Mixed Race Studies

The Black Lives Matter Movement As An Asian American

Bozeman Magazine
Bozeman, Montana
2020-07-01

Cassie Pfannenstiel

The issue of race in America is complex. Many communities of varying cultures exist together often without accepting one another in a meaningful way. Growing up in a multicultural home as a mixed-race child, I often felt as a cultural outsider to either half of me. Around my white friends and family, I was the minority and with other Asians, I was “too white” to really fit in.

I had two different sides of me that were never really brought together. I wasn’t allowed to learn Tagalog from my mother growing up, which caused me to miss out on a lot of Filipino culture and deeper relationships. Even today, my mother and I have a strained relationship because of the language barrier between us. The lack of that half of my culture was filled by the other half of my upbringing: a mostly white-washed experience in which I still wasn’t fully accepted because of my mixed origins. As a child, I was unable to understand where I stood amongst the white kids with “normal” upbringings. When I looked at myself, I couldn’t tell if I even looked Asian or not. I became used to random strangers asking questions like: “What are you?” “What’s your heritage?” “Where are you from? No, originally.” These questions solidified my racial ambiguity. I became used to identifying as white and American first before my more prominent Asian culture. The questioning reminded me that although I had embraced and assimilated into white culture, I was not white…

Read the entire article here.

“Is There a Self in This Text? Satire, Passing, and Life in Danzy Senna’s Caucasia”

Critique: Studies in Contemporary Fiction
Published online 2020-06-25
DOI: 10.1080/00111619.2020.1784083

Myers Enlow
University of Memphis , Memphis, Tennessee

In this paper, I argue that Danzy Senna’s Caucasia is a satirical passing narrative that exposes the tragedy of traditional passing novels as archaic for relying on racial binaries and perpetuating white desirability. I draw on the existing scholarship surrounding satire and traditional passing narratives and apply it to Senna’s work to analyze the ways this novel differs from traditional, early 20th-century passing narratives to comment on the absurdity of white desirability and the racial binary through the American Dream. Specifically, I look at Caucasia as a location in which the main characters – biracial Birdie and Cole Lee; their white mother, Sandy; and their black father, Deck – must find a way to live. The all-white space the characters are forced to inhabit informs their racial identities and desires and leads to a double consciousness within the narrator, Birdie. Ultimately, Senna’s satire illuminates the tragic passing narrative as complicit in upholding and reinforcing assumptions of a binary world. Additionally, Senna shows the double consciousness African Americans and biracial individuals embody because of America’s fixation on the white, American Dream that manifests itself as life in Caucasia.

Read or purchase the article here.

“I’m not saying that everybody, or even most people, who are inspired by [Robin] DiAngelo or want to hear what she’s saying are cynical. But I do think that what people like Barbara and Karen Fields are asking of us in their book Racecraft: The Soul of Inequality in American Life; what Paul Gilroy in Against Race is asking of people; what someone like Albert Murray was asking of people when he told us that we were a “mongrel nation,” and that “[a]ny fool can see that white people are not really white, and that black people are not black”; what, in my own way, I’ve tried to propose in Self-Portrait in Black and White, is that you can’t actually defeat racism by merely opposing racism. You have to actually start opposing the categories of race if you want to transcend the hierarchies and caste systems they impose. I think that’s a much harder task.”—Thomas Chatterton Williams

Otis Houston, “Part of a Larger Battle: A Conversation with Thomas Chatterton Williams,” Los Angeles Review of Books, July 16, 2020. https://lareviewofbooks.org/article/part-of-a-larger-battle-a-conversation-with-thomas-chatterton-williams/.

In recognizing and expressing gratitude for the many opportunities he’s had, [Patrick] Mahomes also tells me he’s proud of his Black heritage—a subject he notices is sometimes talked about online. “I’ve seen how people, on Twitter, have tweeted and said, ‘Oh, you’re not full Black,’ ” he said. “But I’ve always just had the confidence and believed in who I am. And I’ve known that I’m Black. And I’m proud to be Black. And I’m proud to have a white mom too. I’m just proud of who I am. And I’ve always had that confidence in myself.”

Clay Skipper, “How Patrick Mahomes Became the Superstar the NFL Needs Right Now,” GQ, July 14, 2020 (August 2020 issue). https://www.gq.com/story/patrick-mahomes-cover-profile-august-2020.

Born into Slavery, Joshua Johnson Became the First Black Professional Artist in the United States

Artsy
2020-07-16

Jaelynn Walls, Curator and Writer
Houston, Texas

Joshua Johnson Family Group, ca. 1800 National Gallery of Art, Washington D.C.

Historians know woefully little about Joshua Johnson, the first professional African American artist to work in the United States. An active painter in Maryland and Virginia from roughly the 1790s to 1825, Johnson was all but forgotten until the middle of the 20th century. In 1939, Baltimore genealogist and art historian J. Hall Pleasants attributed 13 paintings to Johnson and began the long journey of reconstructing his career through scraps of often contradictory information. Even the artist’s last name is uncertain, and many art historians are still debating whether it was spelled “Johnson” or “Johnston.”

Johnson was born into slavery in mid-18th-century Maryland to a white man and a Black slave woman owned by William Wheeler Sr. Chattel records note his race as mulatto, though Maryland had no legal definition for what constituted “Black” versus “mixed race” at the time. Pleasants located documents variously describing Johnson as a slave, a slave trained as a blacksmith, a Black servant afflicted with consumption, and an immigrant from the West Indies.

While much of Johnson’s history remains mysterious, his special place in art history is assured. The next renowned African American artists to emerge in the United States, Robert S. Duncanson and Henry Ossawa Tanner, followed Johnson by decades…

Read the entire article here.

How Patrick Mahomes Became the Superstar the NFL Needs Right Now

GQ
2020-07-15

Clay Skipper, Staff Writer
Photography by: Pari Dukovic

After winning his first Super Bowl, Kansas City Chiefs quarterback Patrick Mahomes was supposed to have a straightforward summer: First sign a blockbuster new contract. Then prepare to repeat. But when a pandemic gave way to a protest movement that implicated the NFL, the game’s brightest star began to find his voice—and prove that he’s as adroit off the field as he is on it.

Patrick Mahomes calls right on time. When my phone rings, the area code flashes “Tyler, Texas,” where the young Kansas City Chiefs quarterback grew up. It’s early June and a pivotal point in an already momentous off-season. Whatever he might have expected as he walked off the field in February—a first-time Super Bowl winner, coronation complete, celebration on the horizon—was upended by a generational pandemic. And now, historic protests roil the country. Two weeks have passed since the killing of George Floyd by Minneapolis police, and the 24-year-old Mahomes is still trying to make sense of the moment.

Just a few days earlier, Mahomes had joined more than a dozen other Black NFL stars—Odell Beckham Jr., Michael Thomas, and Saquon Barkley among them—in a powerful 71-second video, calling on their employer to condemn racism. It shouldn’t have been a bold assertion. But, of course, it was. While nearly every big American corporation was addressing the significant work to be done on racial justice and equality, the NFL was being asked to address a particularly egregious track record. This is a league in which 70 percent of players are Black but only three coaches, two general managers, and zero majority owners are; a league in which the response to Colin Kaepernick’s protest of police brutality was to promptly run him out of a job.

This time, though, the reaction was different. Less than a day after the players’ video, NFL commissioner Roger Goodell filmed a clip of his own, offering a point-by-point affirmation of the players’ requests. According to a report from ESPN, a key factor in his swift response was the participation of one young player in particular: Patrick Mahomes…

Read the entire article here.

The Man Striving to Be the ‘Canadian Obama’

The New York Times
2020-07-10

Dan Bilefsky, Canada Correspondent

“The abuse of power has plagued brown and Black people, and we have had enough,” Balarama Holness said. Nasuna Stuart-Ulin for The New York Times

Balarama Holness, 36, a law student and community organizer who once played professional Canadian football, is becoming a leading voice against systemic racism in his country.

MONTREAL — For Balarama Holness, the defining moment of his life happened four years before he was born. It was at a Bob Marley concert in Montreal, when the eyes of his Québécois mother and his Jamaican father interlocked as the singer wailed, “Get up, stand up, stand up for your rights!”

It was the final year of the freewheeling 1970s, and his adventurous Francophone mother and ascetic Anglophone father were strangers in a sprawling hockey arena. But Mr. Holness said barriers of language and race momentarily collapsed as the Marley anthem washed over the crowd — a rare alchemy that he said he had spent his whole life chasing.

“The music dissolved fictitious divisions in society,” Mr. Holness said, “and somewhere between the dreadlocks, the Jamaican patois and Québécois French, the seeds of my existence were sowed, along with my future as a rebel.”

Educator, broadcaster, law student and former championship-winning professional Canadian football player, Mr. Holness, 36, aspires to be a “Canadian Obama” — another “biracial lawyer,” he observes, who cut his teeth as a community organizer. His other role model is Colin Kaepernick, the Black quarterback whose kneeling during the American national anthem before N.F.L. games became a potent symbol against racial and social injustice.

Mr. Holness’s outsized swagger and ambition are perhaps inevitable — he noted that because of his parents’ respect for Hindu tradition, they named him Balarama, considered by some a god with extraordinary strength. A first cousin, Andrew Holness, is Jamaica’s prime minister.

In Balarama Holness’s case, he has grabbed Canadian headlines after mobilizing a grass-roots movement over the past two years that pushed Montreal’s City Hall to hold hearings on systemic racism. That is no small accomplishment in Quebec, a French-majority province where the government has repeatedly denied the existence of systemic racism…

Read the entire article here.

Why Kamala Harris’ Afro-Asian Identity Matters | Opinion

Newsweek
2020-07-09

Oneka Labennett, Associate Professor of American Studies and Ethnicity
University of Southern California

Front-runner. Black woman. Afro-Asian? A favorite to become Joe Biden’s running mate, Kamala Harris is in the homestretch of the most consequential veepstakes of our lifetime. With cries for racial justice and police reform gripping the nation, we know Harris’ Blackness matters to a Democratic ticket led by a white male septuagenarian—but so does her Asian identity.

As the daughter of immigrants from India and Jamaica, Harris’ Afro-Asian heritage puts her at the crux of the coronavirus crisis. Just as the pandemic has cast a stark light on the lethality of systemic anti-Black racism in the United States, it has also exposed discrimination and xenophobia against Asian communities and other immigrants. Still, a Black cop and an Asian cop are among the officers charged with aiding and abetting George Floyd’s murder. Speaking to Black and Asian constituencies now would be a powerful acknowledgment that could further galvanize political coalition building while tending to the wounds of division.

Of course, the senator’s Afro-Asian heritage is muted in part because of the American one-drop rule—“a drop of Black blood” makes an individual Black. In her book The Truths We Hold, Harris recounts that her mother understood that America would view her daughters as Black, so she raised them as such…

Read the entire article here.

It’s not your mixed race friends’ responsibility to coach you through the Black Lives Matter movement

MetroUK
2020-06-15

Miranda Larbi

It’s not our job to help you through this awakening (Picture: Ella Byworth for Metro.co.uk)

These past few weeks have been hard for everyone linked to the black community.

On top of the collective trauma that comes from the murder of yet another black man, it’s as if the whole world has suddenly woken up to the realities of racism.

This white awakening has had a real emotional impact on many ethnic minorities. After all, imagine having to deal with racism on a near-daily basis for generations only for you to be believed now. But the unexpected result of all this – for me at least – has been the almighty load put on me by my white friends.

Those of us who are black and white (and no doubt, other mixes too) seem to have become tools to enlighten, comfort and placate white angst…

Read the entire article here.

Part of a Larger Battle: A Conversation with Thomas Chatterton Williams

Los Angeles Review of Books
2020-07-16

Otis Houston
Portland, Oregon

Thomas Chatterton Williams

I FIRST INTERVIEWED Thomas Chatterton Williams for the Los Angeles Review of Books in the spring of 2019. We discussed his then-forthcoming book, Self-Portrait in Black and White: Unlearning Race, as well as the state of the discussion about race in in the United States, including the popular movements for social justice born of the increased visibility of the killings of black Americans by police.

I recently spoke with Thomas again about what has changed in the way we talk about race and identity. We also discussed the effects of the collision of social justice theories with art and institutions, and the best-selling books that are now influencing the national mood and tracing the borders of generational and ideological difference in the United States in 2020.

Thomas is a contributing editor at The New York Times and a columnist at Harper’s. He spoke to me by phone from his home in Paris, France. The following conversation has been edited for length and clarity.

OTIS HOUSTON: At about this time last year we discussed Self-Portrait in Black and White: Unlearning Race. One of your main arguments was that, in order to transcend racism and the social hierarchies it imposes, we have to commit to rejecting the very concept of race and its centrality in determining our identities.

One year later, in a time of mass protests in response to the killing of George Floyd, it seems to me like we’re seeing the media and some of the most prominent voices in the antiracism movement moving further away from the view of race and identity you’ve been advocating for. Increasingly, they argue that effective opposition to racism requires racial identity to always be foremost in our minds, both in the way we view politics and society and in our daily interactions with one another. This ideological movement is perhaps most visible in the books How to Be an Antiracist by Ibram X. Kendi and White Fragility by Robin DiAngelo, which have topped best-seller lists for weeks now. How would you describe this shift in thinking?

THOMAS CHATTERTON WILLIAMS: I see that as kind of a lamentable movement, actually. The two books that have dominated the conversation — and I mean dominated — are books that brook no middle ground and occlude any nuance. Robin DiAngelo’s central thesis, for instance, is that white people function not as individuals, but as a category, as a monolith that is inherently racist. According to her, to deny that you’re racist as a white person is proof of your racism, and to admit that you’re racist as a white person is proof of your racism, and the circular logic is airtight…

Read the entire interview here.