Mixed Race Studies

For anyone who is doubtful of the sheer absurdity of racial categorization and the porousness of our supposed boundaries, the Piper family history can be instructive. Adrian Margaret Smith Piper was born in 1948 in Washington Heights, and raised there and on Riverside Drive. On her paternal side, she is the product of a long line of whites and extremely light-skinned, straight-haired black property owners and, on her mother Olive’s side, mixed-race, planter-class Jamaican immigrants. Her father, Daniel, received two separate and contradictory birth certificates. The first one labeled him as “white,” while the second, which his mother demanded as a corrective, put him down as “octoroon.” (At MoMA, they are hung on the wall, as part of the installation of “Cornered.”) Piper’s paternal grandfather, also Daniel, went the opposite route after the birth of his second, slightly darker son, Billy, abandoning his wife and children and moving out West to start a new “white” family in Washington State. Daniel Sr.’s brother, Piper’s great-uncle, William, lived his life as a Caucasian man of distinction, founding the Piper Aircraft Corporation and making his name as “the Henry Ford of Aviation.” He ended up with his face on a postage stamp and a fortune big enough to endow a building at his alma mater, Harvard.

Thomas Chatterton Williams, “Adrian Piper’s Show at MoMA is the Largest Ever for a Living Artist. Why Hasn’t She Seen It?” The New York Times Magazine, June 27, 2018. https://www.nytimes.com/2018/06/27/magazine/adrian-pipers-self-imposed-exile-from-america-and-from-race-itself.html.

Legacies of Postwar Japan’s “War Bride” Era

Japanese American National Museum
100 North Central Avenue
Los Angeles, California 90012
Telephone: (213) 625-0414
2018-06-30, 09:00-17:30 PDT (Local Time)

Presented in partnership with the Hapa Japan Project at USC Shinso Ito Center for Japanese Religions and Culture.

During and shortly after the US-Allied Occupation of Japan, the Japanese women who fraternized with soldiers often met opposition from their families and were shunned by other Japanese. Many mixed-raced children faced severe prejudice for being “impure” and born from the former enemy.

This symposium brings together various stakeholders to tell the stories of the war brides and their children. By focusing on the memories, realities, and legacies of this community, this groundbreaking gathering will create opportunities for listening, discussing, healing, and empowering attendees.

Symposium Schedule

9:00am – 9:30am Welcome and Opening Remarks

• Duncan Williams (USC Shinso Ito Center and Hapa Japan Project)
• Fredrick Cloyd (author of Dream of the Water Children)

9:30am – 10:40am Session 1 – Occupation/Migration: Women, Children and the U.S. Military Presence

• Etsuko Crissey (author of Okinawa’s GI Brides: Their Lives in America)
• Mire Koikari (University of Hawai‘i; author of Cold War Encounters in US-Occupied Okinawa: Women, Militarized Domesticity, and Transnationalism in East Asia)
• Elena Tajima Creef (Wellesley College; author of Imaging Japanese America: The Visual Construction of Citizenship, Nation, and the Body and Following Her Own Road: The Life and Art of Mine Okubo)

10:40am – 11:50am Session 2 – Difference and Other: War-Bride and Mixed-race Children’s Representations

• Margo Okazawa-Rey (Fielding Graduate University; Professor Emeritus, San Francisco State University)
• Sonia Gomez (University of Chicago; Visiting Scholar, MIT; author of From Picture Brides to War Brides: Race, Gender, and Belonging in the Making of Japanese America)

11:50am – 1:15pm LUNCH BREAK

1:15pm – 2:45pm Session 3 — Book Launch of “Dream of the Water Children: Memory & Mourning in the Black Pacific”

• Fredrick D. Kakinami Cloyd (author of Dream of the Water Children)
• Curtiss Takada Rooks (Loyola Marymount University)
• Angela Tudico (Archives Specialist, National Archives at New York City)

2 :45pm – 3 :00pm COFFEE/TEA BREAK

3 :00pm – 5 :30pm Session 4 – Film and Discussion of “Giving Voice, The Japanese War Brides”

• Miki Crawford (Producer/author of Giving Voice, The Japanese War Brides)
• Kathryn Tolbert (Washington Post; Producer/Director of Seven Times Down, Eight Times Up: The Japanese War Brides)

5:30pm Closing Remarks: Fredrick Cloyd

For more information and to RSVP, click here.

Hidden Figures is a Black, not white, Women’s Story

Medium
2017-11-22

Chanda Prescod-Weinstein

NASA Administrator Charles Bolden presents an award to Katherine Johnson, the African American mathematician, physicist, and space scientist, who calculated flight trajectories for John Glenn’s first orbital flight in 1962, at a reception to honor members of the segregated West Area Computers division of Langley Research Center on Thursday, Dec. 1, 2016, at the Virginia Air and Space Center in Hampton, VA. Afterward, the guests attended a premiere of “Hidden Figures” a film which stars Taraji P. Henson as Katherine Johnson, Octavia Spencer as Dorothy Vaughan, and Janelle Monae as Mary Jackson. (image: a brown skinned man in a suit handing a plaque to a brown skinned woman in a wheelchair with a brown skinned woman standing behind the wheelchair.) NASA/Aubrey Gemignani

It’s important to know the difference between “marginalized” and “hidden”

These remarks were made in my role as respondent to a paper on the (white) women students of (white woman) astronomer Maria Mitchell at the 2017 Society of History of Technology meeting. They were well received by the person whose work I was commentating on.

I will respond by offering a history of my own knowledge of women in astronomy. My interest in the Hidden Figures has been strongly shaped by my own experiences as a Black woman working at the intersection of physics and astrophysics. As an undergraduate at Harvard in the early 2000s, I was aware of the white women who had acted as computers for the Harvard College Observatory — this was history that astronomy undergraduates were privy to and that someone (I don’t remember who) took some effort to ensure that at the least women undergraduates learned about. The idea that their history or role was hidden, for this reason, has always seemed jarring to me. They were not hidden to us even as we recognized that more broadly they were a site of disinterest for many, but it was always made clear to me as an undergraduate that while their opportunities were limited, white women astronomers had been part of early American astronomy and that they had played a significant role in my own sub field, cosmology. (As in, without Harvard Computer Henrietta Leavitt’s discovery of the cepheid variable luminosity relation, Hubble could not have discovered the expansion of the universe. Of course, I didn’t learn until much later that Leavitt was a deaf adult, and it is interesting what parts of her story were left out.)…

Read the entire article here.

What Race-Mixture in Colonial Latin American Literature Can Teach Us About Mixed-Race Identity in the United States and the Fantasy of White Supremacy

Critical Ethnic Studies
Published by University of Minnesota Press
2018-06-29

Monica Styles

There is a tendency in the United States to believe mixed-race experiences are exceptional or out of the ordinary because we live in a society that historically silences racial mixture. A recent exhibit at Monticello that highlights the denial of Jefferson’s affair with Sally Hemings is just one high profile example. Contrasting colonial Latin American racial discourses with our own provides a blueprint for understanding erasure of multiracial experiences and white racial anxiety.

Mixture produces people who inhabit what Zadie Smith defines as the “Dream City [or] a place of many voices, where the unified singular self is an illusion. Naturally, Obama was born there. So was I. When your personal multiplicity is printed on your face, in an almost too obviously thematic manner, in your DNA, in your hair and in the neither this nor that beige of your skin -well, anyone can see you come from Dream City.” As a Black biracial woman, I am confronted with frustration from people who struggle with my mixed identity…

Read the entire article here.

Adrian Piper’s Show at MoMA is the Largest Ever for a Living Artist. Why Hasn’t She Seen It?

The New York Times Magazine
2018-06-27

Thomas Chatterton Williams

Illustration by Hsiao-Ron Cheng

The conceptual artist’s life and work push against the boundaries

Adrian Piper, the conceptual artist and analytic philosopher, is almost as well known for what she has stopped doing as for what she has done. By 1985, she had given up alcohol, meat and sex. In 2005, she took a leave of absence from her job at Wellesley, sold her home on Cape Cod and shipped all of her belongings to Germany. On a lecture tour in the United States the next year, she discovered a mark on her plane ticket that suggested, to her, that she’d been placed on a watch list; she has not set foot in America since. Then, in 2012, on her 64th birthday, she “retired from being black.” She did this by uploading a digitally altered self-portrait to her website, in which she had darkened her skin — normally café très-au-lait — to the color of elephant hide. It was accompanied by a news bulletin announcing her retirement. The pithy text superimposed at the bottom of the photo elaborated: “Henceforth, my new racial designation will be neither black nor white but rather 6.25% grey, honoring my 1/16th African heritage,” she wrote. “Please join me in celebrating this exciting new adventure in pointless administrative precision and futile institutional control!” (Through extensive genealogical work, she later determined that her African heritage is closer to one-eighth.)

The piece was, like much of Piper’s art and writing, absurdly comical in no small part because it was so brutally honest. It was inspired by Piper’s dawning realization that she was unable to fulfill other people’s expectations through the lens of race; since the early 2000s, she had stopped allowing any of her artwork to be exhibited in all-black shows, which she came to see as ghettoizing. In 2015, she announced that she would no longer talk to the press about her work.

Such inflexibility has done little to damage her standing in the art world. On a drizzly evening in March, a well-turned-out crowd of several hundred alighted upon the Museum of Modern Art to sip prosecco, schmooze and Instagram snippets of Piper’s immense body of work. The occasion was the opening of the enormous, and enormously demanding for the casual viewer, 50-year career retrospective, “Adrian Piper: A Synthesis of Intuitions, 1965-2016,” on display through July 22. The exhibition draws its title from Kant’s “Critique of Pure Reason,” a lifelong touchstone for Piper, and marks the first time in MoMA’s history that the work of any living artist has earned the entirety of its sprawling sixth-floor special-exhibitions gallery. Alongside a Golden Lion award at the Venice Biennale, which Piper won in 2015, this is among the very highest honors the art world can proffer…

‘‘Self-Portrait Exaggerating My Negroid Features’’ (1981) The Eileen Harris Norton Collection. Adrian Piper Research Archive Foundation Berlin.

I’d flown from Paris to see the opening of “Synthesis” after having struck up a polite but formal email correspondence with Piper. In the last message she had sent me, about three weeks earlier, she refused to speak to me on the record unless she or her archivist could independently fact-check the article before publication. “I decided a long time ago that I would prefer no representation to misrepresentation,” she wrote, and it seemed that, with this impossible condition, she would not grant an exemption from her indefinite moratorium. She suggested, as an alternative, that I consult her website and extensive body of published writing, an incalculable number of academic articles, essays and books. But I had already read many of those, and they had left me convinced that she has been quietly conducting, from that vexed and ever-expanding blot on the American fabric where white and black bleed into each other, one of the smartest, funniest and most profound interrogations of the racial madness that governs and stifles our national life that I had ever encountered…

Read the entire article here.

A Sign of ‘Modern Society’: More Multiracial Families in Commercials

The New York Times
2018-06-03

Joanne Kaufman

A hapless man stands on the sidewalk, watching and wincing as an ex-girlfriend tosses his possessions out a second-floor window in a commercial for DirecTV Now. A husband and wife are overjoyed to learn from a Fidelity investments adviser that, yes, they have saved enough for retirement to realize their fondest dream, one that involves a boat and a grandchild. And a considerably younger couple is delighted with the possibilities presented by the Clearblue ovulation test system.

The men and women vary in age, circumstances and happiness levels, but they have one thing in common. They are all part of interracial couples.

Recently, companies and brands like JPMorgan Chase, Humira, State Farm, Smile Direct Club, Coors Light, Macy’s, Tide and Cadillac have featured multiracial couples or families in their advertising.

“There’s no doubt that the incidence of these commercials is at least double what it was five years ago,” said Larry Chiagouris, a professor of marketing at the Pace University Lubin School of Business…

Read the entire article here.

Seeking Multiracial Americans or Brazilian Residing in the United States for Research Study

Ariane Y. Kreidl, Student ETS Academic Advisor; USC TRiO; Educational Talent Search
Business Administration 19’
USC Marshall School of Business
University of Southern California

My name is Ariane Kreidl and I am research scholar at the University of Southern California (USC). I am seeking participants for a research study about race. This research aims to understand racial norms through a comparative analysis of biracial/multiracial Americans and Brazilians individuals living in the United States.

Eligibility criteria. Participants must be one of the following:

• Biracial/multiracial Americans (i.e., individuals who have mixed ancestry of two-or-more races)
• Brazilians living in the United States for at least three (3) years.

There are two (2) ways to participate:

1. Online Survey (Qualtrics)^a: Closed-ended questions related to the research topic. The estimated response time is approximately 20 minutes. Participants will have the opportunity to enter a drawing to win a $50 Amazon/Visa Gift Card.
2. Interview in-person or via Skype^b: Open-ended questions related to the research topic. Interview will last between 30-75 minutes. Participants will have the opportunity to enter a drawing to win a $100 Amazon/Visa Gift Card! (This interview block is limited to only 20 participants).

Participation is completely anonymous.

Thank you for considering this research invitation.

^aIf you are interested, please click on the link for the survey: Qualitrics.Survey.Akreidl.
^bIf you are interested, please click on the following link to select a date and time: Research.Interview.Appt.Slots.

The Family Resemblance

Eugene O’Neill Theater Center
305 Great Neck Road
Waterford, Connecticut 06385
2018-06-23 through 2018-06-29

Book, music & lyrics by Masi Asare

Akosua and her family are expecting an ordinary Christmas back home in central Pennsylvania, but heavy winds, a corporate crisis, and a visitation from an ancestor mean things do not go as planned. This semiautobiographical musical centers on three generations of one cross-cultural family—a white mother, black father, two mixed race daughters, and the spirit of an African grandmother. Even when your heritage is all over the map, you have to go back to your roots to find your way forward. The score includes American folk and popular song, west African highlife, and Akan classical music.

For more information, click here.

What it is like for a black student to go to Cambridge

The Financial Times
2018-05-30

Rianna Croxford

Rianna Croxford

Trailblazer discovers confidence sought by top universities can be learned

I am the first in my family to go to university and faced a lot of the obstacles students of colour encounter when aiming for Oxford and Cambridge.

Educated at state school, I graduated from Cambridge last year as one of only seven women of mixed white and black heritage in my year of 3,371 undergraduates.

As one of the first black students to read English at Trinity Hall college, I had to deal with different degrees of racism day to day, as well as cultural challenges that my background had not prepared me for.

I want to help make it easier for other students like myself to enter elite institutions that can offer a fast track to a successful career…

Read the entire article here.

What It’s Like Being an “Other”

College Magazine
2018-06-19

Mailinh McNicholas

Mailinh McNicholas

I’ve remained on the fringes of two different and separate Anchorage, Alaska communities. I have a Caucasian father and Vietnamese mother. My high school friends often talked about my ethnicity and attempted to place me into a defined racial category. Some of my peers pegged me as an Asian immigrant, some have asked if I am Native Alaskan, and others simply asked ‘What are you?’

Unfortunately, my hopes did not match my reality. A few months into my freshman year at GW [George Washington University] I found that my college peers also cast me as “the other.” Although I’m equal parts Asian and White, to my white friends I’m Asian and to my Asian friends, I’m white. My bi-cultural heritage once again left me excluded from being included in ether community…

Read the entire article here.