Mixed Race Studies

The Brazilian carnival queen deemed ‘too black’ – video

The Guardian
2016-02-09

Barney Lankester-Owen, Bruce Douglas, Charlie Phillips and Juliet Riddell

Nayara Justino thought her dreams had come true when she was selected as the Globeleza carnival queen in 2013 after a public vote on one of Brazil’s biggest TV shows. But some regarded her complexion to be too dark to be an acceptable queen. Nayara and her family wonder what this says about racial roles in modern Brazil

The Latino Flight to Whiteness

The American Prospect
2016-02-11

William Darity Jr., Samuel DuBois Cook Professor of Public Policy; Professor in the Sanford School of Public Policy; Professor of African and African American Studies; Professor of Economics
Duke University, Durham, North Carolina

This is a contribution to Prospect Debate: The Illusion of a Minority-Majority America.

Based upon trends in racial self-classification, one has to be skeptical about the emergence of “majority-minority” America.

Will the United States have a majority of people of color by the year 2050, as both researchers and the popular press commonly assert? Richard Alba urges skepticism because, he argues, U.S. Census policy overestimates the presence of nonwhites in the American population. As Alba observes, in mixed-race marriages where one parent is white and the other nonwhite, the Census uses a default rule of counting all the children as nonwhite, even though that is not necessarily how the children see themselves…

Read the entire article here.

I Heart Obama

University Press of New England
2016-02-09
256 pages
5 1/2 x 8 1/2″
Hardcover ISBN: 978-1-61168-536-7
Ebook IBSN: 978-1-61168-967-9

Erin Aubry Kaplan

A personal and cultural exploration of Barack Obama as black president, black icon, and black folk hero

In his nearly two terms as president, Barack Obama has solidified his status as something black people haven’t had for fifty years: a folk hero. The 1960s delivered Malcolm X and Martin Luther King, forever twinned as larger-than-life outsiders and truth tellers who took on racism and died in the process. Obama is different: Not an outsider but president, head of the most powerful state in the world; a centrist Democrat, not the face of a movement. Yet he is every bit a folk hero, doing battle with the beast of a system created to keep people like him on the margins. He is unique among presidents and entirely unique among black people, who never expected to have a president so soon.

In I Heart Obama, journalist Erin Aubry Kaplan offers an unapologetic appreciation of our highest-ranking “First” and what he means to black Americans. In the process, she explores the critiques of those in the black community who charge that he has not done enough, been present enough, been black enough to motivate real change in America. Racial antipathy cloaked as political antipathy has been the major conflict in Obama’s presidency. His impossible task as an individual and as a president is nothing less than this: to reform the entire racist culture of the country he leads. Black people know he can’t do it, but will support his effort anyway, as they have supported the efforts of many others. Obama’s is a noble and singular story we will tell for generations. I Heart Obama looks at the story so far.

Contents

• Introduction
• Obama the Folk Hero: What He Means to Us
• Obama Represents
• Obama Leads
• Who Is This Guy?
• Is Obama Bad for Us?
• Epilogue: I Heart Obama
• Bibliography

What Matters to Me & Why – Allyson Hobbs

Stanford University
Common Room
Center for Inter-Religious Community Learning and Experiences (CIRCLE) at Old Union, 3rd Floor
Stanford, California
Wednesday, 2016-02-17, 12:00 PST (Local Time)

Allyson Hobbs

Sponsored by: Office for Religious Life

The purpose of What Matters to Me and Why is to encourage reflection within the Stanford community on matters of personal values, beliefs, and motivations in order to better understand the lives and inspirations of those who shape the University.

Allyson Hobbs, Assistant Professor of History

Allyson Hobbs is an Assistant Professor in the History Department at Stanford. She graduated magna cum laude from Harvard University and she received a Ph.D. with distinction from the University of Chicago. She has received fellowships from the Ford Foundation, the Clayman Institute for Gender Research, and the Center for the Comparative Study of Race and Ethnicity at Stanford.

Allyson’s first book, A Chosen Exile: A History of Racial Passing in American Life, published by Harvard University Press in 2014, examines the phenomenon of racial passing in the United States from the late eighteenth century to the present. A Chosen Exile won two prizes from the Organization of American Historians: the Frederick Jackson Turner Prize for best first book in American history and the Lawrence Levine Prize for best book in American cultural history.

A Chosen Exile has been reviewed in the New York Times Book Review, the San Francisco Chronicle, Harper’s, the Los Angeles Review of Books, and the Boston Globe. The book was selected as a New York Times Book Review Editor’s Choice, a “Best Book of 2014” by the San Francisco Chronicle, and a “Book of the Week” by the Times Higher Education in London. The Root named A Chosen Exile as one of the “Best 15 Nonfiction Books by Black Authors in 2014.”

Allyson teaches courses on American identity, African American history, African American women’s history, and twentieth century American history and culture. She has won numerous teaching awards including the Phi Beta Kappa Teaching Prize, the Graves Award in the Humanities, and the St. Clair Drake Teaching Award.

Allyson is a contributing writer to the New Yorker.com and her work has also been featured on cnn.com, slate.com, and in the New York Times, Los Angeles Times, The Chronicle of Higher Education, The National Review, and the Christian Science Monitor.

For more information, click here.

How “Mestizaje” in Puerto Rico Makes Room for Racism to Flourish

La Respuesta: A magazine to (Re)Imagine the Boricua Diaspora
2016-02-08

Dorothy Bell Ferrer

“Three Puerto Rican Girls”

“Somos de tres razas! La blanca, la india, y la negra!” is a cliched response you can almost always count on hearing anytime you bring up race or racism in Puerto Rico or Puerto Rican Diaspora communities. It’s cute, easy to remember, and also a lie.

Ironically the European root, which is most often mistaken as the backbone of Puerto Rican culture, is mentioned first. The indigenous, Taíno root, which is often recognized strategically (yes, strategically) in front of blackness is named second. Oh, and the third? African or Black! Last but not least, right? I’d like to think so, but I know better.

The blending of these three races or roots in Puerto Rico are what we refer to as “mestizaje”, or mixture (1). This “mestizaje” is what causes Puerto Ricans to believe that we all are racially mixed the exact same way therefore there can be no “true” difference. While mestizaje is a part of Puerto Rican society and even exists in the heritage of many Puerto Ricans, the way in which mestizaje is recognized in Puerto Rico makes room for racism and white supremacy to flourish because it gives us a false historical analysis on race…

Read the entire article here.

On ‘Jackson Five Nostrils,’ Creole vs. ‘Negro’ and Beefing Over Beyoncé’s ‘Formation’

ColorLines
2016-02-08

Yaba Blay, Dan Blue Endowed Chair & Visiting Assistant Professor of Political Science
North Carolina Central University, Durham, North Carolina

As you know, the video for Beyoncé Knowles’ “Formation” does the most, from invoking police violence, to flashing back to Hurricane Katrina, to celebrating Blue Ivy’s adorable afro. Here, Yaba Blay, a dark-skinned, New Orleans-bred scholar who researches skin color and identity politics, gets into a topic we’ve been avoiding: the message Beyoncé is sending about complexion and worth.

I was born and raised in New Awlins and never miss the opportunity to remind folks of that. So when Beyoncé’s video for “Formation” dropped on Saturday, I, like the majority of my homegirls, was hype.

I wasn’t excited because I’m a certified Beyoncé stan, because the video is visually stunning, or because this seemed to be the Blackest iteration of Beyoncé yet. I was hype because she seemed to be reppin’ New Awlins hard, and not in a tepid “I heart N.O.” kind of way, but more in line with our playfully defiant brand of Blackness. That she unleashed the video during Mardi Gras weekend? It just couldn’t get any better!

Until it got worse…

…I cheer Bey on as she sings, “I like my Negro nose with Jackson Five nostrils.” But I cringe when I hear her chant, “You mix that Negro with that Creole make a Texas bamma” about her Alabama-born dad and her mom from Louisiana. This is the same reason I cringed at the L’Oreal ad that identified Beyonce as African-American, Native American and French and why I don’t appreciate her largely unknown song “Creole.”

Having grown up black-Black (read: dark-skinned) in colorstruck New Awlins, hearing someone, particularly a woman, make a distinction between Creole and “Negro” is deeply triggering. This isn’t just for me but for many New Orleanians.

For generations, Creoles—people descended from a cultural/racial mixture of African, French, Spanish and/or Native American people—have distinguished themselves racially from “regular Negroes.” In New Orleans, phenotype—namely “pretty color and good hair”—translates to (relative) power…

Read the entire article here.

Race, Interracial Families, and Political Advertising in the Obama Era: Experimental Evidence

Political Communication
Published online: 2016-01-20
DOI: 10.1080/10584609.2015.1106625

Ethan Porter
Department of Political Science
University of Chicago, Chicago, Illinois

Thomas J. Wood, Assistant Professor of Political Science
Ohio State University

Across two studies of race and interracial families in political advertising, this article finds that significant benefits accrue to Black candidates who present themselves as part of interracial families. These findings suggest Black candidates are more likely to succeed when they engage in displays of “racial novelty,” or counter-stereotypical behavior, provided that behavior signals closer affinity to White voters. For Study 1, we tested four original advertisements for a fictitious political candidate, in which we varied only the candidate’s race and the race of his son. The Black candidate with the White son prevailed over all other combinations, with respondents finding him the most trustworthy, most qualified for office, most likely to share their values, and most likely to care about people like them. For Study 2, we tested four new original advertisements for a fictitious Black candidate, varying only the candidate’s profession and the race of his son. We find, again, that Black candidates who display non-Black children do significantly better than Black candidates who display racially homogeneous families. However, we observe much more modest benefits for a Black candidate who practices a racially novel profession. We view these results as demonstrating that Black candidates are more likely to reap the rewards of racial novelty only when they are willing to provide a personal, rather than professional, signal of their affinity for Whites. As Study 2 shows, White voters in particular are responsive to personal (rather than professional) demonstrations of racial novelty. This affirms the logic of “New Racism,” whereby Blacks are looked favorably upon if they exhibit behavior associated with Whites, but penalized otherwise.

Read or purchase the article here.

Yvonne Chouteau, Native American Ballerina, Dies at 86

The New York Times
2016-01-29

Jack Anderson

Yvonne Chouteau, one of the five celebrated Oklahoma ballerinas with an American Indian background, in a 1963 photo. Credit Jack Mitchell/Getty Images

Yvonne Chouteau, a former principal dancer of the Ballet Russe de Monte Carlo who emerged as one of a celebrated group of dancers known as the American Indian ballerinas of Oklahoma, died on Sunday at her home in Oklahoma City. She was 86.

The cause was congestive heart failure, said Mary Margaret Holt, director of the School of Dance and dean of the College of Fine Arts at the University of Oklahoma. Ms. Chouteau was a founder of the dance school, one of the leading institutions of its kind in the Southwest…

…Part French and part Shawnee–Cherokee, Myra Yvonne Chouteau was born into a pioneering Southwestern family in Fort Worth on March 7, 1929, the only child of Corbett Edward Chouteau and the former Lucy Annette Taylor. The family soon moved to Vinita, Okla., and her father, who was known as C. E. Chouteau, became a prominent American Indian figure in the state.

Ms. Chouteau was a direct descendant of Maj. Jean Pierre Chouteau (1758-1849), who established Oklahoma’s oldest white settlement in 1796…

Read the entire obituary here.

Meet the New Student Activists

The New York Times
2016-02-01

As told to Abby Ellin

Young African-Americans and their allies are demanding change, leading people of all backgrounds to talk about issues that have lain dormant for decades. What do they want? Inclusion and representation — now. Here, seven students talk about the problems, the protests and themselves.

AMANDA BENNETT University of Alabama, Tuscaloosa

Bio: Senior, English/African-American studies; co-organizer of We Are Done movement; producer and co-author of “How Does It Feel to Be a Problem” video

My Story: I am totally African-American. My grandfather was a sharecropper in rural Alabama who moved to Atlanta and became a mechanic and worker at General Motors, so I grew up in Atlanta around middle-class black people. To come to Alabama and see this kind of segregation was horrifying to me. A lot of people who were impoverished 50 years ago, around the time of Selma, are still impoverished… .Nothing has changed structurally…

…NAILAH HARPER-MALVEAUX, Yale University

“Black women are at the bottom of the totem pole. When you free women of color, you free everyone.” — Nailah Harper-Malveaux Credit Fred R. Conrad for The New York Times

Bio: Senior, American studies/theater studies; director of theatrical productions that tell the stories of African-Americans

My Story: I’ve been surrounded by social justice and law my whole life. My mom is a civil rights lawyer turned law professor at Catholic University, while my dad is U.S. ambassador to the U.N. Human Rights Council. My dad is Cherokee and Macanese, from Macau, and my mom is Creole, a mixture of Spanish and black descent. I don’t look white but I don’t look black, either. I identify as Indian and black. Because I’m mixed I have been very conscious of race my whole life, which is probably why I’ve participated in so many political events at Yale, including the midnight march to walk the demands to the president’s house. It was very empowering…

Read the entire article here.

Review ‘A Ballerina’s Tale’ follows Misty Copeland’s incredible rise in the ballet world

The Los Angeles Times
2016-02-08

Mary McNamara, Contact Reporter

Misty Copeland in the documentary “A Ballerina’s Tale.” (Oskar Landi / Sundance Selects)

If you think #OscarsSoWhite, consider the world of elite ballet. And if you want to understand why the current conversation over the lack of diversity among this year’s film academy nominees is just one thread of a much larger tapestry, watch Nelson George’s documentary “A Ballerina’s Tale: The Incredible Rise of Misty Copeland” on PBS on Monday night.

Watch too if you are a dance aficionado or a woman, if you have a daughter or for that matter a son, if you are a Southern California resident or just a thinking member of a culture that is changing, with various degrees of resistance, in almost every area.

It won’t take long, just 90 minutes that include several exquisite dance scenes, Copeland’s now-signature friendly frankness and none of the crazy-girl “Black Swan” pathology we have come to expect from tales of the dance world…

…”I think that people think that sometimes I focus too much on the fact that I’m a black dancer,” Copeland says in the film’s opening moments. “There’s never been a black principal woman … in the top companies of the world. In New York City Ballet, in New York City. I don’t think people realize what a feat it is, being a black woman. But that’s so much of who I am, and I think it’s so much a part of my story.”…

Read the entire review here.