Mixed Race Studies

Family Storytellers Inspired Professor-Historian

Diverse Issues in Higher Education
2018-10-30

LaMont Jones, Senior Staff Writer

Dr. Allyson Hobbs

Dr. Allyson Hobbs comes from a family of storytellers, perhaps chief among them her Aunt Shirley.

It was Shirley Kitching’s fascinating stories shared during holiday and summer visits to Chicago – particularly one about an ancestor who was sent to the West Coast to live her life as a White woman by “passing” – that influenced Hobbs’ decision to become a historian and author.

Now Hobbs, an associate professor of American history and director of African and African-American Studies at Stanford University, spends a lot of time researching historical people, places and phenomena and bringing those stories to life for the public – the same way Kitching and other relatives did for her…

…“You have to understand Chicago to understand African-American history,” Hobbs contends, noting its longtime centrality to Black culture.

And that, along with one of Aunt Shirley’s stories, is what led to research and ultimately an award-winning book about the racial phenomenon of passing – when very light-skinned and European-featured Black Americans secretly pass themselves off as White people. Published in 2014, A Chosen Exile: A History of Racial Passing in American Life explored the history of passing in the United States from the 1700’s to current times…

Read the entire article here.

Review: Sharon Block, Colonial Complexions

The Junto: A Group Blog on Early American History
2018-06-02

Vanessa Holden, Assistant Professor of History and African American and Africana Studies
University of Kentucky

Sharon Block, Colonial Complexions: Race and Bodies in Eighteenth-Century America (Philadelphia: University of Pennsylvania Press, 2018).

At the opening of Colonial Complexions: Race and Bodies in Eighteenth-Century America, Sharon Block poses two provocative questions: “What were the meanings of black, white, and red in the colonial eighteenth century; and how did Anglo-American colonists describe people’s appearance?” (1) To answer these queries Block presents a cultural history race in Britain’s 18th century American colonies. She makes a careful study of the descriptors advertisers and editors used in missing colonial persons adds for runaway African descent and their European and Native American servants.

Block argues that the terms “black”; “white”; “red”; and “yellow” did not have static meanings that neatly corresponded to racial identities for 18th-century Anglo-colonists. Those terms evolved into markers of racial difference right alongside American constructions of race that would not become commonplace until the 19th century. Block challenges readers to understand how humoral theory influenced European colonists’ ideas about physical appearance and how the form of the missing person ad reflected and shaped the meanings of signifiers like age, height, and health for colonial subjects.

Block engages thirty-nine colonial newspapers from all over the across colonial America for her study, drawing from them both quantitative and qualitative data to support her arguments. From their pages, she gleans categories and descriptors used by 18th-century subjects to describe other 18th century subjects. “Through a range of descriptive choices,” she writes, “advertisers communicated the features they deemed significant for readers to know and revealed shared assumptions about bodily norms.”(5) Block remains very critical of her sources throughout and highlights both the form and the content of the ads she analyzes. She is well aware that the ads are part of an archive of mastery and makes sure to note this throughout. Block remains clear that the norms she excavates from these advertisements are norms for Anglo-colonizers and takes care to acknowledge African and Native American understandings of physiology. That the descriptors and signifiers she analyzes allow Anglo-colonists to flatten individual human experiences and bolster colonial systems of power is precisely her point.

Read the entire review here.

Making Race in British Colonial North America

Black Perspectives
2018-11-08

Elise A. Mitchell, Ph.D. Candidate in Atlantic World History and Caribbean and Latin American History
Department of History
New York University

Uncle Sam challenging the interference of John Bull, the personification of Great Britain, in the Civil War, 1861 (Photo: Library of Congress).

When confronted with three eighteenth-century newspaper advertisements seeking a missing man from Connecticut named Ishmael Mux of “a white Complexion,” a missing Pennsylvanian named John Daily who had a “black Complexion, bushy Hair,” and a man who went missing on his way to North Carolina named Andrew Vaughan with a “red” complexion, most readers would presume that their complexions, “white,” “black,” and “red,” indicated their race. However, as Sharon Block shows in her latest book, Colonial Complexions: Race and Bodies in Eighteenth-Century America, to eighteenth-century readers:

White, black, and red complexion did not automatically parallel European, African, and Native American heritages, respectively. In fact, Ishmael was described as mulatto; John as Irish; and Andrew was listed as an infantryman in the British 40th regiment, was born in Philadelphia, with no nationality or ethnicity specified. Skin and hair appearance were features related to, but not constitutive of, ethnic or national background (60-61).

This is but one of many examples Sharon Block uses to illustrate how the relationships between bodily descriptions, ethnicities, and racial meaning are not transhistorical, but developed through contextually specific discourses that have changed over time (83). Block, a digital humanist and historian of race, gender, rape, sexuality, and the body, examined thirty-nine British North American colonial newspapers published between 1750 and 1775 and analyzed over 4000 advertisements for missing enslaved and free people. Her ambitious study of these advertisements reveals how British North American colonists constructed race through quotidian discourses. Colonial Complexions is a crucial contribution to the history of race and a noteworthy model for digital age historical methodology…

Read the entire review here.

Colonial Complexions: Race and Bodies in Eighteenth-Century America

University of Pennsylvania Press
2018
232 pages
17 illus.
6 x 9
Cloth ISBN: 9780812250060

Sharon Block, Professor of History
University of California, Irvine

In Colonial Complexions, historian Sharon Block examines how Anglo-Americans built racial ideologies out of descriptions of physical appearance. By analyzing more than 4,000 advertisements for fugitive servants and slaves in colonial newspapers alongside scores of transatlantic sources, she reveals how colonists transformed observable characteristics into racist reality. Building on her expertise in digital humanities, Block repurposes these well-known historical sources to newly highlight how daily language called race and identity into being before the rise of scientific racism.

In the eighteenth century, a multitude of characteristics beyond skin color factored into racial assumptions, and complexion did not have a stable or singular meaning. Colonists justified a race-based slave labor system not by opposing black and white but by accumulating differences in the bodies they described: racism was made real by marking variation from a norm on some bodies, and variation as the norm on others. Such subtle systemizations of racism naturalized enslavement into bodily description, erased Native American heritage, and privileged life history as a crucial marker of free status only for people of European-based identities.

Colonial Complexions suggests alternative possibilities to modern formulations of racial identities and offers a precise historical analysis of the beliefs behind evolving notions of race-based differences in North American history.

Narratives of Passing

Vassar College
Poughkeepsie, New York
2015-?

Amitava Kumar, Professor of English

(Same as AFRS 253) Topic for 2019b: Narratives of Passing. The phrase “passing for white,” peculiar to American English, first appears in advertisements for the return of runaway slaves. Abolitionist fiction later adopts the phenomenon of racial passing (together with the figure of the “white slave”) as a major literary theme. African American writers such as William Wells Brown and William Craft incorporated stories of passing in their antislavery writing and the theme continued to enjoy great currency in African American literature in the postbellum era as well as during the Harlem Renaissance. In this class, we examine the prevalence of this theme in African American literature of these periods, the possible reasons for the waning interest in this theme following the Harlem Renaissance, and its reemergence in recent years. In order to begin to understand the role of passing in the American imagination, we look to examples of passing and the treatment of miscegenation in literature, film, and the law. We consider the qualities that characterize what Valerie Smith identifies as the “classic passing narrative” and determine how each of the texts we examine conforms to, reinvents, and/or writes against that classic narrative. Some of the themes considered include betrayal, secrecy, lying, masquerade, visibility/invisibility, and memory. We also examine how the literature of passing challenges or redefines notions of family, American mobility and success, and the convention of the “self-made man.”

JewAsian: race, religion, and identity for America’s Newest Jews [Review]

Ethnic and Racial Studies
Volume 40, 2017 – Issue 13
pages 2380-2382
DOI: 10.1080/01419870.2017.1329544

Hasia R. Diner, Paul And Sylvia Steinberg Professor of American Jewish History
New York University

Helen Kiyong Kim and Noah Samuel Leavitt, JewAsian: Race, Religion, and Identity for America’s Newest Jews (Lincoln: University of Nebraska Press, 2016).

Sociologists Helen Kiyong Kim and Noah Samuel Leavitt, a married couple, he of Jewish background, presumably European, and she of Korean derivation, have, with this slim book, launched an important topic for further research and scholarly inquiry. The two authors explore here, using the conventional methods of sociological study, a trend, presumably new and emblematic of postmodernity. This trend can be accessed by even the most casual readers nearly every Sunday in the wedding announcements in The New York Times‘ Style section. Like JewAsian—obviously a neologism—The Times postings chronicle the not uncommon phenomenon of, for the most part, Jewish men, bearers of identifiable Jewish surnames, marrying women marked by their names and by the accompanying photographs identifiable as Asian, primarily individuals who themselves or their forbears hailed from China, Korea, and Vietnam.

The text of the wedding announcements, besides detailing the usually impressive occupations and educational backgrounds of bride and groom, and those of their parents, fit well with this fascinating book. Nearly all the nuptial notices indicate that a rabbi or cantor will be officiating at the ceremony, indicating that Jews, certainly the non-Orthodox among them who constitute the American majority, have embraced this emerging reality of marriages across lines of race, ethnicity, and religion. So too the fact that the brides in these marriages have chosen to have their unions solemnized by a member of the Jewish clergy, rather than by someone representing Christianity or Buddhism or any other religious tradition associated with Asian and Asian American culture, represents an important contemporary reality which Kim and Leavitt explore in their book.

The wedding announcements, like the much publicized union between FaceBook’s Mark Zuckerberg and Priscilla Chan, sweethearts since their Harvard days and like the data presented in JewAsian, point to the trend by which the non-Jewish, Asian women who marry Jewish men become integrated and absorbed into the fabric of American Jewish life. Kim and Leavitt, who for the most part leave out the details of their personal journey as an Asian and Jewish couple, focusing carefully on the pairs whom they interviewed, do appropriately indicate in the Preface that they met and fell in love while graduate students at the University of Chicago…

Read or purchase the review here.

Why ‘The Hate U Give’ Is Not a Black Lives Matter Movie

Los Angeles Sentinel
2018-10-18

Melina Abdullah, Professor of Pan-African Studies
California State University, Los Angeles

Patrisse Khan-Cullors, Cofounder of Black Lives Matter and founder of Dignity and Power Now
Los Angeles, California

Some are touting ‘The Hate U Give,’ as “the first Black Lives Matter movie.” Red flags should have gone up the moment we learned that Fox, recently acquired by Disney, was behind the film with a massive public relations budget, footing the bill for hundreds of advance screenings with celebrity guests, marketing swag, and heavy media saturation – especially in Black markets. We might also wonder about the choice to have Audrey Wells, a White screenwriter whose credits include “Under the Tuscan Sun” and “The Truth About Cats and Dogs,” adapt an urban Black novel for the screen. Angie Thomas’ New York Times bestseller on which the film is based swapped out the book cover that originally pictured a chocolate-colored Afroed girl, for the light-skinned young actress, Amandla Stenberg, who plays the lead, Starr Carter, in the film. Stenberg’s braids hang long as she holds a placard that reads “The Hate U Give,” a reference to Tupac’s THUG LIFE acronym (The Hate U Give Little Infants F*cks Everyone). Tupac, Hip Hop icon, poet, and son of a Black Panther, was intentional with his language. THUG LIFE, tattooed across his mid-section, was a scathing critique of the White-supremacist-capitalist system that treats Black and poor children with contempt, depriving them of resources, and ultimately causing the whole of society to suffer the consequences. The film betrays that analysis by entrenching old tropes. “The Hate U Give” makes Black people primarily responsible for their own oppression. The film asks viewers not to challenge a policing system that kills Black people at least every 28 hours, but to focus exclusively on “Black-on-Black crime,” even when unarmed Black boys are killed by White cops…

Read the entire article here.

Generational change and how we conceptualize and measure multiracial people and “mixture”

Ethnic and Racial Studies
Volume 40, 2017 – Issue 13
pages 2333-2339
DOI: 10.1080/01419870.2017.1344273

Miri Song, Director of Research
University of Kent, Canterbury, Kent, United Kingdom

Until relatively recently, in countries such as the U.S.A. and U.K., individuals could only opt for “single race” categories with which they identified. However, in the 2000 decennial census, respondents in the U.S. were able to choose more than one racial category, while in 2001, a “Mixed” box (with further subcategories) was provided in the England and Wales census for the first time. But the very success of this racial project in these countries has spawned a number of questions for policy-makers and academics who theorize, enumerate and study the experiences of multiracial people. With demographic changes such as generational change, who counts as multiracial or mixed race? This question has yet to receive significant attention. Although mixing is becoming more commonplace, the question of who counts as multiracial is far from straightforward, especially as we look down the generational pipeline.

Read or purchase the article here.

The Hate U Give’s Amandla Stenberg on bringing Black Lives Matter to the box office

The Guardian
2018-10-19

Steve Rose

Stenberg is the star of a new adaptation of the YA novel phenomenon. The actor, and the film’s director, discuss cinema’s new generation of resistance

Any resemblance between The Hate U Give and your average teen movie evaporates about 20 minutes in, when 16-year-old Starr Carter, played by Amandla Stenberg, witnesses a police officer shoot dead her friend Khalil at point-blank range. By this stage, Starr’s father has already given her The Talk, the time-honoured ritual where African-American parents instruct their children how to behave if stopped by the police: be polite, stay calm, put your hands where they can see them. When their car is pulled over, Starr follows the drill. Khalil reaches for a hairbrush. The police officer thinks it’s a gun. That’s all it takes.

The Hate U Give is fictional, but barely. To see the stricken expression on Stenberg’s face during the shooting scene is to recall Diamond Reynolds, partner of Philando Castile, who livestreamed the aftermath of Castile’s 2016 police shooting from the passenger seat while he bled to death beside her. The victims’ names have almost become a mantra: Castile, Freddie Gray, Oscar Grant, Trayvon Martin, Tamir Rice, Eric Garner, Sandra Bland – all young African Americans killed by law enforcement, each an avoidable tragedy.

“I learned really early on what it feels like to be black in an environment in which no one looks like you,” she says, “And I learned how to be very intentional of how I presented myself in order to fit in.” Code-switching – that capacity to alter your behaviour according to the company you’re in – is something that people of colour are especially familiar with, she continues. “Because you have the cognisance that if you are completely transparent about who you are in a space that doesn’t accept you for who you are, it’ll be detrimental to your ability to succeed. That’s just a fact of growing up in a country that is still based on white institutions,” she says. It can work both ways, Stenberg points out: her mother is African American and her father is Danish. “He was one of the only white people in our neighbourhood, so what I was experiencing at school, he was experiencing at home.”…

Read the entire article here.