Mixed Race Studies

The black experience in postwar Germany

University of Connecticut
Honors Scholar Program
2012-05-06
36 pages

Jamie Christopher Morris

This paper endeavors to find the extent of anti-black racism in various sectors of German society following World War Two through an examination of primary sources and secondary scholarship. While some Germans, often women, tolerated and even loved African-American soldiers, many German men actively sought to keep black GIs out of their communities, encouraged by white GIs. Afro-German children were viewed as a huge and shameful problem to be dealt with en masse by the government. The development of German anti-black racism is interesting to track how the German people shifted from Nazi attitudes towards Americanized ones.

Introduction

In the late 1940s a young and frightened German girl believed that the African-American soldiers marching through her town had tails hidden in their trousers, a rumor that had been told to her by a passing white soldier. A decade later that girl was dating one of those same black GIs, and had in fact approached him first to get his attention. She may have been recalling the fact that it was the black soldiers who had treated her the best as a child, giving her gifts and making sure she was clean, or she may have simply desired an American boyfriend in the hopes that he would lavish her with his comparatively rich lifestyle. The girl’s attitude reflects that of many Germans towards blacks in the late 1940s and 1950s. Public opinion of black soldiers grew locally in the towns that hosted them, driven in no small part by their generosity and kindness compared to that of white GIs, but their exotic appearance and unique American outlook also attracted attention and praise.

Of course there was also some strong resistance to the stationing of black American soldiers in occupied Germany. Vestiges of the National Socialist ideology of racial purity remained in many Germans’ thoughts, if not always in their speech and actions, as well as the traditional prejudice against anything different from themselves that clung still to most Europeans. But because of the intense Nazi focus on race and cleansing, and the uncovering of the Nazi atrocities, Germany was forced into a unique position of having to prove its mended ways; as historian Heide Fehrenbach notes, “The postwar logic of race that emerged in Germany was beholden to an internationally enforced injunction that Germans differentiate their polity and policies from the Nazi predecessor.” Thus over the 1950s the language of “race” all but disappeared in Germany, although prejudices were often just as strong as previously. These hatreds, however, were turned towards the new and highly visible group of racial “others”: blacks.3 Germans maintained a unique outlook towards this new racial group, convincing themselves that they were not racist but proving hostile towards blacks and those who associated with them. An overwhelmingly conservative system of values warred with the Germans’ vehement denial of the feelings of the past to create a uniquely hostile yet also inviting environment for African-Americans…

Read the entire thesis here.

‘Brown babies’ long search for family, identity

Indianapolis Recorder
2011-11-23

Stephanie Siek

(CNN) — Daniel Cardwell’s obsession consumed three decades of his life and $250,000 of his money, he estimates. His energy has been devoted to answering one basic question: “Who am I?”

Cardwell was a “brown baby”—one of thousands of children born to African-American GIs and white German women in the years after World War II. Inter-racial relationships still weren’t common or accepted among most in the United States or Germany, and they weren’t supported by the military brass, either.

Couples were often split apart by disapproving military officers. Their children were deemed “mischlingskinder”—a derogatory term for mixed race children. With fathers forced to move way, the single mothers of the African-American babies struggled to find support in a mostly white Germany and were encouraged to give their kids up.

Thousands of the children born from the inter-racial relationships were put up for adoption and placed in homes with African-American military families in the United States or Germany. Images of black, German-speaking toddlers with their adoptive American families were splashed across the pages of Jet and Ebony magazines and African-American newspapers.

Their long-forgotten stories have recently been shared in new films, “Brown Babies: The Mischlingskinder Story,” which was released last summer and “Brown Babies: Germany’s Lost Children,” which aired on German television this fall…

…For the thousands of children who are now adults and seeking their biological families, time is running out. Henriette Cain, a “brown baby,” from Rockford, Illinois, knows this all too well.

“People’s mothers are passing away, their fathers are passing away, and people are starting to wonder who they are,” Cain said from her home. “Now even we are passing away, and it’s a story that needs to be told.”

Since beginning her search in the 1970s, the 59-year-old retiree has been fortunate — she located and met her biological sister, who was living in Darmstadt, Germany, and her biological mother, who had married a white U.S. soldier and moved to Virginia. The family now enjoys a close relationship. She tracked down her biological father, as well, but he died before they could meet…

Read the entire article here.

A Lesson from Philadelphia’s Little Film Festival that Could

Colorlines: News for Action
2012-08-10

Akiba Solomon, Columnist, Gender Matters

For a four-day event that began as a small assortment of screenings, there were plenty of major moments at Philadelphia’s inaugural BlackStar Film Festival last week. Curated in less than a year by producer and filmmaker Maori Karmael Holmes, this new celebration of film by and about people of the African diaspora featured more than 40 works from four continents including the Philadelphia premiere of Byron Hurt’s Kickstarter-assisted Soul Food Junkies; the U.S. debut of Berlin filmmaker Oliver Hardt’s The United States of Hoodoo, a sold-out screening of Nelson George’s Brooklyn Boheme, and a candid talk about African American filmmaking outside of the Hollywood system by Sundance-prize winning director and organizer Ava DuVernay…

…While the biggest crowds filled Philadelphia’s International House for screenings of nationally publicized works such as Brooklyn Boheme and Soul Food Junkies, lesser known films also attracted audiences. For me, the highlight was a German import, Audre Lorde: The Berlin Years 1984 to 1992.

Written, directed and produced by German feminist publisher and professor Dagmar Schultz, the documentary provides an intimate portrait of the poet, professor, activist and cultural organizer who died of cancer in 1992 at age 58. Through never-released video, photographs and (sometimes hilarious) interviews with Lorde, her partner, Gloria Joseph, and a tight-knit group of Afro-German activists and writers, The Berlin Years tells the story of Lorde the genius facilitator.

When Harlem-born Lorde arrived in Berlin in 1984 as a visiting professor, she immediately sought out Afro-Germans—who were then known only by pejoratives like “cross-breed,” “mulatto” and “brown babies”—and taught them how to see themselves outside of what she observed as “the pain of living a difference that has no name.”

The anecdotes are rich. For instance, at the end of a 1984 poetry reading, Lorde asked the white women to leave the room and the black women to remain until they had spoken to at least one other black woman. “Her intention was to make us feel: No matter what you do, you are not alone,” recalls one Afro-German activist who was in that room. “You must work together! Make yourself visible and raise your voice, each of you in her own way.”…

Read the entire article here.

afro look: Die Geschichte einer Zeitschrift von schwarzen Deutschen

University of Massachusetts, Amherst
May 2000
245 pages
Publication Number: AAT 9978512
ISBN: 9780599844605

Francine Jobatey

Submitted to the Graduate School of the University  Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY, Department of Germanic Languages and Literatures

Purchase the dissertation here.

More Than A Few Words About Post-War German Cinema, Race and ‘Toxi’

Shadow and Act: On Cinema of the African Diaspora
2012-08-01

Sergio Mims, Staff Writer

For anyone interested in foreign films, one of the most interesting periods of German filmmaking was the post war period between 1946 to the mid 1960’s.

In effect, only two types of films were being made: pure escapist film such as musicals and comedies that were designed to make the audience complete forget the ugly events of the recent past. But then there were films such as The Lost One, Germany Year Zero, and Murderers Among Us which explicitly dealt with the aftermath of the horrors of World War II and Germany’s guilt and its repercussions.

But of all the films, one of the most fascinating, and worthy of rediscovery, is the 1952 film Toxi co-written and directed Robert Stemmie, who was major and very successful successful director of the period. It was one of the very few German films made then, and even now, which seriously tried to deal with race. No doubt a very touchy and controversial subject considering Germany’s Nazi “racial purity” agenda.

For years the film was very difficult to see. I first saw it a couple of years ago during a film series of post war German films. However, the film has been recently remastered and released on DVD and is available from the DEFA Film Library DVD series from the University of Massachusetts Amherst.

The film centers around an abandoned German “occupation baby”, which was the term for children of U.S, soldiers stationed in Germany after the war and German women, who were abandoned by their parents. It was estimated that there were some 3000-5000 of these children, many of whom were biracial.

The lead actress, who was six years old when she made the film, was Elfie Fiegert who was herself an “occupation baby” left by both her parents and adopted by a childless German couple who renamed her…

Read the entire review here.

The Afro-German project of Asoka Esuruoso and Philipp Khabo Köpsell

AfrokanLife
2012-04-15

Arriving in the future, Stories of Home and Exile will be an interdisciplinary approach to positioning. As a collection of poetry, short stories and academic essays on identity written by Black Writers who regard Germany as their home, and those who regard it as permanent or temporary exile, it will attempt to add a new layer to the debate and construction of Black Identity within the German context.

“There is an oversimplification of the Negro. He is either pictured by conservatives as happy, picking his banjo, or by the so-called liberals as low, miserable, and crying. The Negro’s life is neither of these. Rather, it is in-between and above and below these pictures.”
—Zora Neale Hurston 1944

What she speaks of is identity in its flattest form. The identity that people once saw when they looked at a black face, flat, blank, static, like a snap shot frozen in time. There was no breath behind the lips, no thoughts behind the mind. We were caricatures of ourselves, like a child’s drawing. It is a false image. Diversity and texture have been and continue to be at the core of Black identity. To be human is by definition to be complex. Yet the Oversimplified image persists, like a ghost that you just can’t shake, or a photo you can’t wipe free.

To escape simplification, new layers needed to be applied. From the African American Slave narratives quest for human dignity, to Du Bois’ The Souls of Black Folk, Zora Neale Hurston’s Their Eye’s Were Watching God, Franz Fanon’s Black Skin White Masks, Achebe’s Things Fall Apart, May Ayim’s Showing Our Colors and Blues in Black and White, and countless, countless more every literary generation has added a new layer to the image of Black identity and experience…

…However while anthologies of African American literature have been published since 1845, and African writers such as Chinua Achebe, Ben Okri, Ama Ata Aidoo and Chimamanda Ngozi Adichie (among others) have gained acclaim on the world stage, the writing and experiences of Black individuals within Germany has, even to this day, been largely ignored. Literary studies on Black Identity within the German context are still very few and far between, and the layers this Black German identity have added to the image of broader Black identity has often been overlooked.

“…und wenn Du dazu noch schwarz bist” (Edition Con) and “Showing Our Colors: Afro-German Women Speak Out” (Orlanda) in 1984 and 1986 were really the first testimonies on the lives of the African Diaspora in Germany to gain notice within mainstream German society. For Black individuals living in Germany – for those living in isolation – these publications became undeniable proof of the validity of their personal experiences. These texts offered a foundation for numerous other publications and further literary expression. They gave a deeper background and a clearer focus that allowed further perspectives…

…Parallel to the desire for societal acceptance a different question arose in the aftermath of this violence and rejection. Being a member of the African Diaspora, how does one definehome? For many people with African roots the concept of home and belonging can appear fragile. In the late 1990s, many Black authors negotiated this concept by depicting Africa as exile, utopia, or potentially a new/old place of belonging.

“I’m not at home/ still not at home/ not my country/ just my origin/ one of my origins” writes Olumide Popoola in her poem Nigeria – partly resigning, partly equivocating the concept of home…

Read the entire article here.

Germany gets first ever black mayor

The Local: Germany’s News in English
Berlin, Germany
2012-06-02

John Ehret, a black German who used to work for the Bundeskriminalamt (BKA), Germany’s equivalent of the FBI, is Germany’s first black mayor.

The 40-year-old Ehret, whose father was an African-American soldier and mother a native German, took over running the village of Mauer near Heidelberg, southern Germany on Friday, Der Spiegel reported on his inauguration.
 
Despite almost no campaigning, he picked up slightly more than 58 percent of the vote, beating out a civil servant in the village of about 4,000 residents. Observers said Ehret profited from a so-called “Obama” effect, though the trained police inspector didn’t seek the comparison…

…At six he was adopted by the Ehret family from Mauer. John became a star in the village and was the village’s only black resident. He was known as Pelé, after the Brazilian legend, at the club where he played football. John’s new dad was a respected Social Democratic Party member on the local council…

…Ehret, who insists he’s never experienced discrimination in Germany, is now in an odd position in which black Germans want him to be an example to others. But he’s not interested in that role.
 
“For that I feel I’m too German,” he said.

Read the entire article here.

The ‘Other’ from within: Afro-Germans as Scapegoats for the post-WWII German Society

Postgraduate History Conference: Creating the ‘Other’
Department of History, University of Essex
2011-09-20

Antje Friedrich
Department of English Literature
University of Bayreuth, Bayreuth, Germany

The theme of the graduate conference this year was ‘Creating the ‘Other’’ throughout history.  We were very pleased to welcome a large and diverse group delegates and presenters from a number of institutions who made for an engaging and lively audience.  We were also very happy to welcome Dr. John Bulaitis, of Canterbury Christchurch University, to provide the keynote address to the conference.  Contributions were arranged into four panels, which explored the relevance of historical processes of ‘Othering’ to the realms of national identity, crime, gender and colonialism.  Papers presented covered a multitude of topics, periods and contexts, ranging from the construction of persons of colour as servants in late 19th and early 20th century France, Germany and the United States, to the origins of sub-cultural cannabis-use in mid-20th century London, the utilisation of humour in the construction of masculinities during the English Civil Wars, and the introduction of the Contagious Diseases Act in the governance of the colonial ‘other’ in British-controlled Hong Kong in the late-19th century.  It is intended that a selection of papers presented shall form the basis of this years’ working papers series issued by the Department of History later on in 2011.  We would like to thank the Department for their generosity in funding this event.

For a long time in the collective German national memory, Afro-Germans had only been a side note to which little attention was paid. With the emergence of autobiographical works representing the perspective of Afro-German people, their struggle in society gained a public face. This article focuses on Ika Hügel-Marshall’s work Invisible Women: Growing up Black in Germany and the representation of her social struggle in post-WWII German society. Her depiction of the impact institutions had on her life – institutions that were meant to support the child’s development, but in her case prolonged the construction of the ‘Other’ as an outsider of society – will be accentuated.

The youth welfare office responsible for her, the orphanage she was sent to and the school she attended, represented the social spirit of the post-WWII era during which the anger of having lost the war and being under the control of the Allied Powers was projected onto people like Hügel-Marshall, who in the eyes of many Germans constituted the ‘Other’. Thus, this paper aims to highlight those social processes that constituted barriers for the development of the self and the mechanisms which helped Hügel-Marshall to finally break through and lead a self-determined life in a German society that often took the outward appearance as a decisive feature for creating an “in” and “out” group.

Read the entire paper here.

To discuss the perspective of race in contemporary German literature, it is worthwhile to focus on those writers associated with the programmatic efforts of the Afro-Germans, a heterogeneous, biracial group of individuals usually of German and African or African American heritage and born since 1945. In 1984 the late feminist author and scholar Audre Lorde presented a lecture and workshop in Berlin that apparently struck a resonant chord among the biracial women present. Lorde’s topic was African American and feminist literature. Allegedly the confrontation with African American literature and history led those present to call themselves “Afro-German” and to record “their-story.” The result has been organizational and publishing initiatives as well as a series of texts that include such disparate genres as lyric, film, essay, and rap. Perhaps the most interesting aspect in the evolution of Afro-German literature is the reception of the African American experience.

Leroy T. Hopkins, “Speak, So I Might See You! Afro-German Literature,” World Literature Today,Volume 69, Number 3, Multiculturalism in Contemporary German Literature (Summer, 1995): 533-538.

Toxi

DEFA Film Library
University of Massachusetts, Amherst
1952
85 minutes, b/w (English subtitles)
West Germany

Robert A. Stemmle, Director

A five-year-old girl suddenly appears on the doorstep of a well-to-do Hamburg family. The members of the multi-generational, white household react differently to the arrival of Toxi, who is black, the daughter of an African-American G.I. and a white German woman who has died. Eventually Toxi works her way into the hearts of this German family, but then her father returns, hoping to take Toxi back to America with him.

In West Germany at the time of the film’s release, there were nearly 100,000 children of Allied paternity born since WWII; of these, fewer than 5,000 were of colored paternity. Toxi was the first feature-length film to explore the subject of “black occupation children” in postwar Germany. It premiered in 1952 as part of a plan to raise public awareness, as these children began entering German schools. Known for his unique blend of social realism and melodrama, Robert A. Stemmle—one of in West Germany’s most popular directors—brought together an exceptionally renowned group of classic German actors with very diverse experiences of the Nazi era, including Paul Bildt, Johanna Hofer and Elisabeth Flickenschildt.

Special Features

• Biographies & Filmographies
• Audio commentary, by film scholars Angelika Fenner & Tobias Nagel
• “Toxi and the Story of Race after Nazism,” by historian Heide Fehrenbach
• Trailer: Brown Babies: The Mischlingskinder Story (2011, Dir. Regina Griffin)
• Original film flyer, with English translation
• Books on the movie