Mixed Race Studies

Caramel queen or white man’s whore: #HashtagLightie, the play exploring the realities of modern mixed-race lives

Media Diversified
2017-02-10

Zahra Dalilah

Women and men of mixed heritage, especially black/white, are often called upon in media to provide an inoffensive face of diversity, a fetishized vision of exotic beauty or simplistically characterised as inherently confused halves of one thing or the other. The play #HashtagLightie – which recently sold out the Arcola Theatre, London before rehearsals had even begun – effortlessly defies these restrictions with a story that is relatable in its specificity and genuine in its relationships.

The show, written by Lynette Linton and directed by Rikki Beadle-Blair, centres on an Irish/Bajan family who become the targets of racial abuse on social media. Although issues of colourism and the impact of social media on young lives are not exactly new, #HashtagLightie interweaves these with a fresh look at the identities and perceptions of mixed-race women and men in British society…

Read the entire review here.

Why Rachel Dolezal Can Never Be Black

Code Switch: Race and Identity, Remixed
National Public Radio
2017-03-03

Denene Millner

Rachel Dolezal stepped down from her post as the leader of the Spokane, Wash., chapter of the NAACP in 2015 amid criticism that she was passing herself off as black. Nicholas K. Geranios/AP

Rachel Dolezal just won’t let it go.

The white civil rights activist and former NAACP leader outed by her parents in 2015 for passing herself off as black is making the rounds with news that she is living on food stamps, a month away from homelessness, can’t find a job and, perhaps most shockingly, has legally changed her name to Nkechi Amare Diallo.

News of Dolezal’s precarious living conditions and new name — Nkechi is the Igbo word for “gift of God,” with roots in Nigeria, and Diallo means “bold” in Fulani, a word that can be traced to both Guinea and Senegal — comes, not surprisingly, just weeks before her new memoir, In Full Color, heads to bookstores…

Read the entire article here.

Creator and lead actress Brittani Noel partners with Director Shilpi Roy (Brown Girls, Freeform) to launch multiracial dramedy film THE OTHER, a Sundance Institute Artists Kickstarter selection.

2017-03-01

Brittani Noel

For Immediate Release:

“A woman’s struggle with her multiracial identity gets seriously twisted in this dramedy short film.”

LOS ANGELES, CA, March 1, 2017: Up-and-comer Brittani Noel joins forces with Director Shilpi Roy (Brown Girls, Freeform), Sundance Alum Stacie Theon (Abbie Cancelled, Birds of America), and Leah McKendrick (M.F.A., SXSW) to make The Other, a short film exploring the distinct struggles of being in-between races. When multiracial Mischa discovers that society has a need to put people into ethnic boxes, and that not all boxes are created equal, things get really twisted, really fast…

“Diversity is a hot button issue right now,” says Roy. “We need to be exploring it and talking about it as a society, and there’s no better way to continue to spark conversation and understanding than with this film.” This story shines a light on the unique plight of the mixed race person in a way that’s relatable to anyone who has ever felt like “the other.” Roy is no stranger to the delicate topic of race in modern American society, having just completed her comedy pilot Brown Girls, which centers on an Indian-American woman and a recently emigrated Indian woman. Signing on to direct The Other was a natural and serendipitous fit, and focuses on a topic Roy feels passionate about.

The film will star Brittani Noel alongside Brent Bailey (Criminal Minds, Rizzoli & Isles, Californication), known for his starring role in the popular Emmy Award-winning web series Emma Approved. The Other’s Kickstarter campaign is now live and seeking to complete funding over the next few weeks.

Written by Brittani Noel, Directed by Shilpi Roy, and starring Brittani Noel and Brent Bailey.

The Kickstarter campaign is available for viewing here.
Teaser Video Link is here.

Join the journey!

Facebook: http://www.facebook.com/theothershort
Twitter: @theothershort
Instagram: @theothershort
Email: othershortfilm@gmail.com

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For media inquiries: othershortfilm@gmail.com

Erased Onscreen: Where Are All the Interracial Couples?

The New York Times
2017-03-03

Kevin Noble Maillard, Professor of Law
Syracuse University

Daniel Kaluuya and Allison Williams in Jordan Peele’s “Get Out.” Credit Justin Lubin/Universal Pictures

The recent drama “Loving” is about an interracial marriage and takes place in midcentury rural Virginia, but there are no burning crosses, white hoods or Woolworth counters. Richard Loving and Mildred Jeter, a white man and a black Native American woman kiss in public at a drag race, and no one voices disapproval. A few white spectators stare and scowl. But the couple embrace and laugh, unsullied.

“Segregation wasn’t a clean divide in these communities,” the drama’s writer-director, Jeff Nichols, told me, and for “Loving” it’s true: The film, about the 1967 Supreme Court case striking down laws banning interracial marriage, addresses the long ignored and deliberately suppressed topic of mixed race in America. It confounds our impressions of the past, the legacies of slavery, and the reality of Jim Crow.

Fifty years have passed since “Guess Who’s Coming to Dinner,” and this is still an issue. Mixed-race couples existed here long before 1967, but the Lovings (played by Joel Edgerton and Ruth Negga) were among the first to demand official recognition through marriage. According to the codes of popular culture and the law of domestic relations, families like theirs did not exist. Sustaining the legitimacy of racial boundaries requires suppression of these narratives. Without policing and erasing by law and popular culture, taboos lose their authority…

Read the entire article here.

Hitler’s American Model: The United States and the Making of Nazi Race Law

Princeton University Press
March 2017
224 pages
5 1/2 x 8 1/2
7 halftones
Hardcover ISBN: 9780691172422
eBook ISBN: 9781400884636

James Q. Whitman, Ford Foundation Professor of Comparative and Foreign Law
Yale Law School

Nazism triumphed in Germany during the high era of Jim Crow laws in the United States. Did the American regime of racial oppression in any way inspire the Nazis? The unsettling answer is yes. In Hitler’s American Model, James Whitman presents a detailed investigation of the American impact on the notorious Nuremberg Laws, the centerpiece anti-Jewish legislation of the Nazi regime. Contrary to those who have insisted that there was no meaningful connection between American and German racial repression, Whitman demonstrates that the Nazis took a real, sustained, significant, and revealing interest in American race policies.

As Whitman shows, the Nuremberg Laws were crafted in an atmosphere of considerable attention to the precedents American race laws had to offer. German praise for American practices, already found in Hitler’s Mein Kampf, was continuous throughout the early 1930s, and the most radical Nazi lawyers were eager advocates of the use of American models. But while Jim Crow segregation was one aspect of American law that appealed to Nazi radicals, it was not the most consequential one. Rather, both American citizenship and antimiscegenation laws proved directly relevant to the two principal Nuremberg Laws—the Citizenship Law and the Blood Law. Whitman looks at the ultimate, ugly irony that when Nazis rejected American practices, it was sometimes not because they found them too enlightened, but too harsh.

Indelibly linking American race laws to the shaping of Nazi policies in Germany, Hitler’s American Model upends understandings of America’s influence on racist practices in the wider world.

Racial Passing: Masking Culture and Identity in America (HUM-596)

San Diego State University
San Diego, California
Spring 2017

Michael Caldwell, Lecturer

New Course This Spring in Humanities!

It is a curious fact that in contemporary culture African Americans are often imitated by non-African Americans. Yet there was a time in American history when African Americans who could, chose to pass as white. What historical and social circumstances made such a choice possible? What does that choice suggest about the nature of identity: is it inherited or can we literally make of ourselves what we wish? What are the limits to self-construction? Though this course begins by looking at instances of African American passing, it moves forward to consider other assimilationist stances in American history, as well as more recent, strident efforts to resist assimilation. Throughout the course our goal will be to think hard about the factors that go into making and refining one’s identity.

For more information, click here.

Number of Interracial Marriages, Multiracial Americans Growing Rapidly

VOA News
Voice of America
2017-03-04

Elizabeth Lee, West Coast Bureau Reporter

LOS ANGELES — Delia Douglas’ experience growing up has been different from the rest of her schoolmates.

“In any of the storybooks that I was reading growing up, I remember the families always looked a certain way. Both parents matched,” she said. “Even it seemed like in many of the storylines that were about animal families, both bears kind of looked the same, and the baby bear looked the same.”

These storybooks did not reflect her family. Douglas’ father is African American and American Indian. Her mother is white. And Douglas is married to William Haight, who is white. They have a 5-year-old daughter who is fair skinned, with light hair.

“Especially in the first three years of my daughter’s life, people often would stop and ask me if I was the nanny. There were days when that would be incredibly frustrating,” Douglas recalled…

…“In the year 2000, the U.S. Census actually allowed for individuals to check more than one box, so now each person was able to see, for instance, I’m Mexican and black, so I was able to check more than one box. And so we’ve noticed an uptick in the amount of multiracial folks,” Smith-Kang said…

Read the entire article here. View the story here.

Loving vs. Virginia: A Documentary Novel of the Landmark Civil Rights Case

Chronicle Books
2017-01-31
260 pages
7-1/4 x 10 in
Hardcover ISBN: 9781452125909

Patricia Hruby Powell

Illustrated by Shadra Strickland

From acclaimed author Patricia Hruby Powell comes the story of a landmark civil rights case, told in spare and gorgeous verse. In 1955, in Caroline County, Virginia, amidst segregation and prejudice, injustice and cruelty, two teenagers fell in love. Their life together broke the law, but their determination would change it. Richard and Mildred Loving were at the heart of a Supreme Court case that legalized marriage between races, and a story of the devoted couple who faced discrimination, fought it, and won.

Henry Ossawa Tanner papers, 1860s-1978, bulk 1890-1937

Smithsonian Archives of American Art
Washington, D.C.
2007

Tanner, Henry Ossawa, 1859-1937
Painter, Photographer, Educator, Illustrator

The papers of Henry Ossawa Tanner in the Archives of American Art were digitized in 2007. The papers have been scanned in their entirety, and total 2,471 images.

The collection was fully digitized in 2007 as part of the Terra Foundation for American Art Digitization Grant…

For more information, click here.

Misty Copeland: dancing into history

The Guardian
2017-03-05

Aaron Hicklin

Born to dance: Copeland’s story is, for millions of Americans, an archetypal story of triumph over adversity. Photograph: Danielle Levitt for the Observer

She was caught between her impoverished mother and the ballet mistress who offered her a way out. Aaron Hicklin meets Misty Copeland, the first black principal at the American Ballet Theatre

We cannot know whether Misty Copeland would have become America’s most celebrated ballet dancer if she had not met Cindy Bradley, the flame-haired instructor who first recognised and then sharpened her talents, but it seems unlikely. Then again, it’s doubtful that Copeland would have met Bradley if not for Elizabeth Cantine, the coach of her school drill team who urged her to check out the free ballet class at the Boys & Girls Club of San Pedro. Nor is it clear that Copeland would have joined Cantine’s squad without the encouragement of her adored older sister, Erica, a drill team star. It was Erica who helped Copeland choreograph an audition piece to George Michael’s I Want Your Sex. And who, knowing her story, can omit the Romanian gymnast Nadia Comaneci from this roll call? As a seven-year-old, trying to emulate Comaneci’s pyrotechnics, Copeland instinctively understood “that rhythmic motion came as naturally to me as breathing,” to quote from her memoir, Life in Motion…

Read the entire article here.