly Nicholaides

Bill Galloway, a resident with roots that go back to the 1920s in Rutherford, is proud of both his black roots and the “miscegenation” of his family. The longtime-Rutherford resident’s ancestors built a solid foundation with a focus on education and work ethic in a fully integrated school system since the 1920s. The family built relationships with individuals of all backgrounds, and made lasting connections that cemented their success as community leaders.

A pharmacist who still works full-time, Galloway, 85, reflected on his genealogy as well as the evolution of the concept of race, and notes that his family has a long history of bi-racial roots on both maternal and paternal sides. Regardless, Galloway notes that even if one doesn’t appear black, any black individuals in one’s ancestry technically makes someone black. Part-African-American, part-Scottish and British, with a bit of Native American, Pacific Islander on his paternal side, Galloway, eschews the term African-American. Additionally, he does not differentiate between ethnicity, which relies on DNA, and race, which applies to physical attributes.

“First it was colored, then Negro, then black, and now African American. Yet all of us came from mixed race families, when you think about it. I’m the darkest in my family,” Galloway reflects. “The black race is everything from jet black to pure white. If you have even just a little black in you, even if you don’t appear black, you’re still black. Race has nothing to do with color of your skin. Race is what’s in your DNA.”…

…”Back in those days, and since the miscegenation of the 1860s, black woman had babies by slave owners, and there were thousands during the Civil War. Around 1900, white women were fined if they had a bi-racial baby,” Galloway says. “Back then, people who got tired of discrimination got rid of their birth certificates, came up north here and 100 miles around, and passed as white people. They took Bibles and put in their birth dates and new names. The Bible was accepted as ID,” Galloway explains…

Read the entire article here.

The Romance of Race: Incest, Miscegenation, and Multiculturalism in the United States, 1880–1930; and Spectacular Wickedness: Sex, Race, and Memory in Storyville, New Orleans [Smithers Review]

The Journal of American History
Volume 100, Issue 4 (March 2014)
pages 1222-1224
DOI: 10.1093/jahist/jau065

Gregory D. Smithers, Associate Professor of History
Virginia Commonwealth University, Richmond, Virginia

Jolie A. Sheffer, The Romance of Race: Incest, Miscegenation, and Multiculturalism in the United States, 1880-1930. (New Brunswick: Rutgers University Press, 2013. xiv, 233 pp. Cloth, $72.00. Paper, $24.95.) Emily Epstein Landau, Spectacular Wickedness: Sex, Race, and Memory in Storyville, New Orleans. (Baton Rouge: Louisiana State University Press, 2013. xviii, 310 pp. $39.95.)

Since the global financial crisis in 2008 there has been a lot of discussion in newspapers and among historians about the resurgence of economic history. Major university presses have initiated book series devoted to the history of capitalism, while college classrooms across the country reportedly fill with students eager to learn about the past heroics and/or misdeeds of bankers, entrepreneurs, and Wall Street insiders. This turn in historical scholarship has productive potential, for while history is often written about the deceased, it is written for the living so they might better understand the world in which they live. At the same time, the renewed prominence that economic histories now enjoy also has the potential to sideline (and silence) the histories of racial and ethnic minorities, women, and the working classes.

In this context, Jolie A. Sheffer’s The Romance of Race and Emily Epstein Landau’s Spectacular Wickedness are welcome interventions in historical scholarship. Sheffer, whose focus is on the intersecting literary categories of incest and miscegenation, and Landau, who provides a detailed historical examination of the New Orleans vice district of Storyville, demonstrate how understanding the complex and interconnected histories of race, gender, and sexuality remains critical to comprehending the United States at the turn of the twentieth century. In an era dominated by corrupt politicians and…

Read or purchase the review of both books here.

Betwixt, Between and Beyond: Racial formation and “mixed race” identities in New Zealand and Singapore

National University of Singapore
2013
345 pages

Zarine Lia Rocha

A THESIS SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF SOCIOLOGY

“Mixed race” identities are increasingly important for academics and policy makers around the world. In many multicultural societies, individuals of mixed ancestry are identifying outside of traditional racial categories, posing a challenge to systems of racial classification, and to sociological understandings of race. Singapore and New Zealand illustrate the complex relationship between state categorization and individual identities. Both countries are diverse, with high rates of intermarriage, and a legacy of colonial racial organization. However, New Zealand’s emphasis on voluntary, fluid ethnic identity and Singapore’s fixed four-race framework provide key points of contrast. Each represents the opposite end of the spectrum in addressing “mixed race”: multiple ethnic options have been recognized in New Zealand for several decades, while symbolic recognition is now being implemented in Singapore.

This research explores histories of racial formation in New Zealand and Singapore, focusing on narratives of racial formation. The project examines two simultaneous processes: how individuals of mixed heritage negotiate identities within a racially structured framework, and why—how racial classification has affected this over time. Using a narrative lens, state-level narratives of racial formation are juxtaposed with individual narratives of identity. “Mixedness” is then approached from a different angle, moving away from classifications of identity, towards a characterization of narratives of reinforcement, accommodation, transcendence and subversion.

Drawing on a series of 40 interviews, this research found similarities and differences across the two contexts. In Singapore, against a racialized framework with significant material consequences, top-down changes sought to symbolically acknowledge mixedness, without upsetting the multiracial balance. In New Zealand, state efforts to remove “race” from public discourse allow ethnicity to be understood more flexibly, yet this has not always translated easily to everyday life. For individuals in Singapore, narratives were shaped by a racialized background, as they located themselves within pervasive racial structures. In New Zealand, stories were positioned against a dual narrative of fluidity and racialization, reflected in narratives that embraced ambiguity while referring back to racialized categories.

The four narrative characterizations illustrated the diversity of stories within each context, yet highlighted certain patterns. Narratives of transcendence were present in both countries, illustrating how historical racialization can be rejected. Narratives of accommodation were more common in New Zealand, as the dissonance between public and private understandings of mixedness was less stark. Narratives of reinforcement were more frequently seen in Singapore, mirroring colonial/post-colonial projects of racial formation in which personal stories were located. Narratives of subversion were present in both countries, but were more common in New Zealand, where subversion required less conscious effort.

Overall, this research drew out how identity can diverge from official classification, as individuals worked to navigate difference at an everyday level. State acknowledgements of mixedness served to highlight the continued dissonance between fluid identities and fixed racial categories, as well as the unique balance of racialized choice and constraint in Singapore and in New Zealand. Personal narratives revealed the creative ways in which people crossed boundaries, and the everyday negotiations between classification, heritage, and experience in living mixed identities.

Read the entire dissertation here.

Being Mixed Race

Women of the World Festival 2014
Southbank Centre
Belvedere Road, London
Blue Room, Spirit Level at Royal Festival Hall
Saturday, 2014-03-08, 13:30-15:00Z

What is being ‘mixed race’? Is there such a thing as a mixed-race identity? In the 2011 census, over a million people in the UK ticked the ‘mixed race’ box—double the number who did so in 2001 when the box was first introduced. This multi-generational panel continues one of WOW 2013’s most moving and insightful conversations. Is the term mixed race useful to anyone but statisticians? Can today’s increasingly fluid racial identities ever really be squeezed into a one-size- fits-all box? Speakers include Irish Nigerian visual sociologist Emma Dabiri, artist Phoebe Collings-James and teacher, writer and feminist Lola Okolosie. The session includes a workshop led by Emma Dabiri and we hear from consultant Sally Kneeshaw.

For more information, click here.

Fatal Invention: The New Biopolitics of Race and Gender – Dorothy Roberts

University of California, Berkeley
Alumni House
Friday, 2014-03-07, 17:00-19:30 PST (Local Time)

Join us for a discussion with Prof. Dorothy Roberts, University of Pennsylvania Law School, author of Fatal Invention: How Science, Politics, and Big Business Re-create Race in the Twenty-first Century.  Lecture organized by the group, Politics of Biology & Race, a UC Center for New Racial Studies working group, and co-sponsored by the Center for Race & Gender and the Haas Center for a Fair and Inclusive Society.

Dorothy Roberts, an acclaimed scholar of race, gender and the law, joined the University of Pennsylvania as its 14th Penn Integrates Knowledge Professor with a joint appointment in the Department of Sociology and the Law School where she also holds the inaugural Raymond Pace and Sadie Tanner Mosell Alexander chair.

Her pathbreaking work in law and public policy focuses on urgent contemporary issues in health, social justice, and bioethics, especially as they impact the lives of women, children and African-Americans. Her major books include Fatal Invention: How Science, Politics, and Big Business Re-create Race in the Twenty-first Century (New Press, 2011); Shattered Bonds: The Color of Child Welfare (Basic Books, 2002), and Killing the Black Body: Race, Reproduction, and the Meaning of Liberty (Pantheon, 1997).

The Racial Pecking Order in British Theatre and TV

Media Diversified: Tackling the lack of diversity in UK media and the ubiquity of whiteness
2014-02-28

Daniel York

I’ve been reading a book recently by the American sociologist David T. Wellman with the frankly terrifying title Portraits Of White Racism. I say terrifying because it conjures all kinds of images of Aryan skinhead fascists with big boots and arm-bands. I find myself hiding the lurid green cover of the book so people won’t see it when I’m reading it on the tube.

In fact the book isn’t about skinhead fascists at all. Rather its premise is to refute the popular notion that all “racism” is born of ignorant prejudice. Instead Wellman’s subject is

“culturally sanctioned strategies for defending social advantage based on race”.

Of course the very word “racism” is now so incendiary it actually seems to have become worse to call someone a racist than actually be one. But leaving aside Wellman’s terminology there is something clearly and fundamentally unequal in UK society and particularly in the industry I work in, that of screen and stage, something that black British actor and playwright Kwame Kwei-Armah recently referred to as “structural inequality” .

The book (written in the 1970’s) features quotes  along the lines of

“I’m not opposed to mixed busing ; I’m opposed to the time it takes” and “I can understand militancy but it’s self-defeating”. My industry is full of these kind of rationalisations:-

“Yes, there should be more opportunities for actors/writers of colour. But it won’t happen overnight” (Why ever not?)

“There should be more roles for actors of colour. But we need the writers from those communities to write roles for minority ethnic actors” (Well, a) You could commission some and b) Do we have to be from a separate and foreign “community”?)

“We definitely need to put more training initiatives in place”

(In other word we’re going to continue side-lining you now whilst we tick our boxes running workshops for people with no experience thereby diminishing your experience and expertise)…

…Ethnic roles are often very clichedly “ethnic” and badly written. They are also cast with a completely different criteria by people who are literally picking exotic flowers for their garden. The number of times I’ve been told “they didn’t think you looked Chinese enough” (I’m of mixed descent) is simply too often to be arbitrary. My agent was once told “we specifically do NOT want any Eurasians”. On the other side of the coin, I’ve seen casting breakdowns calling for African-Caribbean actors requesting they not be “too dark”. In addition we’re often expected to be de facto cultural “experts”, to speak a range of languages and have all manner of physical “skills” at our disposal…

Read he entire article here.

Featured Writer: Daniel York

Banana Writers​: Where Asian writers get unpeeled
2013-10-11

P. P. Wong

Daniel York is a successful scriptwriter, director and actor who is passionate about championing equal rights for creative East Asians.

Born of mixed Chinese and English parentage, the talented British writer was selected as part of the Royal Court’s Unheard Voices initiative for emerging East Asian writers. As a result of this, he was invited on to the Royal Court Studio writers group. His short play Song Of Four Seasons (四季歌) featured recently in Tamasha Theatre’s Music & Migration Scratch Night and his other full length play Fake Chinaman In Rehab was given a rehearsed reading by 3rd Kulture Kids in New York City.

As an actor, his feature films include Rogue Trader, starring Ewan McGregor, The Beach (directed by Danny Boyle) opposite Leonardo Di Caprio and the action film Doom starring The Rock.

Theatre work in London includes Mu-lan’s award winning production of Porcelain at the Royal Court and Forinbras opposite Alan Rickman’s Hamlet at the Riverside Studios. He has won the prestigious Singaporean Life! Theatre Award for Best Supporting Actor for his performance in Pangdemonium’s production of Dealer’s Choice and Freud’s Last Session.

Daniel is currently starring with Katie Leung (Harry Potter) in the play The World of Extreme Happiness.

He is also challenging racist stereotypes of Chinese people through his hilarious play The Fu Manchu Complex.

In an exclusive interview with BW Daniel took time out of his busy schedule to share his wisdom about scriptwriting and what it really takes to get a play to the stage…

…You have worked in the British arts industry for over fifteen years. Would you like to share your experiences as an East Asian artist?

I could actually write a book on this subject (maybe I should!).

When I first left drama school  I was immensely lucky as there was a theatre company called Mu-lan who put on gritty, edgy work that completely challenged stereotypes and was absolutely prepared to risk being controversial (in a good way). I was in plays like Porcelain (about a gay Chinese man who murders his boyfriend in a Bethnal Green toilet) which transferred and sold out at the Royal Court, Take Away (about a Chinese take away family in Hainault, Essex facing the winds of change) and, later on, Sun Is Shining (about a dysfunctional relationship between a mixed-race City trader and an alcoholic artist) which transferred off-Broadway New York.

Despite (or perhaps because of) this, Mu-lan lost its funding and there was literally no high-quality theatre work with challenging roles for East Asian actors. Without that you’re left with the mainstream and the mainstream industry in the UK has a real problem with East Asians.

They don’t know how to write for them and they often don’t know how to cast them. The only roles on TV are ridiculously stereotypical but even worse nearly always ridiculously bland. Plus it’s difficult to land those roles if you’re a mixed race male. If you can’t do TV it’s hard to do theatre. I’ve found a bit of joy in classical theatre but even now, with the CV I’ve got, I generally won’t be considered for Shakespeare or whatever. One theatre director who wanted to cast me in the lead in a play was met with the argument “but he’s Chinese!” from the theatre boss.

Generally with all acting you have to be able to portray a cliché successfully before you can move on. The most successful theatre actor of this generation is arguably Simon Russell Beale. I can remember seeing him early in his career play three camp, portly fops in Restoration comedies at Stratford. Literally the same role three times. But he was so good at it he became successful and then was able to break out.

But if all you can get seen for are take-away owners and waiters and you don’t look Chinese enough you’ve had it…

Read the entire interview here.

‘Chinese, on the Inside’

The New York Times
2014-03-03

Liz Mak, writer and multimedia producer
Oakland, California

Catie and Kimberly were adopted from China by a couple from Maine, who attempt to pass on a culture they’ve never known firsthand.

About a decade ago, Barbara Cough adopted two girls from China, Kimberly and Catie. Barbara and her partner, Marilyn Thomas, are raising the children in Portland, Me. I filmed the family last year when the girls (who are not biological sisters) were ages 9 and 11.

More than 80,000 girls have been adopted from China by Americans since 1991. In recent years, China has made adoptions by same-sex couples, already difficult, nearly impossible.

But at the time the girls were adopted, in 2003 and 2004, Barbara and Marilyn felt that adopting girls from China afforded them more protections as parents than domestic adoptions would have, given the complex rules around birth parents’ rights in America.

For Barbara, it was also a way to reconnect with her own history: her great-grandfather Daniel Cough was the first Chinese man in Maine to become a naturalized citizen of the United States. Though Barbara’s generation is only one-eighth Chinese, the family members proudly identify with their cultural heritage…

Read the opinion piece and watch the video here.

International Blackness vs. Homegrown Negroes: Lupita, Chimamanda, Thandie and me

Alternet
2014-02-23

Esther Armah

“She is very white!” Revered Swedish film critic Jannike Åhlund watches a clip of actress Thandie Newton playing Olanna, one of the Nigerian twin sisters in the film adaptation of the award-winning novel Half of a Yellow Sun by Nigerian author Chimamanda Ngozi Adichie. In January, the Goteborg International Film Festival and International Writers’ Stage Gothenburg co-hosted a conversation between Jannike and Chimamanda in Sweden. The audience laughed awkwardly at Jannike’s assertion. Chimamanda frowned at the description. Critiques of Thandie Newton in this leading role gathered force. Chimamanda was called upon to respond to them.

Half of a Yellow Sun is one of Chimamanda Adichie’s three novels. Chimamanda’s name exploded in popular circles recently when Beyoncé included a quote from her TEDx talk, “We Should All Be Feminists,” on the track “Flaweless” from her latest album. Half of a Yellow Sun also stars award-winning Nigerian-British actor Chiwetel Ejiofor of 12 Years a Slave fame and African American actress Anika Noni Rose. Rose stars as Olanna’s fraternal twin, Kainene.

Chimamanda seized the opportunity that Jannike’s comment provided to talk about the complexity of shades within blackness and specific issues of international blackness. The criticism internationally has been that Thandie Newton is not Nigerian and is therefore a problematic choice for the lead role…

…Igbo is a tribe in Nigeria, as is Yoruba, Hausa and Ogoni. The term “Igbo yellow” identified you as the “enemy” during the bloody and brutal Biafran War (the subject of the book and film). Thandie’s light skin as Olanna does not equate to the privilege rooted in the history of shadism and colorism in America. Thandie is not Nigerian – and for some Nigerians her authenticity – and that of the film – wanes precisely because of her “foreign blackness.”

Debates and discussions around colorism and shade in America are often cyclical and absolute — light skinned equals privilege, light is Hollywood leading lady, light is the chosen one; dark equals rejected, ugly, undesirable, unimportant. That is indeed a truth, but it is one of many truths. That is the framing of complexion narratives, and that of the legacy of untreated trauma of America’s history where enslaved Africans had babies by slave masters beginning the panorama of complexion on these shores. Historically, the closer to white you were, the better the treatment you received. Time travel though history and in today’s America that legacy persists, manifesting in celebrity, beauty magazines, and leading lady selection. It continues to be the cause of pain and hurt within and among African American communities, and diasporan black folk due to Western standards of beauty. A recent hour long Oprah’s Life Class on Colorism with New York Times best-selling author and teacher Iyanla Vanzant explored the issue with an audience full of black women running the gamut from deepest chocolate to the lightest of light skinned blacks. Actor and director Bill Duke in his documentary Dark Girls also explored the issue of complexion…

…There is work that contributes to expanding narratives around blackness. Scholar and producer Dr. Yaba Blay’s pivotal projects–(1)ne Drop: Shifting the Lens on Race and “Pretty.Period,” open up the conversations about the two extremes of color – light and dark skinned – contextualizing, clarifying, honoring and celebrating what has often been divisive, contentious, difficult space. On Dr. Blay’s site, she explains her reasoning for Pretty.Period. a visually delicious website that features darker skinned black women. For Dr. Blay, ‘Pretty. Period’ pushes back against the privileging of a single story in relation to complexion. Blay writes, “We focus primarily on the sociopolitical disadvantages that come with being dark-skinned in a society that continues to privilege and prioritize White/Western standards of beauty…

Read the entire article here.

Mapping Interracial/Interethnic Married-Couple Households in the United States: 2010

United States Census Bureau
Presented at the Annual Meeting of the Population Association of America
New Orleans, Louisiana
2013-04-11 through 2013-04-13

Tallese D. Johnson, Population Division
U.S. Census Bureau

Rose M. Kreider, Social, Economic, and Housing Statistics Division
U.S. Census Bureau

Introduction

This poster examines the geographic distribution of interracial and interethnic married couples in the United States. The analysis focuses on county level distributions that map the prevalence of specific combinations of interracial/interethnic married couples, such as Whites married to Asians. The county maps illustrate the diversity of interracial/interethnic couple combinations around the country. Much of the literature on interracial or interethnic married couples shows all such couples together. However, particular intermarried combinations have distinct histories and distributions across the United States.

Given distinct paths of entry into the United States, internal migration patterns, and residential segregation, we would expect that White/Black couples may tend to live in different areas than White/Asian couples, for example. Couples with a relatively longer history of intermarriage, such as Hispanic/non-Hispanic couples or White/American Indian and Alaska Native couples may have distinct patterns of residence. This poster provides basic information about where particular intermarried couples live, by county, across the United States…

View the poster and maps here.