Mixed Race Studies

Palmer Patton recognized as earliest identified African American graduate, faculty member at Oregon State

OSU Today
Oregon State University
2020-02-20

Theresa Hogue, Public Info Representative

Palmer Patton

Oregon State University archivist Larry Landis was leafing through a 1919 Beaver Yearbook in 2018 as he did research on representations of blackface in old university publications. As he looked for examples, he came across a yearbook photo of a student who appeared to be African American.

As the director of the Special Collections & Archives Research Center, Landis knew that officially, Carrie Halsell was considered the earliest identified African American graduate of Oregon State (at that time Oregon Agricultural College) in 1926. But the man in the photos, Palmer Patton, graduated from OAC with his bachelor’s degree in 1918 and a master’s degree in 1920. Landis investigated further.. He combed the university archives, online historic newspapers, and even accessed information through his personal Ancestry.com account. He also made inquiries with archives at other universities – Montana State University, UC Davis and the University of Chicago – all of which provided or confirmed information on Patton. He spent part of an afternoon in the archives at Montana State while in Bozeman for a conference.

“Over the course of several months I pieced together Palmer Patton’s story,” Landis said. “The end result is a story of someone who was most likely bi-racial, who identified as white at times, and who was able to navigate through places and spaces that were predominantly white.”…

Read the entire article here.

Escaping Blackness

New York Review of Books
2020-03-26

Darryl Pinckney

Thomas Chatterton Williams, New York City, 2019 Dominique Nabokov

Self-Portrait in Black and White: Unlearning Race
by Thomas Chatterton Williams
Norton, 174 pp., $25.95

The black individual passing for white in nineteenth- and twentieth-century American fiction by white writers is usually a woman, and usually when the truth emerges, the purity of the white race is saved. However, in An Imperative Duty (1891) by William Dean Howells, a Boston girl is ashamed to find out that legally she is colored, but her white suitor marries her anyway and takes her off to a life in Italy. In the beginning of Charles Chesnutt’s The House Behind the Cedars (1900), a “high-bred” black man in North Carolina returns to his hometown to ask his sister to take his dead white wife’s place and bring up his son. A young aristocrat she meets in her new white life proposes marriage, but soon learns the truth of her origins. Literary convention, in the form of a fever, kills her. The white suitor realizes too late that love conquers all. He promises to keep the brother’s secret.

The secret was as radical as Chesnutt could get. From a North Carolina family of “free issue” blacks—meaning emancipated since colonial times—Chesnutt had blond hair and blue eyes. He wouldn’t pass for white, because if he became famous then he chanced someone appearing from his past. He preferred to pursue reputation as a black man. Chesnutt had cousins who crossed the color line and he never told on them, viewing passing as an act of “self-preservation,” a private solution to the race problem. The big escape from being black was an American tradition. Three of Sally Hemings’s six children ended up living as white people.

The nameless narrator of James Weldon Johnson’s novel The Autobiography of an Ex-Colored Man (1912), a widower and a father, says little about his life as a white man. He is interested instead in his past as a black person, his life with different classes of black people, his wanderings around Europe as a young musician. When he returned to the United States and went on a folk song–collecting tour of the South, he witnessed a lynching—a black man being burned alive. Terrified, he got himself across the color line. He didn’t want to belong to a racial group so utterly without power…

…Thomas Chatterton Williams, who belongs to the hip-hop generation of multiculturalism and diversity, is willing to risk being a throwback in his memoir/essay Self-Portrait in Black and White: Unlearning Race. To speculate on the racial future, he goes back to the days when the black individual who could do so took the side exit from segregated life to personal freedom. He deals with passing for white, class privilege, and his hopes for the possibilities of race transcendence, knowing perfectly well that because he is light-skinned he can contemplate racial identity as being provisional, voluntary, situational, and fluid…

Read the entire review here.

‘Passing’ led to new lives and safety

The Daily Progress
Charlottesville, Virginia
2020-02-08

Bryan McKenzie, News Reporter

Bryan McKenzie/The Daily Progress File Catherine Kerrison explains to moderator Clarence Page and participant Lisa Page the mystery of what happened to Thomas Jefferson’s daughter Harriet after she ‘passed’ into white society. The three participated in a Monticello program on ‘passing’ on Saturday.

For more than two centuries, many African Americans left their families and identities behind, crossing into white society as a way of securing freedom, self-preservation and economic advancement, two university professors who have researched the phenomenon told a Monticello audience on Saturday.

Known as “passing,” many African Americans and Americans of mixed race chose to present themselves as white in order to attain privileges, freedoms and security. Passing often meant turning their backs on family, friends and hometowns, sometimes for the rest of their lives.

Lisa Page, co-editor of “We Wear The Mask: 15 True Stories of Passing in America,” joined Catherine Kerrison, author of “Jefferson’s Daughters: Three Sisters, White and Black, in a Young America” in the program. The panel is part of a slate of events and exhibitions by Monticello during Black History Month…

Read the entire article here.

How Emma Dabiri is changing the conversation around afro hair

Vogue (Australia)
2020-03-05

Eni Subair

Author Emma Dabiri of Don’t Touch My Hair. Image credits: Matthew Stone

The author of Don’t Touch My Hair — which illustrates the oppressive hair journey that black people have been on — wants to put an end to the discriminatory behaviour surrounding afro hair. Here, she unpicks her own experience and delves into the stigmatisation still held within society.

In February, 18-year-old Ruby Williams was awarded a sum of £8,500 (AU$16,634) after embarking on a three-year legal battle with her school in east London, having been singled out and sent home numerous times because her afro didn’t adhere to school regulations. Shockingly, the issue is ongoing in the UK, with the frequency of school exclusions for afro hair rapidly rising.

Emma Dabiri, author of 2019’s powerful Don’t Touch My Hair and a lecturer at SOAS University of London, is campaigning against the UK ruling currently in place around hair by asking members of the public to sign a petition to amend the Equality Act 2010. Currently, the act protects colour, nationality, and ethnic or national origins, but hair — specifically afro hair — is not a named “protected characteristic”. It’s a grey area that leaves students and employees open to being pulled up about their hair. Dabiri, who is of Nigerian and Irish descent, wants the law changed, not least because the mother of two fears her own children may one day face the same prejudice. “I have a seven-year-old who has had hairstyles other kids have been excluded for having,” she tells Vogue. “I want that to change before he goes to secondary school.”

She hopes her book, which illustrates the oppressive hair journey black people have been on, will help change the rhetoric and discriminatory behaviour around afro hair.

Here, Emma Dabiri tells Vogue why she’s rallying the masses to sign the petition, and why warped perceptions around black afro hair need to stop…

Read the entire interview here.