Mixed Race Studies

What the #ThankYouLovings campaign gets wrong about interracial couples and the future of America

Fusion
2016-12-09

Tahirah Hairston

FOCUS FEATURES

Last month, Loving, a biopic about Mildred and Richard Loving—the couple at the center of the Supreme Court’s Loving v. Virginia decision which struck down bans on interracial marriage in 1967—was released nationwide. June 12th, 2017 will be the 50th anniversary of the historic trial.

As a way to celebrate the Lovings—and promote the movie—the Loving Twitter account began encouraging people to use the hashtag #ThankYouLovings. The hashtag has been shared across social media, accompanied by photos of interracial couples—everything from candid selfies to intimate wedding photos.

It’s important, beautiful, and in a sense almost surreal to see how much America has progressed—and how much it has failed—in one photo and one film. On one hand, there is no rule on who we can or can’t love. People of all races and, thanks to last year’s Supreme Court ruling, genders, can now marry. On the other hand, we’re no closer to ending systematic racism, sexism or homophobia, with the 2016 election being our most up-to-date example…

Read the entire article here.

Why A New Mixed Race Generation Will Not Solve Racism

BuzzFeed
2017-02-10

Lauren Michele Jackson, BuzzFeed Contributor
Chicago, Illinois

A promotional still from A United Kingdom. Fox Searchlight Pictures

Love may trump hate, but it can’t cure white supremacy.

On January 23, Chrissy Teigen — model, “domestic goddess,” and number one John Legend troll — decided to have some fun with Richard Spencer on Twitter. Now best known as the neo-Nazi who got punched at the January 20 presidential inauguration, Spencer was salving his wounded pride with a “selection of Nelson Mandela quotes. 😉”. The tweet to which Teigen responded, however, was actually a quote from Swiss psychoanalyst Carl Gustav Jung. “I am not what happened to me. I am what I choose to become,” Spencer tweeted. Teigen’s @reply: “you became someone who was punched in the face.”

When Spencer attempted to embarrass Teigen, implying she was not educated enough to recognize a quote from Mandela (while, again, the quote in question was not from Mandela), Teigen responded with “you are a literally a nazi. I don’t even need to come up with a comeback. Thanks, nazi!” Teigen meanwhile tweeted to her followers sans @reply, “Hey guys, just conversing with a literal nazi over here wyd,” followed by “Nothing I could say will piss him off more than the fact I have a black/asian/white baby. Life is grand.”.

A month prior, Ellen Pompeo of Grey’s Anatomy summoned her black husband and mixed children in a similar maneuver, if under slightly different circumstances. Against criticism she received for her usage of brown emojis in a tweet applauding A&E’s decision to revamp its (now canceled) docuseries on the KKK, Pompeo told followers, “You do realize…being married to a black man and having black children can make you a target from racist white people right? That’s a thing.” In response to one user’s taunt (“SHUT UP, WHITE LADY”) she tweeted, “That’s white lady with a black husband and black children to you babe.”

In their respective contexts, the tweets from Teigen and Pompeo look very different if not completely contradictory. Chrissy Teigen snubs the nose of a professed white supremacist and flounces away with her superstar black husband and multiracial child; Pompeo calls up her black husband and children to deflect criticism. And yet, very similarly, both position interracial relationships — implied in Teigen’s case — and multiracial children as the antidote to racism. That they are both able to invoke this rationale so congruently points to a culture-wide infatuation with interracial relationships and their heteronormative outcome, multiracial children. In advertising, on film, and on TV, there is a common preference for multiracial-looking people, along with the belief that they represent a utopian political future. Why do multiracial children so often function as the antonym for racism? What is the political value of an interracial relationship? The notion that cream-colored babies will save the world is a popular one. Unfortunately, it’s a myth…

Read the entire article here.

Reel Representation: Amma Asante’s films adeptly portray multiracial identity

The Daily Bruin
Los Angeles, California
2017-02-09

Olivia Mazzucato

Diversity in film and television came into the spotlight in 2016 with #OscarsSoWhite. A USC study in 2016 found only about a quarter of speaking characters belonged to non-white racial/ethnic groups. In “Reel Representation,” columnist Olivia Mazzucato discusses different issues of race and representation in media as they relate to new movies and TV shows.

The closest I’ve ever felt to seeing myself on screen is when I watched the film “Belle.”

“Belle” tells the story of Dido Elizabeth Belle, the daughter of an enslaved African woman and a white British officer. She’s brought to England and raised by her uncle, an earl and the Lord Chief Justice, and finds herself facing a choice between two men – a poor vicar’s son, whom she loves, and a naive aristocrat with a bigoted family. Throughout the film, she tries to reconcile her identities, both as an heiress in the British upper class and as a black woman struggling to find her place in a shifting society.

I may not be able to relate directly to Dido’s life, but her struggles with identity are all too familiar to me.

As someone who is biracial – half Italian-American and half Japanese-American – it’s difficult to process my identity, particularly when it comes to seeing myself represented in media. I don’t look like the white female characters I see, nor the few Asian characters that occasionally grace the screen. On some level, I feel like I’ll never truly be represented because my identity is so specific…

Read the entire article here.

I am much more than ‘a disgrace to black people’

The Charlotte Observer
Charlotte, North Carolina
2017-02-09

Nicolas Coleman, Special to the Observer
Duke University, Durham, North Carolina

Duke freshman Nicolas Coleman understands why others have questioned his blackness

In seventh grade I was labeled “a disgrace to black people.” I was made of aware of this second-hand from a white kid in my class whose black friend had branded me as such. I remember this striking me particularly hard. It was a catalyst in my developing understanding of race and my own place in the various communities I inhabited.

I was one of very few black students in my class at Durham Academy, a fact that defined much of my time there. Being mixed-race with a light complexion and born of affluent well-educated parents, I did not fit the idea of blackness that many of my classmates seemed to expect me to personify. At the end of summer it became a game for my more tanned white classmates to see if their skin was darker than mine and to declare with gratification, “I’m blacker than Nico!” That became a phrase and notion that they would employ for things other than just skin tone. Students more skilled at basketball or better able to recite rap lyrics would momentarily become “blacker than me.”…

Read the entire article here.

ENLS 4012-01 Lit: Cross-Dressing and Racial Passing

Tulane University
New Orleans, Louisiana
Spring 2017

Lauren Heintz, Mellon Postdoctoral Fellow
Department of English

The genre and literary trope of passing, most commonly expressed in characters who are “legally” black but who are able to pass for white, is a popular narrative that runs throughout American fiction from the mid-nineteenth to late-twentieth century. The importance of the passing narrative rests is in its ability to expose how race is a social construct, set down in legal codes like “one-drop-rules.” Alongside narratives of racial passing also runs narratives of cross dressing and gender passing (man for woman or woman for man). This course will examine why and how racial passing is often aided and abetted by gender passing. Taking an intersectional approach, this course will continuously think through how race, gender, class, and sexuality are social constructs. We will begin with foundational texts of racial passing and the discourse of blackface, and we will build on this by moving to texts in which race and gender passing converge. We will come to better understand these constructs through the language of fiction, metaphors of race, performances of gender, and the visual strategies of film. Literary selections will include works by Mark Twain, Kate Chopin, Ellen and Willian Craft, Pauline Hopkins, Billy Tipton, Nell[a] Larso[e]n, Patricia Powell, Toni Morrison. Films may include A Florida Enchantment and Boys Don’t Cry.

In Plain Sight: Changing Representations of “Biracial” People in Film 1903-2015

Marquette University, Milwaukee, Wisconsin
December 2016
247 pages

Charles Lawrence Gray

A Dissertation submitted to the Faculty of the Graduate School, Marquette University, In Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy (Educational Policy and Leadership)

Rooted in slavery, the United States in both law and custom has a long history of adhering to the one drop rule–the stipulation that any amount of African ancestry constitutes an individual as black. Given this history, decidedly mixed race people have been subjected to a number of degrading stereotypes. In examining the three broad themes of the tragic mulatto, racial passing, and racelessness in cinema, this dissertation asks to what extent film representations of mixed race characters have had the capacity to educate audiences beyond stereotypes. Although a number of film scholars and critics have analyzed mixed race characters in American cinema, there is no treatment spanning the last century that comprehensively analyzes each film’s capacity to diminish racism.

Read the entire dissertation here.

An Octoroon: Education Guide

The Wilma Theater
Philadelphia, Pennsylvania
2016
27 pages

Anne Holmes, Education Director
Lizzy Pecora, Education Assistant

BY Branden Jacobs-Jenkins
DIRECTED BY Joanna Settle
March 16 – April 10, 2016

Introduction

A NOTE FROM THE EDUCATION DIRECTOR

Thank you for choosing to bring your students to the Wilma’s production of An Octoroon, by Branden Jacobs-Jenkins. I applaud your willingness to take a risk on this one. While on some level we all understand that the most extraordinary learning opportunities emerge when we venture outside our comfort zone, most of us still gravitate toward what’s familiar and safe. An Octoroon promises to be a powerful catalyst for discussions around race, identity and stereotypes; if there’s a more urgent conversation we should be having with young people at this moment, I don’t know what that is. Brandon Jacobs-Jenkins has written a smart, intricately layered text to propel these discussions. Director Joanna Settle adds a live seven-piece band, with an original score composed in the rehearsal room alongside the actors, and dynamic step infused choreography to create a theatrical event big enough to encompass such a play. This is a risk worth taking.

If the Wilma were producing Dion Boucicault’s The Octoroon, the original 1859 melodrama upon which Branden Jacobs-Jenkins’ play is based, I would have a much tougher time arguing for its value in a high school classroom today. While Boucicault is still considered one of the great writers of the 19th century melodrama, there are so many cringe worthy moments throughout the play that it can feel like a minefield of political incorrectness. Similar questions have been raised about the value of reading Mark Twain’s The Adventures of Huckleberry Finn in 2016. I believe those concerns have validity and ignoring them would be irresponsible. What is it then about Branden Jacobs-Jenkins’ An Octoroon that makes it different, particularly given that the playwright has preserved so much of Boucicault’s original text? The crucial difference is that Jacobs-Jenkins provides a meta-theatrical lens through which to view the play, forcing us to consider a contemporary critical perspective on what we are seeing and hearing. Beyond that, he never tells us what to think or feel, leaving us to navigate our own way through this unsettling play. At times it feels like an irreverent romp, delighting in its own theatricality and celebrating the craftsmanship of the great 19th century melodramas. There are moments when we can’t help but laugh and yet we’re not sure if laughing is really okay. In many ways, An Octoroon is so suited to the classroom because it repeatedly eschews easy answers, all the way up through the final moments of the play’s deliberate non-ending.

In this education guide we tried to focus on providing key historical background on Boucicault and his original melodrama, as well as introducing you to this astounding, two-time Obie Award Winning Playwright (Best New American Play for An Octoroon and Appropriate) Branden Jacobs-Jenkins. BJJ’s character breakdown page as well as Boucicault’s plot breakdown page should help with getting clarity on the basics. With this play in particular, Lizzy Pecora and I both found ourselves repeatedly drawn back to the written, video and podcast interviews with Branden Jacobs-Jenkins because we really wanted to hear from the playwright himself as much as possible. We’ve included most of our favorite links to those interviews in the appendix, but I would leave these for after your students have already seen or read the play, so as not to clutter their experience of it with too much imposed meaning. The In the Classroom section includes our suggestions for introducing the play with interactive lessons designed to engage students in discussion and get them making their own predictions about its content and themes.

Thanks again for agreeing to go on this ride with us. Your students are going to love you for it!…

Read the entire guide here.

The Fight for Interracial Marriage Rights in Antebellum Massachusetts by Amber D. Moulton (review)

The Journal of the Civil War Era
Volume 6, Number 4, December 2016
pages 594-596
DOI: 10.1353/cwe.2016.0075

Tamika Y. Nunley, Assistant Professor of History
Oberlin College, Oberlin, Ohio

The Fight for Interracial Marriage Rights in Antebellum Massachusetts. By Amber D. Moulton. (Cambridge, Mass.: Harvard University Press, 2015. Pp. 288. Cloth, $45.00.)

The 1843 repeal of the ban on interracial marriage in Massachusetts was not a guaranteed victory in the antislavery North. As Amber Moulton’s research demonstrates, the repeal was the culmination of the persistent efforts launched by African Americans and radical abolitionist allies committed to interracial rights activism in the face of formidable antiamalgamation and antimiscegenation opposition. Elucidating the social and political significance of amalgamation, Moulton underscores the process of “advancing interracialism” to further understand the justifications and merging forces that worked for and against interracial marriage and eventually full social and political inclusion (6). Through a close reading of petitions initiated by African Americans, the rhetorical strategies of activists and legislators, popular literature, committee reports, and manuscripts, Moulton presents us with a regional study that broadens our understandings of antebellum debates about interracialism beyond the scope of marriage and into the arenas of racial equality, legitimacy, and citizenship.

The book begins with an overview of the origins of antiamalgamation views rooted in eighteenth-century racial science, white supremacist justifications for colonial slavery, and the work of writers such as Jerome B. Holgate. Even as popular sentiment emphasized interracial relations as either “salacity or tragedy,” antislavery activists such as Lydia Maria Child emerged with alternative, albeit romantic, narratives about interracial relationships (26). Pairing these with popular narratives and images and actual evidence of interracial marriages, Moulton contrasts antebellum ideas about amalgamation with explanations of case studies that show how interracial couples and their children were affected by the ban. Requests made to the overseers of the poor highlight local determinations of illegitimacy that many couples and offspring confronted in efforts to receive public aid. In the second chapter, Moulton examines local responses from another lens, particularly the activism of abolitionists and prominent African American orators. Here we see that African Americans were not marginally involved in the debate over interracial marriage, as the historical scholarship suggests, but instead contributed substantially and at times independently in local organizations, editorials, speeches offered at antislavery conventions, and petitions.

Moulton builds the third chapter around a critical medium of antebellum political engagement—petitioning. The petitioning efforts of local abolitionists—particularly white women—generated controversy at a time when women’s rights, abolitionism, and sectionalism converged onto the antebellum political theater. The legislative response targeted the virtue of white female petitioners and underscored the belief that the women who signed petitions from towns like Lynn, Brookfield, Dorchester, and Plymouth inappropriately supported the repeal of the ban on interracial marriage. White women’s vocal support for repeal implicated them in sexualized discourses of interracial relationships and provoked direct attacks upon their own moral virtue. Moral reformers such as Mary P. Ryan, Eliza Ann Vinal, Maria Weston Chapman, and Lucy N. Dodge defended their activism and their political participation in debates about interracial marriage. They framed their support of the initiative as an effort to curb licentiousness, to promote the moral imperatives of marriage, and to protect the legal interests of mothers and children deserted by men. From the perspective of moralists, the lack of marital rights could only lead to immoral behavior, abandonment, and illegitimacy.

A major obstacle to the repeal effort was convincing poor whites committed to white supremacy in the North that interracial marriage should be legalized. In the fourth chapter, Moulton argues that resistance to a ramped-up fugitive slave law, and the George Latimer incident in particular, generated heightened political fervor against southern slaveholders. Latimer was a fugitive slave who fled from Virginia to Boston, where he was arrested, tried, and eventually manumitted. The case resulted in public uproar and inspired politically charged petition drives that called for an end to policies that required state authorities to detain suspected fugitives. Accordingly, the South’s imposition of the Fugitive Slave Law threatened the rights and freedoms enjoyed by white northerners, thus energizing the political momentum necessary not only to defend antislavery measures but to repeal the interracial marriage ban with the support of unlikely white citizens…

Know It by Heart

Northwestern University Press
June 2003
256 pages
5.5 x 8.5
Trade Paper ISBN: 978-1-880684-95-5

Karl Luntta, Director of Media Relations
The State University of New York, Albany

When a racially mixed family moves into an all-white neighborhood in East Hartford, Connecticut, in 1961, lives are altered forever. Karl Luntta’s Know It by Heart follows the adventures of young Dub Teed, his sister Susan and neighbor Doug Hammer, who befriend newly arrived Ricky Dubois, the daughter of an African-American woman and her white husband. When burning crosses appear at night-and worse-the young adolescents set out to find justice and discover themselves in the process.

Despite the book’s serious anti-racist theme, Know It by Heart is filled with humor reminiscent of Mark Twain. In this suspenseful novel, Karl Luntta brilliantly captures the world of the young adolescent in his characters and dialogue and in the innate comedy and awkwardness of that age. This is a book that will appeal to parents and teenagers alike.

Selected Plays

Northwestern University Press
April 2011
272 pages
6 x 9
Trade Paper ISBN: 978-0-8101-2751-7

Alice Childress (1916—1994)

Edited by:

Kathy A. Perkins, Professor of Theatre
University of North Carolina, Chapel Hill

As the first African American woman to have a play professionally produced in New York City (Gold Through the Trees, in 1952) and the first woman to win an Obie for Best Play (for Trouble in Mind, in 1956), Alice Childress occupies an important but surprisingly under-recognized place in American drama. She herself rejected an emphasis on the pioneering aspects of her career, saying that “it’s almost like it’s an honor rather than a disgrace” and that she should “be the fiftieth and the thousandth by this point”—a remark that suggests the complexity and singularity of vision to be found in her plays. Childress worked as an actress before turning to playwriting in 1949, and she was a political activist all of her life.

Spanning the 1940s to the 1960s, the plays collected here are the ones Childress herself believed were her best, and offer a realistic portrait of the racial inequalities and social injustices that characterized these decades. Her plays often feature strong-willed female protagonists whose problems bring into harsh relief the restrictions faced by African American women. This is the first volume devoted exclusively to the work of a major playwright whose impact on the American theater was profound and lasting.