Mixed Race Studies

Former Duquesne, Penn State athlete Cumberland Posey elected to Basketball Hall of Fame

Pittsburgh Post-Gazette
2016-04-05

Stephen J. Nesbitt, Beat Writer

Courtesy of the Baseball Hall of Fame Library, Cooperstown, N.Y.

Will become only person inducted into both professional basketball, baseball halls of fame

The grass-roots campaign to get Cumberland “Cum” Posey enshrined in the Naismith Memorial Basketball Hall of Fame began one day in 2002 when two men met at a Starbucks in Pittsburgh and drafted a plan to unearth the story of one of the best athletes the area has seen.

On Monday, 14 years later, Claude Johnson and Rob Ruck were together again to celebrate the campaign’s joyous conclusion. Mr. Posey will be inducted in September, the hall announced.

Mr. Posey, who was born in Homestead in 1890 and died in 1946, was the first black athlete at Penn State and Duquesne and was a player, manager and owner of the Homestead Grays baseball team. He will be the first to be voted into both the professional basketball and baseball halls of fame.

“Today, we honor a man who could be called Pittsburgh’s forgotten champion,” said Duquesne president Charles Dougherty at a ceremony Monday night on Duquesne’s campus, with a number of Mr. Posey’s descendants in attendance.

Mr. Posey is best known for helping build the Grays into a national power, and his basketball prowess seemed lost to history until Mr. Ruck, a history professor at Pitt, wrote the book “Sandlot Seasons,” which told of prominent people and places in Pittsburgh’s black sports history…

…While leading Duquesne in scoring every season from 1916-18, Mr. Posey played under the alias “Charles Cumbert.” There are a few theories as to why — eligibility concerns is one — but Mr. Johnson said Mr. Posey tried passing as white because opponents would refuse to play a black person…

Read the entire article here.

Imitation of Life: Melodrama and Race in the 21st Century exhibition, HOME, reviewed by Şima İmşir Parker

The Manchester Review
Manchester, England
May 2016

Şima İmşir Parker, Graduate Teaching Assistant
University of Manchester

Imitation of Life: Melodrama and Race in the 21st Century, Home, 30 April 2016 – 3 July 2016

“The melodramatic body is a body seized with meaning” writes Peter Brooks in “Melodrama, Body, Revolution.” Body is not only a sight branded with meanings and symbolism, but also a sight where resistance becomes possible through the gestures and mimics where what is repressed comes back to life. Melodramatic bodies are sights of both stigma as well as expression and resistance, something that the new Home exhibition Imitation of Life: Melodrama and Race in the 21st Century successfully brings forth by revealing the politics on and of the body, more specifically through the representations of race, gender and sexuality in the post-digital world in which we live.

The exhibition opens with Sophia Al-Maria’s new work, Scarce New Flowers, a photographic series of real products, “facial whitening creams” sold in South Asia, the Middle East and Africa with instructions only in Mandarin and Arabic. With the images of real boxes with women’s faces on them growing, being repeated and distorted, the product itself becomes melodramatic and hyperbolic, acting as a stark reminder of on-going racial stereotypes (and passing) that exist within a cross-cultural spectrum.

Passing as white is a subject widely discussed around Fanny Hurst’s novel Imitation of Life and its later movie adaptations, the work that gives its title to the exhibition. The novel was published in 1933. Almost immediately after its publication, in 1934, its first movie adaptation, directed by John Stahl, made it to the big screen. The life of the story however was not limited to one adaptation. In 1959, an iconic name for melodramas, Douglas Sirk, made another adaptation of the novel. This version, although not as loyal to the original story as John Stahl’s version, gained far greater popularity. The story, narrating two women’s struggle to take care of themselves and their daughters, was revealing of racial and gender stereotypes by portraying the black maid (Delilah/Annie) as the caregiving “mama” whose daughter (Peola/Sarah Jane) passes as white and the white single mother (Bae/Lora) who chooses a successful career at the cost of not providing care for her daughter and not uniting with her loved one. In 2002 Todd Haynes remade the movie, this time shifting the focus from race to homosexuality…

Read the entire review here.