Mixed Race Studies

John Powell: His Racial and Cultural Ideologies

Min-Ad: Israel Studies in Musicology Online
Volume 5, Issue 1 (2006)
14 pages

David Z. Kushner, Professor Emeritus of Musicology/Music History
University of Florida

The opening of the first movement of the Symphony in A Major “Virginia Symphony” (Allegro non troppo ma con brio). QuickTime-format, WindowsMedia-format

Following John Powell’s death on August 15, 1963, Virginius Dabney closed his editorial comments in the Richmond Times-Dispatch with the following encomium: “Mr. Powell’s passing at 80 removes one of the genuinely great Virginians of modern times. In personality and character he was truly exceptional, and as a pianist and composer he was unique in the annals of the Old Dominion.” Only a dozen years earlier, on November 5, 1951, the then Governor of Virginia, John S. Battle, proclaimed a “John Powell Day,” on which the National Symphony Orchestra under the direction of Howard Mitchell performed the composer’s Symphony in A major. The Governor went on to state that the state-wide tribute to Powell was only fitting owing to “his many contributions to the cultural life of America….” The irregularity of such an extravagant gesture toward a musician in this country had the effect of rejuvenating interest in the artist both within the borders of Virginia and beyond. The world of academia, for example, contributed three master’s theses and a doctoral dissertation between 1968 and 1973, and Radford College, now Radford University, named its new music building Powell Hall at dedication ceremonies held on May 13, 1968.

By the 1950s and 1960s, Powell’s earlier involvement in contentious issues such as race relations in general, and the incorporation of racial and ethnic elements in the formation of an identifiably American music was conveniently forgotten or, at the least, placed on a back burner…

…Fame and, to some extent, fortune permitted Powell to devote more of his energy toward what became the leit motifs of his life—a preoccupation with racial purity and a conviction that Anglo-Saxon folksong serve as the primary basis for an identifiably American music. During the 1920s, Powell developed a friendship with Daniel Gregory Mason, a relationship that is treated in the latter’s book, Music in My Time.  Both composers held an aversion to the avant-garde music of their day and both supported the idea that an Anglo-Saxon-based musical aesthetic was the best way to establish an identifiably American music. But Powell’s persona is well-illustrated by the following remarks by Mason:

Considering how insatiably social John is, it is strange how hard it is to extract a letter from him. In all our long friendship I have accumulated only about half a dozen. He will gladly sit up all night with you, if you will let him, discussing music, or just gossiping—for he has an unappeasable appetite for personalia, especially when spiced with a little friendly malice—or declaiming on some of his pet fanaticisms such as the horrible dangers of intermarriage between Negroes and whites, or the supreme virtues of Anglo-Saxon folk-songs…

…Where Mason’s biases were slanted toward Jews, Powell’s were directed primarily, but not exclusively, to blacks. And these prejudices were, like Mason’s, intertwined with his views on the state of American music. In September 1922, Powell and several prominent Virginians of like thinking, was a founder of the Anglo-Saxon Clubs of America, the purpose of which was to foster “the preservation and maintenance of Anglo-Saxon ideals and civilization in America. This purpose is to be accomplished in three ways: first, by the strengthening of Anglo-Saxon instincts, traditions, and principles among representatives of our original American stock; second, by intelligent selection and exclusion of immigrants; and third, by fundamental and final solutions of our racial problems in general, most especially of the negro (sic) problem.” The pamphlet further enact legislation that will ensure the preservation of the white race:

1. There shall be instituted immediately a system of registration and birth certificates showing the racial composition (white, black, brown, yellow, red) of every resident of this State.
2. No marriage license shall be granted save upon presentation and attestation under oath by both parties of said registration or birth certificates.
3. White persons may marry only whites.
4. For the purposes of this legislation, the term “white persons” shall apply only to individuals who have no trace whatsoever of any blood other than Caucasian.

Aligning himself with leaders of the burgeoning eugenics movement, Powell was instrumental in gaining political support for passage of the Racial Integrity Act, which was signed into law on March 20, 1924 by the Governor of Virginia, Elbert Lee Trinkle. This bill also forbade the marriage of Orientals and other non-whites to whites, although the compulsory registration provision was defeated…

…Powell makes clear the direction in which he is heading, by decrying the likelihood of miscegenation and by citing specifically “the negro (sic) problem”:

If the present ratio were to remain permanent, the inevitable product of the melting pot would be approximately an octoroon. It should not be necessary to stress the significance of this point. We know that under Mendelian law the African strain is hereditarily predominant. In other words, one drop of negro (sic) blood makes the negro (sic). We also know that no higher race has ever been able to preserve its culture, to prevent decay and eventual degeneracy when tainted, even slightly, with negro (sic) blood. Sixty centuries of history establish this rule. Since the first page of recorded fact, history can show no exception. Were the American people to become an octoroon race, it would mean their sinking to the level of Haiti and Santo Domingo…

Read the entire article here.

Phil Lynott: Famous For Many Reasons

Irish Migration Studies in Latin America
Volume 4, Number 3 (July 2006)
Published by The Society for Irish Latin American Studies

John Horan

Bronze statue of Phil Lynott on Harry Street, Dublin (by Paul Daly, cast by Leo Higgins, plinth hand-carved by Tom Glendon)

In view of the unique and colourful history of the ties between Ireland and Brazil that date back centuries, it is perhaps surprising that the most famous Irish-Brazilian was a mixed-race rock star from Dublin. Phil Lynott was one of Ireland’s first world-famous rock stars, and definitely the most famous black Irishman in the island’s history, long before the advent of a new era in the Republic that facilitated the immigration of people from various African nations from the 1990s. Lynott’s band, Thin Lizzy, was the first internationally successful Irish rock band, and Lynott himself was considered the biggest black rock star since Jimmy Hendrix.

Phil Lynott: THE ROCKER, a 2002 biography by Mark Putterford, begins with the sentence, “Phil Lynott was one of the most colorful and charismatic characters in the history of rock ‘n’ roll.” This sentence would be considered an understatement by those who knew him through all stages of his life. His family history was typical in some ways, but his mother’s personal history was anything but typical for Ireland in 1949, the year he was born.

Philomena Lynott was born in Dublin in 1930 to Frank and Sarah Lynott. She was the fourth of nine children, all of whom grew up in the working-class Crumlin district on the south side of Dublin. Economic hardships in the Republic prompted her to choose to move across the Irish Sea to Manchester to find work, while many of her friends went to Liverpool. Shortly after her arrival in Manchester, she was courted by a black Brazilian immigrant whose surname was Parris. To this very day, Philomena Lynott has never spoken publicly about her son’s father, so as to protect his privacy. She once said, “He was a fine, fine man, who did the decent thing and proposed marriage to me when I told him I was pregnant.” Philomena and her former boyfriend stayed in contact for five years after their son was born. However, when it became clear that marriage was no longer a possibility between the two, they drifted apart. It is said that Philip Lynott’s father returned to live in Brazil and started another family, which has always been the reason given for Philomena’s refusal to provide any information about the “tall, dark stranger” who was her son’s father, as she never wanted to disrupt his life with his new family. Several sources cite that the Brazilian made some level of financial contribution towards supporting his Irish son in the early years…

Read the entire article here.

Race, Ethnicity, and Difference in a Contemporary Carioca Pop Music Scene

Diagonal: Journal of the Center for Iberian and Latin American Music
Volume 6 (2010) [Rethinking Race and Ethnicity in Brazilian Music (c1600-Present)]
16 pages

Frederick Moehn, Assistant Professor of Music; Affiliate, Latin American and Caribbean Studies Center Africana Studies
Stony Brook University, State University of New York

Parts of this paper are from my book-in-progress, tentatively titled “Chameleon in a Mirror: Essays on Sound and Society in a Brazilian Popular Music Scene”, for Duke University Press.

In my research on popular music making in Brazil, primarily in Rio de Janeiro and largely among middle-class subjects, one of the things I have sought to analyze is how individuals conceptualize mixture, understood on a variety of levels but always in relation to the dominant discourse of national identity in the country. As you all know, this is a discourse which holds that Brazil’s history of miscegenation corresponds to a natural facility with cultural mixing. Moreover, it is widely presumed that this purported capacity is most fabulously in evidence in the sphere of music making. There exists a comfortable fit between celebratory discourses of national identity as rooted in miscigenação, on the one hand, and the way many contemporary Brazilian musicians—not just in Rio de Janeiro but generally in urban areas—talk about their practice, on the other. Such talk, in turn, has real bearing on musical sound as mixture becomes almost an imperative in some scenes: to make “Brazilian” music, following this logic, is to mix (and not to mix risks seeming rather un-Brazilian, or at least overly traditionalist). What theoretical tools can we bring to bear on this naturalized and seemingly self-evident logic of cultural production, interpretation, and national identity? In this paper I will examine a variety of aspects of these dynamics in an effort to reflect on our central theme of rethinking race and ethnicity in Brazilian music…

…Hybridity theory and difference

Let me return for a moment to the question of mixture and its association with racial contact. In Brazil, of course, we also encounter the influential modernist theory of cultural cannibalism, or anthropophagy, as a specifically artistic discourse about difference, appropriation and recombination, arising around the same time as race mixture begins to be positively valued in debates over national identity; that is, the 1920s and 30s. These modernist tendencies predate the emergence of the hybridity theory that arose in the postmodern postcolonialism of the 1980s and 1990s. As Joshua Lund has written, the resurgence of hybridity in the human sciences during these later decades “was met with the incredulous response in Latin Americanist circles that can be summed up by the question ‘So what else is new?’“ Hybridity, suddenly the fashionable cultural theory, “had always been a generic mark of Latin America’s geocultural singularity.”…

Read the entire article here.

Sonic spaces: Inscribing “coloured” voices in the Karoo, South Africa

University of Pennsylvania
2006
228 pages
Publication Number: AAT 3246175

Marie R. Jorritsma

A Dissertation in Music Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy

A common stereotype of those classified as “coloured” in apartheid South Africa was that, because of their mixed racial heritage, they had no authentic racial or cultural identity and history. This dissertation counters that lingering stereotype by examining how musical performance enabled “coloured” community members around the town of Graaff-Reinet to claim a place for themselves collectively under apartheid and in post-apartheid South Africa. Nurtured and sustained by a policy of racial purity, the apartheid regime held a deeply ambivalent position towards those it categorized as “coloured,” the racial group it defined as “not a white person or a native.” Oral and written sources typically convey “coloured” people’s ethnic identity, cultural history, and musical heritage as similarly lacking. Despite this, music has been and continues to be an integral part of the religious practices of this community though its performance has survived practically unnoticed by those outside.

By placing the voices of “coloured” people at the center of this study, I move beyond the myopic apartheid view that saw “coloured” people purely in terms of their ethnic origins and capacity for labor. Instead, I approach “coloured” music and history in terms of the sounds and spaces of their religious performance culture. My research provides a narrative of “coloured” social history in the Graaff-Reinet region that is drawn from regional archives and empirical research in the form of fieldwork, specifically participant observation. I concentrate on religious musical practice, namely, hymns, koortjies (little choruses), choir performance, and the singing at women’s society meetings. Studying song performance creates a complex nexus of music, race, religion, and politics, and constitutes a vital way of retrieving history and oral repertories. This music thereby provides one vehicle for groups and individuals in this community to articulate a more “legitimate” place for themselves in the contemporary landscape of South African history and culture.

Table of Contents

• Acknowledgments
• Abstract
• List of Illustrations
• Preface
• Chapter One – Introduction: Sonic Spaces, Inscribing “Coloured” Voices
• Chapter Two – Senzeni na: Music, Religion, and Politics in Three Kroonvale Congregations
• Chapter Three – Singing the “Queen’s English”: Church Choirs in Kroonvale
• Chapter Four V – Mothers of the Church: Women’s Society Music and South African Gender Issues
• Conclusion
• Appendix 1: Glossary
• Bibliography

List of Illustrations

1. View of Umasizakhe, Graaff-Reinet, and Kroonvale
2. View of Kroonvale, Santaville, Asherville, Koebergville, and Geluksdal
3. Map of Kroonvale
4. Old DRMC Building in Graaff-Reinet
5. Last Church Service Held at the DRMC Building, c. 1964
6. URC Building in Kroonvale
7. Old PSCC Building in Graaff-Reinet
8. PSCC Building in Kroonvale
9. Old Klein Londen Building in Graaff-Reinet
10. ESCC Building in Kroonvale
11. View of URC and PSCC from ESCC Grounds
12. Parsonage Street Congregational Church, 13 February 2005
13. East Street Congregational Church, 17 July 2005
14. Uniting Reformed Church, 15 August 2004
15. Combined Congregational Church Broederband service, 17 February 2005
16. Wat bring jy myn die domme?: Cape Malay Ghomma-liedjie notated by I.D. du Plessis
17. Juig aarde juig sung by Mrs J.S. Beukes, Mr W.S. Adonis and Mr J.W. Beukes, 16 April 1980
18. Hy’s hier om ons te seen (He’s here to bless us), Uniting Reformed Church, 5 December 2004
19. Jesus is so lief virmy (Jesus loves me very much), East Street Congregational Church, 26 June 2005
20. Dit was nie om te oordeel nie (It was not to judge), Parsonage Street Congregational Church, 6 March 2005
21. Worstel mens (Wrestle sinner), Combined Congregational Church Broederband service, 17 February 2005
22. Graaff-Reinet Mayor Daantjie Jaftha
23. Zion, City of God (G. Froflich)
24. Holy Holy Holy (Franz Schubert)
25. Program of Concert Tour and Performance in Kimberley, 3 September 1972
26. Restored Slave Cottages at Stretch’s Court, Drostdy Hotel
27. Wees stil en weet, Women’s World Day of Prayer Service, East Street Congregational Church, 3 March 2005
28. Wees stil en weet, “Official” Hymnbook Version

PREFACE

As a child, the Karoo always symbolised an escape for me. It was a refuge from the routine of school attendance, extra-mural activities, and the restlessly windy, unpredictable weather of the coastal city of Port Elizabeth. The family farm lay only three and a half hours1 drive away from the city, where huge breakfasts of porridge, toast, and tea fortified me for seemingly endless sunny and windless days spent walking in the surrounding veld, participating in (and most likely, hindering) the usual farming activities, and playing in the water furrows. A typical Karoo child displays an endless fascination with the precious commodity of water, and diverting the small rivulets in the furrow to flow smoothly over the muddy gravel guaranteed countless hours of captivation.

My grandmother used to tell me, as a child, to look for San tools such as grinding stones or arrowheads when walking in the Karoo veld. To this day, this collection remains displayed in the farmhouse. It never occurred to me then that the San people, the forebears of many present-day “coloured” people, suffered merciless persecution on the part of my ancestors, the colonial settlers.

When I returned to the Karoo for fieldwork on the music of “coloured” people, this memory of looking for San ”treasure” and proof of their existence in this area contrasted very strangely with the historical accounts I read about the violent treatment of the San people by the settlers. Immersed in my research, I seldom visited the veld, and instead explored my childhood memories in new contexts of colonial history and apartheid. As much as this project was originally driven by a deep appreciation of and interest in this music and then an ongoing desire that it not be ignored, my own background as the granddaughter of a Karoo farmer had to be revisited and recontextualised as the project continued.

I remember sitting in June Bosch’s home one day when for once my childhood memories did not clash with the historical and contemporary stories of “coloured” people’s oppression and marginalization. June Bosch and her cousin, Loretta Fortune, told me a story from their childhood days in Caroline Street, Graaff-Reinet. On Tuesdays and Thursdays, water from the Van Ryneveld’s Pass Dam outside the town would be led into the cement furrows lining the streets for the townspeople to use. As the neighborhood children spotted the water, they would shout up the street to announce its presence and run for any and every available container. June was under strict instructions from her grandmother to water the garden roses first, and then to spray the unpaved street in order to settle the dust. After fulfilling these duties, the children would play in the furrows until the water flow ceased. Recognizing the similarity in our childhood games and activities with their focus on water made it poignantly apparent to me that we were all once children of the Karoo.

This research project thus stems from my own connection to Graaff-Reinet and its surrounding area. Combined with a strong scholarly fascination with this music, my reasons for undertaking the project also included the opportunity to revisit and perhaps, in some small way, to recapture the past. No longer a childhood escape, it is the spaces and sounds of this Karoo community that have offered me a new perspective on my relationship to this place and its people…

Purchase the dissertation here.

Enka Superstar Jero: A Conversation and Mini-Concert

University of California, Berkeley
Wheeler Hall
2011-04-08, 20:00-21:15 PDT (Local Time)

Free and open to the public

The Center for Japanese Studies at the University of California, Berkeley, is proud to announce that Jero, the Japanese-African-American enka singer, has been selected as the winner of the 2nd annual Berkeley Japan New Vision Award. The Center will host an invitation-only award ceremony at 5:00pm on Friday, April 8, at the Doe Library Morrison Room on the UC Berkeley campus followed by a public on-stage interview and mini-concert at 8:00pm in Wheeler Hall.

Part Japanese and part African American, Jero (born Jerome Charles White) is enka’s rising star ever since his hit single Umiyuki burst onto the charts in 2008. His albums, Yakusoku (2009), Covers (2008), Covers 2 (2009), and Covers 3 (2010) have been widely acclaimed as he has revived interest in this music genre. Winner of the 2008 Best New Artist Award at the Japan Record Awards and the 2011 Berkeley Japan New Vision Award, he has also regularly appeared on Japanese TV and commercials as well as performing at the prestigious New Year’s Eve Kôhaku Utagassen concert twice.

The Berkeley Japan New Vision Award was established in 2009 to award an individual who has, in recent times, dramatically transformed our vision of Japan. Singing traditional Japanese ballads in an American idiom, not only has Jero rekindled an interest in enka among the younger generation of Japanese but he has also opened up the possibilities for fluent Japanese-speakers from around the world breaking into the entertainment and other industries in Japan. Given his mixed-race background, he has also become a symbol for the acceptance of a more multiethnic society for 21st-century Japan…

For more information, click here.

Musical Miscegenation? Rock Music and the History of Sex

e-misférica
Hemispheric Institute for Performance & Politics
Issue 5.2: Race and its Others (December 2008)

Tavia Nyong’o, Associate Professor of Performance Studies
New York University

Image by Bruce Yonemoto

Countering facile analogies between musical hybridity and sex across the color line that characterize certain popular discourses about American popular music, this essay explores the genealogy of “miscegenation” in U.S. political discourse. Undermining claims that “musical miscegenation” explains black influence in rock music, the essay shows how “miscegenation” emerged precisely as a means of policing and proscribing black citizenship and black/white social equality.

“So, when it comes, miscegenation will be a terror …”
—Norman Mailer, “The White Negro,” 1957

When pop music critic Sasha Frere-Jones wondered aloud in the New Yorker magazine as to how, when, and why “indie rock lost its soul” in the mid-1990s, he provoked a small controversy among popular music critics, bloggers, and fans. Lamenting rock’s decreasing reliance on what he described as “the ecstatic singing and intense, voicelike guitar tones of the blues, the heavy African downbeat, and the elaborate showmanship that characterized black music of the mid-twentieth century,” Frere-Jones targeted contemporary musicians that he considered to be guilty of divorcing (white) rock from its (black) roots (Frere-Jones 2007a). Part of his argument resembled prior cases made by music critics like Albert Murray (1990) and Kandia Crazy Horse (2004), who have also extolled the universal basis and relevance of black music. But it took a peculiar turn when he attributed the steady diminution of black heat, rhythm, and ecstasy in 1990s and 2000s rock to a cultural separatism jointly enforced by hip hop and academic political correctness…

…Miscegenation as Political Coinage

Scholars and journalists routinely employ miscegenation, with or without scare quotes, to denote the “mixing” of the so-called races. Even when they pause to think about it, even when, as with Frere-Jones when they are challenged on their use of it, they typically ignore or seem unaware that the word appeared at a particular time and place, and for a particular purpose. Whatever Ralph Emerson meant by the “smelting pot,” for example, he could not have meant “miscegenation” musical or otherwise, simply because the word did not yet exist, and because he chose not to use the closest variant with a racial connotation that did exist at the time, amalgamation. While a variety of terms for race, caste, and color “mixing” have emerged from the time of the Encounter with the New World, no single term can accurately index all of that history. Miscegenation is not the translation of the Spanish mestizaje or the Portuguese mestizagem it is commonly assumed to be, as both terms long predate it. Nor does it have any etymological relation to words like “mulatto,” “mestizo,” or, for that matter, “hybrid.” It is, to quote William Carlos Williams, a “pure product” of the U.S., a specimen of rhetorical chicanery and pseudo-scientific quackery whose astonishing success at infiltrating the language should only surprise those who doubt the immense resources of racial disavowal in the shaping of our culture…

Read the entire article here.

Métis, mixed-ness and music: Aboriginal-Ukrainian encounters and cultural production on the Canadian prairies

The Henry M. Jackson School of International Studies
University of Washington
Canadian Studies Center
Walker-Ames Room, Kane Hall
Wednesday, 2011-04-20 19:00 PDT (Local Time)

Marcia Ostashewski, Fulbright Visiting Research Chair in Canadian Studies

Aboriginal/non-Aboriginal intermarriages, often described as “mixed-race,” have been the focus of historians and anthropologists, and represent an important legacy of the colonial pasts and present of both the United States and Canada which require further investigation. As an ethnomusicologist, Ostashewski is investigating a legacy of Aboriginal/Eastern European settler encounters and relations in music, dance and related expressive culture on the Canadian prairies. In this presentation, she focuses on Alberta-based musician Arnie Strynadka, “The Uke-Cree Fiddler”—looking at the ways in which his musical life and performance represent a particular encounter and fusion of ethnicities, examining experiences of hybridity and intercultural relations in the context of this unique, western Canadian musical life.

For more information, click here.

The Influence of Bob Marley’s Absent, White Father

The Dread Library
Essays from the University of Vermont Class, Rhetoric of Reggae Music
2002-04-30

Scott Gurtman

My fadda was a guy yunno, from England here, yunno?  Him was like…like you can read it yunno, it’s one o’dem slave stories: white guy get the black woman and breed her.  He’s a English guy…I t’ink.  Cos me see him one time yunno.  My mother?  My Mother African.”   (Bob Marley, 1978)

The psychological aftermath of being an abandoned child of a biracial marriage was something that heavily influenced reggae superstar Bob Marley for his entire career.  Many of Marley’s most loyal fans and the vast majority of reggae enthusiasts are unaware that he was, indeed, born to a white father, Captain Norval Marley, and a black mother, Cedella Booker.  Bob Marley grew up angry with his father who he felt had mistreated him and his mother. Marley was also partially ashamed of his white heritage.  This childhood mentality of resentment and embarrassment sculpted Marley’s youth and eventually influenced the ideals and work of his musical genius for his entire career.  The sentiment of abandonment and the lack of a father figure forced Bob Marley to look to other means, like the ideals of Rastafarianism, for direction, comfort, and a sense of belonging.  The strong allegiance to black culture that resulted from the absence of his white father also partially attributed to Marley’s unwaveringly sense of Pan-Africanism.  The imperfections and almost total absence of Bob Marley’s Caucasian father, Captain Norval Marley, had a profound psychological influence on the great reggae icon…

Read the entire article here.

Queer Punk Macha Femme: Leslie Mah’s Musical Performance in Tribe 8

Cultural Studies↔Critical Methodologies
Volume 10, Number 4 (August 2010)
pages 295-306

Deanna Shoemaker, Assistant Professor of Applied Communication (Performance Studies)
Monmouth University, West Long Branch, New Jersey

This essay analyzes the musical performances of Leslie Mah, biracial lead guitarist and backup vocalist for the legendary all-female, queercore punk band Tribe 8, whose members broke up in 2005 after fifteen years together. Inspired by the recent turn in performance studies toward studies of music as performance, this work employs multiple methods and objects to get at the complex totality of popular music’s performativity. Mah’s macha femme persona, playing style, and performance of identity as a lesbian woman of color within queercore punk music allow her to enter a carnivalesque realm of feminist menace, palpable rage, and unruly pleasure. Mah’s performance strategies and articulations of her queer and biracial identities in interviews are contextualized within feminist performance, riot grrrl, and punk music studies. Tribe 8’s lyrics, music, marketing, and band member personas provide cultural context for Mah’s distinctive performance of macha femme.

Read or purchase the article here.

‘If You Can’t Pronounce My Name, You Can Just Call Me Pride’: Afro-German Activism, Gender and Hip Hop

Gender & History
Volume 15 Issue 3 (November 2003)
Pages 460 – 486
DOI: 10.1111/j.0953-5233.2003.00316.x

Fatima El-Tayeb, Assistant Professor of African-American Literature and Culture
University of California, San Diego

The history of the black German minority, now estimated at around 500,000, goes back several centuries. It is only since the twentieth century, however, that Germans of African descent have been perceived as a group. This did not lead to their recognition as a national minority, but rather, from the 1910s to the 1960s, they were defined as a collective threat to Germany’s racial and cultural ‘purity’. When a sense of identity emerged among Afro-Germans themselves in the 1980s, the majority population continued to deny the existence of ethnic diversity within German society. At the turn of the twenty-first century, Afro-Germans seemingly suddenly appeared as a new, ‘hip’ minority. This appearance was largely focused on the immense public success of the Hip Hop collective ‘Brothers Keepers’, conceived as an anti-racist, explicitly Afro-German intervention into German debates around national identity and racist violence. This article explains the success of ‘Brothers Keepers’ by contextualising it within the tradition of two decades of Afro-German feminist activism and the transnational Hip Hop movement of European youth of colour.

Read or purchase the article here.