Mixed Race Studies

Interview: Phoebe Boswell “I always want drawings to be open and moving and shifting”

Moving Histories: History and Memory through the Moving Image and its dialogue with other media
2017-04-13

Yvette Greslé

Phoebe Boswell, wall drawing, “For Every Real Word Spoken”, Tiwani Contemporary, 2017. © Sylvain Deleu, courtesy of the artist and Tiwani Contemporary.

This interview (Yvette Greslé and Phoebe Boswell) was conducted at Tiwani Contemporary, 14 March 2017.

Phoebe Boswell was born in 1982 in Nairobi, Kenya and raised, as an expatriate, in the Middle East. Boswell, who is now based in London, studied painting at the Slade School of Fine Art and 2D Animation at Central St Martins. Her dialogue with her Gikuyu-Kenyan born mother (Joyce) and British-Kenyan (Timothy) father underpins her first major multimedia installation The Matter of Memory (2014) shown, together with work by John Akomfrah and Rashaad Newsome, at Carroll/Fletcher (London) in 2014. In 2015, The Matter of Memory was shown at the Gothenburg International Biennial for Contemporary Art (GIBCA) curated by Elvira Dyangani Ose. A second major multimedia installation, Mutumia (2016) was commissioned and produced for the Biennial of Moving Images at the Centre d’Art Contemporain in Geneva in 2016. In 2017, Mutumia was exhibited in Kiev for the Future Generation Art Prize for which Boswell was shortlisted; and subsequently awarded the Special Prize which supports a residency program. In addition to The Matter of Memory and Mutumia, Boswell has produced a number of works notably Prologue: The Lizard of Unmarriedness (It’s All About How You Tell It) and The Stranger in the Village (both 2015). She was awarded a Sky Academy Arts Scholarship in 2012 and has been an artist-in-residence at the Florence Trust and the Konstepidemin, Gothenburg (2015). Since 2016 she has been an artist-in-residence at Somerset House (London). Boswell’s film Dear Mr Shakespeare, directed by Shola Amoo, was selected for the Sundance Film Festival in 2017. The medium of drawing, as an art practice encompassing animation, is central to Boswell’s oeuvre thus far. Her drawing work is also situated in relation to audience participation; architectural and spatial environments; video art; sound; and found objects and materials.

Yvette Greslé: What was the impetus for the work produced for For Every Real Word Spoken at Tiwani Contemporary? It is preceded by Mutumia and emerges from this work?

Phoebe Boswell: A friend of mine sent me an image of naked, older African women lying in a dirt path in Uganda. My own immediate visceral reaction was: “What’s happening to these women? What’s being done to them? How are they being violated?” I was horrified by this image. Then, my friend sent me the story of the photograph and I discovered that these were Acholi women. The Acholi people had been fighting for their land rights for a long time. On this specific day, the government had sent in people to physically remove people. The women decided: “Enough is enough, we’re going to do something”. They took off their clothes. It’s a taboo for men to see women naked, to see their mothers naked. So they took off their clothes and lay down in the path. They affected what happened next. They were not removed from the land that day. Actually, the image that I was looking at is a very heroic image but my conditioning made me read the naked female body and black women’s bodies through the filter of my own conditioning. I was so sure that this was a terrible image…

Read the entire interview here.

My resolution for 2018 is to trace the family who don’t yet know I exist

The Guardian
2017-12-30

Georgina Lawton

Two years ago I discovered I was not related to my white father. Now, I intend to find out the origins of my blackness

When it comes to setting new year’s resolutions, I am not that bothered about losing weight, exercising more, or becoming more productive (although it would be good to finally get a grip on all those things). Instead, I have decided to make 2018 the year in which I make a serious, wholehearted attempt to trace a family who don’t yet know I exist, and to find out once and for all, in as much detail as I can, the origins of my blackness.

No one realises the difficult nature of this task more than me. As I have previously written, I was raised by two white parents who always assured me that I was related to them both, which led me to identify as white until I was about 15.

The nadir of my life came almost two years ago, when my dad died and a subsequent DNA test confirmed my deepest fears, which had wrapped themselves around my life like the tendrils of a poisonous plant. I was not related to my fantastic father; my mother had been unfaithful with a man she knows little about. It had never been spoken about…

Read the entire article here.

On Growing Up Mexican Italian American

the Parent Voice
2018-01-08

Gino Pellegrini

I became aware of the world around me during the Reagan era in a middle-class, conservative, predominantly white suburb of Los Angeles.

Growing up Mexican Italian American in this context was difficult and dissonant for me. If I had grown up in a different place or class, my mixed experience might have been very different, but then I would not have this story to tell…

Read the entire article here.

An Interview and a Snapshot

Neither/Both LLC: Counseling for Mixed individuals and interracial families
Minneapolis, Minnesota
2018-01-2018

Lola Osunkoya, MA, LPCC

Lola Osunkoya

Recently, I was contacted by someone out of state who wanted to interview me for a documentary they are filming for their thesis. They needed a professional or expert to discuss Mixed identity. I said no a couple of times due to time constraints as well as concerns about the project. A portion was sent to me that featured a White mother offering commentary about her Mixed children that was problematic—tone deaf comments about “good hair” and her perspective that her kids had no problems with their racial identity. After being reassured that this was exactly why they were seeking my perspective to add, I agreed to answer their questions via email.

I thought my answers turned out to be a pretty good snapshot of where I was at in December 2017 in the way I would describe my perspectives and experiences. It’s always tricky as a therapist to answer personal questions. Part of me wants to be completely transparent when talking about being Mixed, and part of me knows I need to take good care of my boundaries. It’s a flexible balance. The questions and my answers:

Read the entire article here.

When a white person tells me ‘you’re basically white’, what I really hear is repudiation for wanting to identify with blackness. When my own racial integrity is undermined with this statement, I am told that I should allow myself to be classified by the oppressor. When the history of my ancestors is erased, I ask myself why I should not be allowed to explore the entirety of my history whilst white people alter theirs to pander to their own self-denial. And I fail to understand why they will tell me that I am ‘basically white’ sometimes, but implicitly or explicitly emphasise that I’m ‘brown’ the next.

Sam Kaner, “‘You’re basically white’: my blackness on debate,” Media Diversified, September 11, 2017. https://mediadiversified.org/2017/09/11/youre-basically-white-my-blackness-on-debate.

Children of Uncertain Fortune: Mixed-Race Jamaicans in Britain and the Atlantic Family, 1733-1833

University of North Carolina Press
2018-01-22
432 pages
12 halftones, 4 figs., 3 charts, 4 tables, notes, index
6.125 x 9.25
Hardcover ISBN: 978-1-4696-3443-2

Daniel Livesay, Associate Professor of History
Claremont McKenna College, Claremont, California

Published for the Omohundro Institute of Early American History and Culture, Williamsburg, Virginia

By tracing the largely forgotten eighteenth-century migration of elite mixed-race individuals from Jamaica to Great Britain, Children of Uncertain Fortune reinterprets the evolution of British racial ideologies as a matter of negotiating family membership. Using wills, legal petitions, family correspondences, and inheritance lawsuits, Daniel Livesay is the first scholar to follow the hundreds of children born to white planters and Caribbean women of color who crossed the ocean for educational opportunities, professional apprenticeships, marriage prospects, or refuge from colonial prejudices.

The presence of these elite children of color in Britain pushed popular opinion in the British Atlantic world toward narrower conceptions of race and kinship. Members of Parliament, colonial assemblymen, merchant kings, and cultural arbiters–the very people who decided Britain’s colonial policies, debated abolition, passed marital laws, and arbitrated inheritance disputes–rubbed shoulders with these mixed-race Caribbean migrants in parlors and sitting rooms. Upper-class Britons also resented colonial transplants and coveted their inheritances; family intimacy gave way to racial exclusion. By the early nineteenth century, relatives had become strangers.

‘You’re basically white’: my blackness on debate

Media Diversified
2017-09-11

Sam Kaner
Oxford, England

Sam Kaner talks about experiences of racialization as a person of mixed heritage

‘You’re basically white’

A phrase I frequently heard from white students at my school. They would tell me this after I had crossed a particular threshold in my relationship with them where their racialization of me as Other would soften. It was the point at which they questioned whether they should confer the same amount of respect to me as their white friends, operating under the assumption that being a light-skinned biracial person, I would receive their newfound perception of me as a compliment.

I recently fell into an argument with a white person because they had insisted to me that Mariah Carey couldn’t be black; she didn’t look black, she wouldn’t be racialized as black, and therefore, she should stop claiming to be something she’s not.

I find it concerning how white people will repeatedly make attempts to determine and declare who may claim blackness and who may not; and I wonder, in doing so, if they have ever instead critically considered how this interjection recalls the colonial imposition of blackness as something non-negotiable and as a marker of subjugation…

Read the entire article here.

One Drop of Blood: The American Misadventure of Race

Farrar, Straus and Giroux
2000-10-01
544 Pages
Hardcover ISBN-13: 978-0374240790

Scott Malcomson

Why has a nation founded upon precepts of freedom and universal humanity continually produced, through its preoccupation with race, a divided and constrained populace? Scott Malcomson’s search for an answer took him across the country—to the Cherokee Nation, an all-black town, and a white supremacist enclave in Oklahoma—back though the tangled red-white-and-black history of America from colonial times onward, and to his own childhood in racially fractured Oakland, California. By not only recounting our shared tragicomedy of race but helping us to own it—even to embrace it—this important book offers us a way at last to move beyond it.

Elizabeth Warren’s Native American problem goes beyond politics

The Boston Globe
2018-01-19

Annie Linskey, Chief national correspondent

Keith Bedford/Globe Staff Senator Elizabeth Warren says now, as she has from the first days of her public life, that she based her assertions about her heritage on her reasonable trust in what she was told about her ancestry as a child.

WASHINGTON — There’s a ghost haunting Elizabeth Warren as she ramps up for a possible 2020 presidential bid and a reelection campaign in Massachusetts this year: her enduring and undocumented claims of Native American ancestry.

Warren says now, as she has from the first days of her public life, that she based her assertions on family lore, on her reasonable trust in what she was told about her ancestry as a child.

“I know who I am,” she said in a recent interview with the Globe.

But that self-awareness may not be enough, as her political ambitions blossom. She’s taken flak from the right for years as a “fake Indian,” including taunts from President Trump, who derisively calls her “Pocahontas.’’ That clamor from the right will only grow with her increasing prominence…

…Warren’s family has ties to Oklahoma dating from the end of the 19th century — before it was a state. Oklahoma is now home to more than 35 federally recognized tribes, and it’s common for people there to claim Native American ancestry, often based on little more than family mythology. That’s partially because there is, for some, a certain mystique in popular culture associated with American Indian ties and many families liked to include those ties in their lore.

But claiming Native blood without evidence cuts to the very core of Native American identity because it usurps the rights American Indians have to define their own people and nations, according to native advocates.

“The problem with Elizabeth Warren is she is not the average wannabe,” said David Cornsilk, a Cherokee historian and genealogist. “She is an academic. She has a higher level of aptitude to examine these issues. And a higher responsibility to examine them, and accept the research that is done, or to counter it with alternative research.”…

Read the entire article here.