Mixed Race Studies

“It Represents Me:” Tattooing Mixed-Race Identity

Sociological Spectrum
Published online: 2018-10-04
DOI: 10.1080/02732173.2018.1478351

Jennifer Patrice Sims, Assistant Professor of Sociology
University of Alabama, Huntsville

Research on tattoos reveals that desire for something to “mark their bodies with indelible symbols of what they see themselves to be” has become a main driver behind contemporary tattoo acquisitions (Sanders 1989:61). One identity that researchers have recently begun to investigate with regard to expression via tattoos is race; however, exploration considering those with multiple racial heritages, that is, mixed-race people, is lacking. This article begins to illuminate this lacuna by drawing on in-depth interviews with mixed-race people in the United States and United Kingdom to examine the practice and meaning behind their tattoos. Finding both similarities and differences, both between mixed- and single-heritage individuals and between mixed-race people of different heritages, this study adds to scholarly knowledge of the ways in which various identities are being expressed, or not, via tattooing.

Read or purchase the article here.

The Notorious, Mixed-Race New Orleans Madam Who Turned Her Identity Into a Brand

Zócalo Public Square
2018-10-01

Emily Epstein Landau, Teacher [and author of Spectacular Wickedness: Sex, Race, and Memory in Storyville, New Orleans]
Georgetown Day School, Washington, D.C.

Lulu White, the most notorious madam in the turn-of-the-century Big Easy. Courtesy of the Collections of the Kinsey Institute at Indiana University. All rights reserved.

By Repackaging the Myths of the Tragic Octoroon and the Self-Made Woman, Lulu White Crafted a Persona That Haunts Beyoncé’s “Formation“

In 2016, music and pop-culture idol Beyoncé released the album Lemonade to rapturous reviews. As a historian of New Orleans, I was especially intrigued by the video for one of the songs on the album, “Formation.” The video includes iconic images of the city: Katrina flood waters and post-flood graffiti; “second-lines”; marching bands; crawfish eating; and even a dancing “Mardi Gras Indian.” As we move through various neighborhoods, we visit a church service, a St. Charles Avenue mansion, and, in what appears to be a move through time into the city’s past, a bordello.

The bordello scenes in the video recall famous photographs from Storyville, New Orleans’s notorious red-light district, which flourished from 1898 to 1917. And while the song is clearly about Beyoncé, the persona she embodies in it resonates with an earlier iconic black female: Lulu White, the self-styled “Diamond Queen” of New Orleans’s turn-of-the-century demimonde. Knowing Lulu White’s story helps us see Beyoncé’s artistic creation within a complex historical framework, for in it are woven together threads of American history: stories of sexual slavery and prostitution; revolution and exile; and, not least, capitalism and the American Dream.

Lulu White was the most notorious madam in Storyville. She earned fame and fortune as the “handsomest octoroon” in the South, and her bordello, Mahogany Hall, featured “octoroon” prostitutes for the pleasure of wealthy white men during one of America’s most virulently—and violently—racist periods. It was also the dawn of consumer culture and the beginning of modern advertising. Thus, Lulu White crafted a persona for herself through stories that had long circulated in New Orleans; she repackaged those stories to create what today we would recognize as her brand…

Read the entire article here.

Picture in Black and White

NOA Records
2018-10-05

Tessa Souter

1. Kothbiro
2. Contemplation (Ancestors)
3. A Taste of Honey
4. Dancing girl/Where the Streets Have No Name
5. Ana Maria’s Song (Ana Maria)
6. Child of Love
7. Picture in Black and White
8. You Don’t Have To Believe
9. Reynardine
10. Siren Song
11. Lonely Woman
12. Nothing Will Be As It Was

with Yotam Silberstein (guitar), Yasushi Nakamura (bass), Keita Ogawa (percussion), Adam Platt (piano), Dana Leong (cello), Billy Drummond (cymbals and drums)

Maija DiGiorgio’s IncogNEGRO, My-a Life The Musical

The Complex Theater
6468 Santa Monica Boulevard
Los Angeles, California 90038
Thursday, 2018-10-18, 19:00-20:30 PDT (Local Time)

by Jeffery Husbands

For some it’s a comedy,..for others it’s a horror. You never know who’s lurking among us. Wanna end racism? Come down and get some hilarious notes from the passing. This ethnically ambiguous comedian shares the faux pas and mishaps in her lifelong journey of mistaken identity. Do not miss this hilarious show with Maija DiGiorgio.

Her way. The new way.

The Washington Post
2018-10-04

Ann Hornaday, Movie Critic

Amandla Stenberg, the 19-year-old star of “The Hate U Give.” (Marvin Joseph/The Washington Post)

Amandla Stenberg is redefining fame for a time when the personal, the professional and the political have never been more fused.

On a recent visit to the National Museum of African American History and Culture, actress Amandla Stenberg made a beeline for “Watching Oprah,” an exhibit dedicated to the TV-icon-turned-all-of-it-icon.

“Oprah was very integral in my household,” she said, peering at the biographical information on the walls. “My mom used to be a journalist. . . . She worked at Elle magazine and then moved into celebrity journalism. The irony is not lost on me.”…

…Biracial in ethnic derivation, nonbinary in gender identification, gay in sexual orientation, multi-hyphenate in creative aspiration, Stenberg embodies a similar blurring of boundaries. She grew up in Los Angeles with her African American mother and Danish father, commuting from their modest Leimert Park neighborhood to the far tonier Wildwood School. Her first movie role was in “Colombiana,” as a young version of Zoe Saldana. “The Hunger Games” — just her second film — was seen by tens of millions of people around the world. But it was a video she made for history class in 2015 that became a watershed: Called “Don’t Cash Crop My Cornrows,” the 4-minute-30-second tutorial explained the most offensive dynamics of cultural appropriation. After Stenberg posted the video on Tumblr, it became a viral sensation…

Read the entire article here.

Forwards and Backwards

Hapa Japan
2018-09-30

Fredrick Cloyd

Whenever I think of living in the world as writer, as thinker, as cultural worker, as identities-in-motion and identities-in-between, I think of the projections we are placed into by others, and by ourselves to ourselves. How others put their own ideas onto us, their assumptions and judgements that follow, align with or compete with the same things we do to ourselves, according to the cultural and language frames we use for ourselves—the labels and concepts of what we learn and think we know. And in addition, there is the reality of a fixed identity or thought that interferes with reality. If we are “hāfu” then we cannot be “pure” or “white” or democrat, republican, woman, man, etc. And then the “human” label also plays its role. “I am human therefore you are wrong in labeling me such-and-such….”

Read the entire article here.