Mixed Race Studies

Please can we stop talking about ‘mixed-race’ identity (on its own)?

Discover Society
2019-08-23

Chantelle Lewis, Ph.D. Student
Sociology Department
Goldsmiths, University of London

In response to recent mainstream media outlets featuring and celebrating ‘mixed-race’ populations as a symptom of progress in our society, my concern is this simplistic analysis conceals the broader structural implications of mixedness.

Given the opportunity, we all like talking about how we feel about our identity. If, like me, you belong to a racialised group, we become particularly animated by these opportunities because whiteness permeates so much of public life. We want to think about our varying family histories and how we embody them (or not) within our appearance and how we live our lives.

More often than not, when there is a public discussion about racialised identities, ‘mixed-race’ people are given too much space to grapple with theirs without critically engaging with their own structural positionalities. My contention is that these discussions will often position identity in abstraction from discussions of place and space, class, gender, and wider structural issues…

Read the entire article here.

Producer Phillip Rodriguez Acquires Rights To ‘The Strange Career of William Ellis’

Deadline: Breaking Hollywood News Since 2006
2019-08-21

Dino-Ray Ramos, Associate Editor/Reporter

EXCLUSIVE: Producer and indie filmmaker Phillip Rodriguez has optioned the film and TV rights to Karl Jacoby’s book The Strange Career of William Ellis: The Texas Slave Who Became a Mexican Millionaire. Rodriguez is set to develop and produce the narrative-based project

Jacoby’s prize-winning book tells the true story of William Ellis, a larger-than-life figure who was born on the U.S.-Mexico border in the twilight of slavery and inhabited a world divided along ambiguous racial lines. Adopting the name Guillermo Eliseo, he passed as Mexican, transcending racial lines to become fabulously wealthy as a Wall Street banker, diplomat, and owner of scores of mines and haciendas south of the border. In The Strange Career of William Ellis, Columbia University historian Jacoby weaves an astonishing tale of cunning, scandal, self-invention and the abiding riddle of race in America…

Read the entire article here.

The Other Half of Happy

Chronicle Books
2019-08-20
332 pages
5 5/8 x 8 1/8 in
Hardcover ISBN: 9781452169989

Rebecca Balcárcel

Quijana is a girl in pieces. One-half Guatemalan, one-half American: When Quijana’s Guatemalan cousins move to town, her dad seems ashamed that she doesn’t know more about her family’s heritage. One-half crush, one-half buddy: When Quijana meets Zuri and Jayden, she knows she’s found true friends. But she can’t help the growing feelings she has for Jayden. One-half kid, one-half grown-up: Quijana spends her nights Skyping with her ailing grandma and trying to figure out what’s going on with her increasingly hard-to-reach brother. In the course of this immersive and beautifully written novel, Quijana must figure out which parts of herself are most important, and which pieces come together to make her whole. This lyrical debut from Rebecca Balcárcel is a heartfelt poetic portrayal of a girl growing up, fitting in, and learning what it means to belong.

When my siblings and I compare birth certificates for the first time, we discover that four of us have “White” listed under “Race,” and one has “Negro.” We’re all interracial children from the same parents, who died before we could ask them about this enigma. I proudly accept being “Negro”—African-American—although I embrace my full heritage and keep a healthy sense of humor whenever anyone asks, “What are you?”

Dr. Ruth L. Baskerville, “They Call Me “Negro”,” Embrace Race: Raising A Brave Generation, August 18, 2019. https://www.embracerace.org/blog/they-call-me-negro.

Embodied Resistance: Multiracial Identity, Gender, and the Body

Social Sciences
Volume 8, Issue 8 (August 2019)
Article 221
16 pages
DOI: 10.3390/socsci8080221

Gabrielle G. Gonzales
Department of Sociology
University of California Santa Barbara

This article explores the importance of the physical body in the development of gendered racial and ethnic identities through in-depth semi-structured interviews with 11 multiracial/multiethnic women. From a critical mixed race and critical feminist perspective, I argue that the development of an embodied and gendered multiracial and multiethnic identity is a path to questioning and resisting the dominant monoracial order in the United States. Interviews reveal that respondents develop these embodied identities both through understandings of themselves as gendered and raced subjects and through relationships with monoracial individuals. The process by which these women understand their physical bodies as multiracial subjects illustrates a critical embodied component of the social construction of race and ethnicity in the United States.

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After Years of Searching, I Finally Found My Black Indian Community

Zora
2019-08-19

Shonda Buchanan, Literary Editor
Harriet Tubman Press

The blood of two peoples runs in us, and we want everyone to know we are still here

Dropping off a book at the Hampton Public Library, I glance at the counter and see a licorice-red flyer that says, “Come Join the Weyanoke Association: African Americans Honoring Our American Indian Heritage.” I look around. Is someone playing a joke on me?

In August 2004, my daughter and I moved to Hampton, Virginia, for my job at a Historically Black College. Our first year was hard and lonely, and we desperately missed our communities back in Los Angeles and in the Los Padres National Forest.

“I hate it here,” Afiya said at least once a week as she tried to make friends in the ninth grade. I tried to placate her with the proverbial “give it time” talks, but I had moved her away from her friends at 14, just as she was about to start high school. We had many “I hate it here” fights, but the truth was I was having a hard time finding my people, too. I missed the African American, African-centered communities, and the American Indian groups that had become my family over the years. This flyer seemed to be a sign: Little did I know I was about to find a space where both sides of my heritage combined…

Read the entire article here.

Breaking the Ocean: A Memoir of Race, Rebellion, and Reconciliation

House of Anansi Press
2019-08-20
280 pages
8.5 in × 5.5 in
Paperback ISBN: 9781487006471
Ebook ISBN: 9781487006488

Annahid Dashtgard

Annahid Dashtgard was born into a supportive mixed-race family in 1970s Iran. Then came the 1979 Islamic Revolution, which ushered in a powerful and orthodox religious regime. Her family was forced to flee their homeland, immigrating to a small town in Alberta, Canada. As a young girl, Dashtgard was bullied, shunned, and ostracized by both her peers at school and adults in the community. Home offered little respite as her parents were embroiled in their own struggles, exposing the sharp contrasts between her British mother and Persian father.

Determined to break free from her past, Dashtgard created a new identity for herself as a driven young woman who found strength through political activism, eventually becoming a leader in the anti–corporate globalization movement of the late 1990s. But her unhealed trauma was re-activated following the 9/11 terrorist attacks. Suffering burnout, Dashtgard checked out of her life and took the first steps towards personal healing, a journey that continues to this day.

Breaking the Ocean introduces a unique perspective on how racism and systemic discrimination result in emotional scarring and ongoing PTSD. It is a wake-up call to acknowledge our differences, offering new possibilities for healing and understanding through the revolutionary power of resilience. Dashtgard answers the universal questions of what it means to belong, what it takes to become whole, and ultimately what is required to create change in ourselves and in society.

They Call Me “Negro”

Embrace Race: Raising A Brave Generation
2019-08-18

Dr. Ruth L. Baskerville

Early family photo in 1951. The author is on the bottom right.

In 1943 in Manhattan, NY, a 46-year old African- and Native-American man who was a renowned band director and jazz composer marries a 19-year old naive European-American woman of Jewish Ukrainian descent, who wants to sing professionally. I’m the second of five children.

At age four, I overhear Mommy telling her Mom she won’t leave Daddy and me in order to come back home with my whiter looking brother. Every year of our growing up, Mommy takes the whitest looking child to find new housing, and our unwanted family moves in the middle of the night. We’re in new schools, too.

There are no “Mulattos” in our neighborhoods, and I’m constantly asked, “Where are you from? I mean, what are you?” The questioners have distorted faces, uncomfortable with their ambivalence about my ethnicity. Even today, they need to fit me into a race category before they can utter their next sentence! “You’re Saudi – Moroccan – Indian – Spanish – Italian – definitely foreign!” I’m from New York!…

Read the entire article here.

Yuli – The Carlos Acosta Story

Dirty Movies — Your platform for thought-provoking cinema
2019-04-03

Redmond Bacon

Tender portrait of iconic ballet dancer doubles up as an exploration of fatherhood and also of the artist’s home nation Cuba – now available on VoD

Director – Icíar Bollaín – 2019

When I was very young, my parents took me to ballet class. I immediately baulked at the idea and sat on the floor until my mother gave up and took me home. At the time I believed that being a ballet dancer was the worst possible thing on earth; now I see it as a massive lost opportunity. Carlos Acosta’s own father, Pedro (Santiago Alfonso), wasn’t as magnanimous as my mother, completely ignoring his son’s wishes in the pursuit of a higher aim.

His bet paid off, turning Carlos Acosta (nicknamed Yuli) into one of the greatest ballet dancers that ever lived; the first black man to perform at the Royal Ballet in London. Played at three different ages by Edlison Manuel Olbera Núnez, Keyvin Martínez and finally by the man himself, Yuli…

It starts in the poverty stricken streets of Havana; a place where the best options for young men to make something of themselves is through sport or dance. Carlos’ talent, expressed early on through street dance, gives his father an idea, and soon he is dragged to an audition at the National Ballet School of Cuba. But Carlos doesn’t want to perform ballet and mocks both his future teachers and his parents by putting on a tongue-in-cheek Michael Jackson-homage. He derisively describes ballet as something “for faggots”. Yet it is this very same ebullient spirit that lands him a place. His talent cannot be denied.

This is played out against a political and ethnic backdrop that acutely portrays the complexity of the Afro-Cuban experience. In one haunting scene, Carlos’ father takes him to his great-grandmother’s plantation, showing him how he is a direct descendent from the slave trade. Meanwhile his white mother escapes with her white relatives to Miami, benefiting from the same privilege that is denied to the young man. Pedro spins this hardship into a positive, telling Carlos that if his descendants could survive slavery, then he can become anything he wants…

Read the entire review here.

In 1870, Henrietta Wood Sued for Reparations—and Won

Smithsonian Magazine
September 2019

W. Caleb McDaniel, Associate Professor of History
Rice University, Houston, Texas

No image of Henrietta Wood survives today, but her story is recorded in court filings, including the verdict slip above. (Illustration by Cliff Alejandro; Source material: W. Caleb McDaniel; New York Public Library (3))

The $2,500 verdict, the largest ever of its kind, offers evidence of the generational impact such awards can have

On April 17, 1878, twelve white jurors entered a federal courtroom in Cincinnati, Ohio, to deliver the verdict in a now-forgotten lawsuit about American slavery. The plaintiff was Henrietta Wood, described by a reporter at the time as “a spectacled negro woman, apparently sixty years old.” The defendant was Zebulon Ward, a white man who had enslaved Wood 25 years before. She was suing him for $20,000 in reparations.

Two days earlier, the jury had watched as Wood took the stand; her son, Arthur, who lived in Chicago, was in the courtroom. Born into bondage in Kentucky, Wood testified, she had been granted her freedom in Cincinnati in 1848, but five years later she was kidnapped by Ward, who sold her, and she ended up enslaved on a Texas plantation until after the Civil War. She finally returned to Cincinnati in 1869, a free woman. She had not forgotten Ward and sued him the following year.

The trial began only after eight years of litigation, leaving Wood to wonder if she would ever get justice. Now, she watched nervously as the 12 jurors returned to their seats. Finally, they announced a verdict that few expected: “We, the Jury in the above entitled cause, do find for the plaintiff and assess her damages in the premises at Two thousand five hundred dollars.”

Though a fraction of what Wood had asked for, the amount would be worth nearly $65,000 today. It remains the largest known sum ever granted by a U.S. court in restitution for slavery…

But Wood’s name never made it into the history books. When she died in 1912, her suit was already forgotten by all except her son. Today, it remains virtually unknown, even as reparations for slavery are once again in the headlines.

I first learned of Wood from two interviews she gave to reporters in the 1870s. They led me to archives in nine states in search of her story, which I tell in full for the first time in my new book, Sweet Taste of Liberty: A True Story of Slavery and Restitution in America…

Read the entire article here.