Mixed Race Studies

Reflections of an Undercover Black Girl from San Francisco

50 Shades of Black: Sexuality and Skin Tone in the Formation of Identity
2014-05-07

Stacy Jethroe

My skin is tan. My hair is wavy. In Nina Simone’s “Four Women” I might be considered a Saffonia, though my father was neither rich nor white.

As a child living in a 1970’s San Francisco, I looked exactly like what I was: a nappy-headed mixed child. Born to a fair-skinned, Caucasian mother and a medium-toned Black/Italian/Cherokee father, I have been told I look Brazilian or Cape Verdean or just Plain Ol’ Regular White Girl. As I aged, my skin naturally lightened and my hair relaxed of its own accord.

At the age of nine, I moved to the Midwest. I wasn’t exactly Black or White or what was easily recognized, and my racial backstory became a constant topic. As a nappy-headed mixed child in San Francisco, I never lied about my ethnicity; there was no need for it. But, living in the Midwest, even my maternal grandmother held issue with my color; she lied to protect herself against the judgment she believed would be passed by others and, I believe, her own loathing of her non-White grandchild. Following suit, I began to tell the same lie. I hated the curliness of my hair and spent hours each day straightening it, trying to look White. White is right…right? I don’t believe that now, but I believed it then…

Read the entire article here.

Portrait of the mystery lady: The incredible story behind the 18th-century painting that inspired a new movie

The Daily Mail
2014-05-03

Paula Bryne

Attributed to Johann Zoffany (circa 1778)

Until recently, little was known about the mixed-race girl in an 18th-century painting associated with Kenwood House in London. But a new book and film reveal that Dido Elizabeth Belle was, in fact, the illegitimate daughter of a slave whose privileged upbringing helped change racial injustices for ever

The artist must have known that it was an unusual commission. The double portrait has a long and distinguished tradition. Typically, the subject would be a husband and wife, a mother and child, or sisters. The composition above conforms to that of a portrait of sisters but, as far as we know, this is the only portrait of its era to show a white and a black girl together in a sisterly pose.

The portrait was commissioned in the late 1770s or early 1780s by the 1st Earl of Mansfield, William Murray, who as Lord Chief Justice was the most admired judge in 18th-century Britain. His name by this time was irrevocably linked with the rights of slaves as a result of his judgment in the infamous Somerset case of 1772.

But these are not his daughters. He and his wife were childless. The girl in the foreground is Lady Elizabeth Murray, his great niece, who was brought up at Kenwood House on the edge of London’s Hampstead Heath, where this portrait was painted, after the death of her mother when she was a young child. It was believed until the 1980s that the other girl was some kind of household servant. She was, in fact, a blood relative of the girl in pink and the Mansfield family and her name was Dido Elizabeth Belle, now the subject of a major new film…

Read the entire article here.

Fathers of Conscience with Bernie D. Jones [Part 2]

Research at the National Archives & Beyond
Blogtalk Radio
2014-05-08, 21:00 EDT (2014-05-09, 02:00Z)

Bernice Bennett, Host

Bernie D. Jones, Associate Professor of Law
Suffolk University, Boston, Massachusetts

Join Author Bernie D. Jones for an engaging discussion about her book – Fathers of Conscience – Mixed-Race Inheritance in the Antebellum South.

Fathers of Conscience examines high-court decisions in the antebellum South that involved wills in which white male planters bequeathed property, freedom, or both to women of color and their mixed-race children. These men, whose wills were contested by their white relatives, had used trusts and estates law to give their slave partners and children official recognition and thus circumvent the law of slavery. The will contests that followed determined whether that elevated status would be approved or denied by courts of law.

For more information, click here.

Natasha Trethewey Presents Final Lecture as U.S. Poet Laureate, May 14

News from the Library of Congress
Library of Congress
2014-04-17

Natasha Trethewey will conclude her tenure as the 19th Poet Laureate Consultant in Poetry at the Library of Congress with an evening lecture in the Coolidge Auditorium on May 14.

The lecture will start at 7 p.m. on Wednesday, May 14, in the Coolidge on the ground floor of the Thomas Jefferson Building, 10 First St. S.E., Washington, D.C. A book signing and reception will follow. The event is free and open to the public. Tickets and reservations are not required, but early arrival is strongly recommended.

Librarian of Congress James H. Billington said “Natasha Trethewey’s final lecture as Poet Laureate marks the conclusion of a remarkable two terms. Throughout that time her commitment and her enthusiasm have elevated the position, and the art.”

In her first term as laureate, from 2012 to 2013, Trethewey spent five months in residency in the Poetry Office at the Library of Congress, meeting with members of the general public. In her second term, from 2013 to 2014, she launched a signature project: a series of on-location reports with the PBS NewsHour called “Where Poetry Lives.” The series has featured poetry programs and workshops with Alzheimer’s patients in Brooklyn, N.Y.; middle-school students in Detroit, Mich.; medical students in Boston, Mass.; and teenagers of the King County Youth Services Center in Seattle, Wash. For more information, visit www.pbs.org/newshour/tag/where-poetry-lives/.

The lecture on May 14 will include Trethewey’s reflections on the state of poetry based on her experiences during her office hours and the filming of “Where Poetry Lives.” She also will consider the legacy of poets like Robert Penn Warren on the laureateship; the role of the poet as public intellectual; and the role of poetry in the remembrance of and reckoning with our national past—with particular focus on the 50th anniversary of milestones in the Civil Rights Movement.

When Trethewey was named Poet Laureate in 2012, Billington called her “an outstanding poet/historian in the mold of Robert Penn Warren, our first Poet Laureate Consultant in Poetry. Her poems dig beneath the surface of history—personal or communal, from childhood or from a century ago—to explore the human struggles that we all face.”

Trethewey is the author of four poetry collections, including: “Thrall” (2012); “Native Guard” (2006), winner of the 2007 Pulitzer Prize in Poetry; “Bellocq’s Ophelia” (2002); and “Domestic Work” (2000). She is also the author of a nonfiction book, “Beyond Katrina: A Meditation on the Mississippi Gulf Coast” (2010).

Her many honors include the Mississippi Governor’s Award for Excellence in the Arts and fellowships from the Guggenheim Foundation and the National Endowment for the Arts. In 2012, Trethewey was appointed Poet Laureate of Mississippi, and her term as state laureate has coincided with her laureateship at the Library—a first for the position…

Read the entire press release here.

Talking Mixed-Race Identity with Young Children

Hyphen—Asian Americans Unabridged
2014-05-06

Sharon H. Chang

“Mom, am I White?”

A few weeks ago, when I got this question from my four-year-old, I wasn’t sure what to say. Technically my son is “biracial” — but that label does him a severe representative injustice, because his bloodline is actually Japanese, Taiwanese, Slovakian, German, French Canadian, British, and Welsh. He also does not possess a parent of just one race and a parent of another race, as if often assumed when people hear the term “biracial”—because both my husband and I are mixed-race Asian/White too. For these reasons, I much prefer to describe us, and our son, as multiracial.

I write about and research race, families, and children, with an especial focus on multiraciality. I don’t believe in avoiding race talk with my child, though I do try to discuss it in age-appropriate ways. I’ve tried to stand by my conviction that it’s better he learn how to think and talk about these issues within the family first, rather than have normative ideals force-fed down his throat by everyone else when he walks out the door. That said, I wasn’t fully prepared when he turned to me and asked, “Mom, am I White?”…

Read the entire article here.

The Theme of “Passing” in the Novels of James Weldon Johnson and Nella Larsen

International Journal of Interdisciplinary and Multidisciplinary Studies (IJIMS)
Volume 1, Number 4 (2014)
pages 53-58
ISSN: 2348-0343

Dinesh Babu. P.
Department of English
Ramanujan College (University of Delhi), Kalkaji, New Delhi, India

The depiction of the experience of a very fair-skinned person of some “coloured” background who successfully passes into white society was a recurrent theme in early African American writings. In this paper an attempt is made to look at, and compare and contrast, two African American novels, The Autobiography of an Ex-Coloured Man (1912) and Passing (1929) which deal with the theme of passing, written by James Weldon Johnson and Nella Larsen, a Black man and a Black woman writer. This paper analyses how the two novels reject the rules of colour division, rules which demand that one accepts a position within a predetermined hierarchy.

Read the entire article here.

Audre Lorde: The Berlin Years 1984 to 1992 by Dagmar Schultz (review)

African Studies Review
Volume 57, Number 1, April 2014
pages 237-238
DOI: 10.1353/arw.2014.0038

Patricia-Pia Célérier, Associate Professor of French and Francophone Studies
Vassar College, Poughkeepsie, New York

Audre Lorde: The Berlin Years 1984 to 1992 is a 79-minute documentary in English and German, directed and produced by Dagmar Schultz. An academic and close friend of Lorde’s, Schultz also co-edited (with May Opitz and Katharina Oguntoye) the book Farbe Bekennen: Frauen auf den Spuren ihrer Geschichte (1986; translated as Showing our Colors: Afro-German Women Speak Out, University of Massachusetts Press, 1991), which marked the beginning of the “Afro-German movement.” Schultz contributed her own archival video and audio recordings and footage to the documentary, adding testimonies from Lorde’s colleagues, students, and friends. Released in 2012, twenty years after Lorde’s death, Audre Lorde: The Berlin Years 1984 to 1992 is an homage to the African American writer’s tremendous contributions as well as a useful complement to two other documentaries: A Litany for Survival: The Life and Work of Audre Lorde (1995) by Ada Gray Griffin and Michelle Parkerson, and The Edge of Each Other’s Battles: The Vision of Audre Lorde (2002) by Jennifer Abod. Schultz’s film has attracted significant attention and received the Audience Award for Best Documentary at the Barcelona Gay and Lesbian Film Festival.

Audre Lorde: The Berlin Years 1984 to 1992 focuses on an understudied period in the life of the prolific author and activist, the time when she traveled between the U.S. and Germany to lecture and visit friends. It features her relationship to the black diaspora and her mentoring role in the development of the antiracist struggle and the Afro-German movement before and after the German reunification. In true feminist fashion, the documentary links the personal and the political, representing Lorde’s ongoing fight against cancer, her inspiring presence at feminist consciousness-raising meetings, her carefree dancing at multiracial lesbian parties, and her partnership with the poet Gloria I. Joseph.

The film highlights Lorde’s part in building bridges among women of color, feminist, and LGBT social justice movements, in “hyphenating” black Germans. In doing so, it contextualizes the history of major cultural shifts in the late ’80s/early ’90s in Germany. It speaks to audiences both familiar and unfamiliar with Lorde’s work by articulating themes that are at the core of the writer’s production: for instance, the meaning of intimacy and sharing, and the radical role a creative understanding of difference plays in personal and intellectual growth.

Although valuable as a testimonial and politically committed film, Audre Lorde: The Berlin Years 1984 to 1992 unfortunately lacks a strong coherent form, its point of view neither sufficiently clear nor technically grounded. Because the filmmaker does not provide a theoretical or narrative perspective (apart from documenting Lorde’s life), the archival images and interviews overtake the film, which in turn seems dated, as if it had been produced twenty years ago. The viewer is not pulled into the story early enough, and the editing does not compensate imaginatively for the somewhat haphazard manner with which the documentary proceeds.

Should we consider, nevertheless, that the historical and political value of such a film overrides issues of filmic quality and narrative coherence, especially because it was made on a tight budget and is a labor of love? A documentary cannot be considered as merely reproducing cultural (feminist, Afro-German, LGBT) meaning, but also as creating (new) meaning. Unfortunately, Audre Lorde: The Berlin Years 1984 to 1992 does not sufficiently demonstrate an awareness of the different ways of understanding and theorizing women’s lives that are available today. As a recording of social life and a travelogue, it does accomplish the two goals of the documentary genre: it informs and educates. Like feminist films of the 1970s, it celebrates the clamor of women’s voices and the rising up of women of color and gay women. It sheds light on the diversity of women’s lifestyles and choices and the issues in gay politics. But how do these images of Lorde inform our current understanding of feminism and feminist practices? What spaces does Lorde’s legacy occupy today? These questions are not answered by the film. In addition, because it does not suggest an awareness of the discursive and technical changes that have advanced the…

“”The way to stop discrimination on the basis of race is to stop discriminating on the basis of race,” John Roberts elegantly wrote. Liberals have yet to come up with a credible retort. That is because the theories of John Roberts are prettier than the theories of most liberals. But more, it is because liberals do not understand that America has never discriminated on the basis of race (which does not exist) but on the basis of racism (which most certainly does.)

Ideologies of hatred have never required coherent definitions of the hated. Islamophobes kill Sikhs as easily as they kill Muslims. Stalin needed no consistent definition of “Kulaks” to launch a war of Dekulakization. “I decide who is a Jew,” Karl Lueger said. Slaveholders decided who was a nigger and who wasn’t. The decision was arbitrary. The effects are not. Ahistorical liberals—like most Americans—still believe that race invented racism, when in fact the reverse is true. The hallmark of elegant racism is the acceptance of mainstream consensus, and exploitation of all its intellectual fault lines.”

Ta-Nehisi Coates, “This Town Needs a Better Class of Racist,” The Atlantic. (May 1, 2014). http://www.theatlantic.com/politics/archive/2014/05/This-Town-Needs-A-Better-Class-Of-Racist/361443/.

G.O.P. Hopeful Finds Tribal Tie Cuts Both Ways

The New York Times
2014-05-03

Jonathan Martin, National Political Correspondent

BARTLESVILLE, Okla. — T. W. Shannon will be Oklahoma’s first black senator if he wins the Republican nomination and is elected this November, but the quiet campaign stirring here about Mr. Shannon’s racial loyalties is not aimed at the African-American branch of his family tree.

Mr. Shannon, whose first name is Tahrohon, is a member of the Chickasaw Nation, the most influential tribe in a state where Native Americans are not merely the inheritors of a poignant history but also collectively constitute the state’s largest nongovernment employer outside of Walmart.

Most of those jobs are connected to Oklahoma’s 110-and-counting casinos, which are becoming as familiar here as oil derricks. Yet the gambling revenue that has showered millions on some of the state’s Native Americans has also bred resentment over the tribes’ expanding footprint. Now, as Mr. Shannon vies to make history, he has become both the political beneficiary of the tribes’ newfound wealth and a target for complaints about Native American sovereignty and possible competing loyalties…

Read the entire article here.

To the Manner Born?

The New York Times
2014-05-01

Manohla Dargis

‘Belle’ Centers On a Biracial Aristocrat in the 18th Century

No bodices seem to have been harmed, much less ripped, during the making of “Belle,” a period film at once sweeping and intimate, about an 18th-century Englishwoman who transcends her historical moment. Even so, peekaboo bosoms tremble throughout the movie amid the rustle of luxurious gowns and the gasps of polite company as conventions are crushed underfoot. Melodramatic and grounded in history, “Belle” is enough of an old-fashioned entertainment that it could have been made in classic Hollywood. Well, except for one little thing that would have probably given old studio suits apoplexy: The movie’s prettily flouncing title character is biracial.

You meet her as a child, just as she’s being taken by her father, a navy captain, Sir John Lindsay (Matthew Goode), from some shadowy mystery hovel to a large country manor. There, in an elegantly appointed room, the kind that announces the refinement of its inhabitants and whispers their entitlement, Sir John formally claims the child as his own and promptly hands her over to his uncle, Lord Mansfield (Tom Wilkinson, very good), and Lady Mansfield (a dry, funny Emily Watson). The Lord and Lady keep their lips, necks and manners stiff, but take the girl in and raise her as their own — or almost. Soon she’s laughing in the garden, and then she’s a genteel beauty (a fine Gugu Mbatha-Raw) facing life as a black woman in a slave-trading country.

She’s based on Dido Elizabeth Belle (1761-1804), the daughter of an African woman, Maria Bell, who was probably enslaved and maybe captured off a ship by Sir John. The details of their association and Bell’s life are murky, but when Dido was young, Sir John took her to Lord Mansfield, who raised her alongside another grandniece, Elizabeth Murray (played by a strong Sarah Gadon). In one account, Thomas Hutchinson, a governor of Massachusetts, described visiting the family: “a Black came in after dinner and sat with the ladies” and later walked arm in arm with one. “She had a very high cap, and her wool was much frizzled in her neck,” Hutchinson wrote, “but not enough to answer the large curls in fashion. She is neither handsome nor genteel — pert enough.”…

Read the entire review here and watch an anatomy of a scene here.