Mixed Race Studies

Black History Month – #IMIRISH Exhibition Launch

London Irish Center
50-52 Camden Square
London, United Kingdom, NW1 9XB
2016-10-06 through 2016-10-31, 19:00 BST (Local Time)

#Iamirish a Photography Exhibition launching a series of workshops and debates linking those of mixed race heritage to their Irish family ancestry.

The Exhibition will be opened by Dan Mulhall, Ireland ’s Ambassador to the UK.

This project will map the roots, lives and experiences of mixed race Irish people creating intimate portraits which challenge perceptions of what it looks like to be Irish and open up people’s minds to the wonderful diversity of the Irish people.

Launching the project in October to coincide with Black History Month, in the centenary year of Irish Independence, is a unique and powerful opportunity to weave these celebrations of Black and Irish heritage together and put diversity in full focus.

2016 marks the centenary of the Republic of Ireland, an opportunity to remember the country’s history and the heritage and traditions of its people. This project embraces that spirit to celebrate the voices and the lives of independent, Irish people everywhere who happen to be mixed race. Drawing strong lines between the portraits and their family crests, we seek to dispel the idea that if you are from a non-white community, you are automatically an immigrant.

‘For mixed race Irish people in reality our ancestry, our roots, our blood are Irish and we are proud of it.’

For more information, click here.

Luck O’ the Irish: Black Artists from the Emerald Isle

SoulTrain.com
2016-03-17

Rhonda Nicole, Managing Editor

U2 graced us with one of the greatest songs in the history of music, “Still Haven’t Found What I’m Looking For,” and spammed everyone’s Apple devices with an album many never asked for (2014’s Songs of Innocence). Sinéad O’Connor teased as she sang “I Want Your (Hands On Me),” teared up as she crooned “Nothing Compares 2 U,” and tore up a photo of the pope. The Cranberries begged to let it “Linger,” while Hozier pleaded “Take Me to Church” (interestingly, O’Connor did as well, although it was a completely different song). Scan any pop or rock radio station, and you’re bound to hear a tune or two from Irish musical acts. The Corrs, The Frames, Enya, and countless others have dominated the American musical landscape for decades, becoming as essential a part of popular music experience as your standard issue garage band-turned Grammy darling.

Whereas other European countries have gifted us with a rather diverse cadre of acts of color—British artists like Omar Lye-Fook, Corinne Bailey Rae, Lianne La Havas, Estelle, and Brand New Heavies; Ben l’Oncle Soul, Les Nubians, and Corneille from France; and Belgium’s Zap Mama, Jean-Louis Daulne, and Technotronic’s Ya Kid K (by way of the Democratic Republic of Congo), Ireland, not all that surprisingly, hasn’t produced nearly as many. According to the 2006 Irish census, just around 1% of the country’s population self-identified as black. Still, black actors, athletes, writers, and politicians have made an impact on Irish culture, be they Irish-born or immigrants from various parts of Africa and the Caribbean. And black Irish musicians, though perhaps not as readily recognizable here in the U.S., are equally as notable as their British and French counterparts…

Read the entire article here.

Hundreds of Irish march in solidarity with US Black Lives Matter (PHOTOS & VIDEO)

Irish Central
New York, New York
2016-07-13

IrishCentral Staff Writers

Demonstration in solidarity with the Black Lives Matter movement in the US took place in Dublin on O’Connell Street. Photo by: RollingNews.ie

Hundreds of Irish marched in solidarity with the Black Lives Matter movement in Dublin, Cork, and Galway, following a week of violence in the United States.

Activists gathered at the Spire on Dublin’s O’Connell Street, with over 200 gathering at Daunt Square in Cork and Eyre Square in Galway. The protesters gathered in reaction to the deaths of Alton Sterling in Baton Rouge, Louisiana and Philando Castile in St. Paul, Minnesota, earlier this month and the murder of five police officers during a protest in Dallas, Texas, during a Black Lives Matter rally.

Black Lives Matter is a movement, started in the US, that campaigns against the racism, violence and dehumanization of black people. The protest in Dublin was organized by the Anti-Racism Network Ireland and the Movement of Asylum Seekers in Ireland. The Workers Solidarity Movement estimated that there were 1,300 people at the rally in Dublin…

…Cork man Tom spoke to the crowd about his “good fortune” in marrying his Nigerian wife and being “blessed with four mixed race boys.” However, he said he worried about the world they are growing up in and said he does not want to live in a society “where people of color are treated as less than equal.”…

Read the entire article here.

The Greatest, Muhammad Ali, was very proud of his Irish roots

Irish Central
2016-06-04

Niall O’Dowd, Founder

Muhammad Ali arrives at Turnpike Road in Ennis, County Clare, the location of the birthplace of his great grandfather Abe O’Grady, with his wife Yolanda (lonnie) right, in 2009. Photo by: Photocall Ireland/Eamonn Farrell/RollingNews.ie

The death of boxing legend Muhammad Ali at 74 from Parkinson’s will bring back many glorious memories of the greatest athlete of our times.

At his height Ali was the most graceful, talented and brilliant heavyweight boxers who ever stepped inside the ropes.

Though incapacitated by Parkinson’s in later life, he always managed to retain the star power and unique presence that always distinguishes the greatest…

…Ali was more than a boxer of course, he was a fighter who refused to become cannon fodder in the Vietnam War the greatest mistaken war America entered until the invasion of Iraq. He was also a poet, a showman, a lover of many women, a devout Muslim, simply a legend.

Ali’s stance to end the Vietnam War when he refused to be drafted cost us the best years of his sporting life. He came back still a brilliant boxer, but the man who could float like a butterfly could never quite recover that greatness.

Still the fights with Joe Frazier the” rope a dope” that saw him defeat George Foreman in Zaire in the “Rumble in the Jungle” will forever enshrine his name in history.

The astonishing fact that he had Irish roots, being descended from Abe Grady, an Irishman from Ennis, County Clare only became known later in life…

Read the entire article here.

However, though my mum’s Irish, my father is Nigerian. I am not white! This fact, one that I had never even considered before I returned to the land of a thousand welcomes, now became the defining feature of my existence. I remember that first week or so back in Dublin, when I was sent out to play with the local kids. One of the first rhymes I heard was: “Eeny meeeny miny moe. Catch a nigger by da toe.” Who, or what in the hell was “nigger”, I wondered? I soon learned.

Emma Dabiri, “I’m Irish but I’m not white. Why is that still a problem as we celebrate the Easter Rising?,” The Guardian, March 29, 2016. http://www.theguardian.com/commentisfree/2016/mar/29/irish-white-easter-rising-ireland-racism.

I’m Irish but I’m not white. Why is that still a problem as we celebrate the Easter Rising?

The Guardian
2016-03-29

Emma Dabiri

With an Irish mother and Nigerian father, I grew up singing Irish rebel songs. But the racism I experienced was not part of the dreams of 1916’s revolutionaries

I grew up singing Irish rebel songs. One of the first ones I learned, which seared an impression on my young mind, was James Connolly. In the haunting ballad the folk musician Christy Moore laments the 1916 execution of Connolly, the Easter Rising revolutionary, and hero of the working man:

Where oh where is our James Connolly?
Where oh where is that gallant man?
He’s gone to organise the union
That working men they might yet be free.

The song outlines the capture of Connolly, a central figure in the 1916 Easter Rising. On Easter Monday, 24 April 1916, Irish republicans desperate to end the British occupation of Ireland mounted an insurrection in Dublin. British forces, with their vastly superior military advantage, quickly crushed the rebels. Nevertheless, these events – the centenary of which was commemorated this weekend – were the catalyst for a long fight for Irish independence that was eventually achieved in 1922…

Read the entire article here.

Ever wondered why Montserrat have a day off for St Patrick’s Day too?

TheJournal.ie
Dublin, Ireland
2016-03-17

Laura McAtackney, Associate Professor in Sustainable Heritage Management (Archaeology)
Arhus University, Aarhus, Denmark

Krysta Ryzewski, Assistant Professor of Anthropology
Wayne State University, Detroit, Michigan

This edited article, written by Laura McAtackney and Krysta Ryzewski, is part of a chapter ‘Historic and contemporary Irish identity on Montserrat, the ‘Emerald Isle of the Caribbean’ in Alison Donnell, Maria McGarrity & Evelyn O’Callaghan ‘s book: Caribbean Irish Connections for University of West Indies Press.

CONTEMPORARY MONTSERRAT IS marketed globally as the “Emerald Isle of the Caribbean”. This tagline inspires tourists and scholars to visualise a verdant, fertile paradise bolstered by genuine and lasting historic links to Ireland.

The island’s Irish connections have long been a source of interest for local residents and tourists alike, and over the past two decades government agencies, the tourism industry and local communities have made concerted efforts to bolster its Irish legacy and build upon perceived connections between present-day Montserrat and historic Irish communities.

Its most prominent example of these efforts is St Patrick’s Day, a national holiday that simultaneously commemorates the island’s Irish heritage and a failed uprising by Afro-Caribbean slaves and members of the island’s free black community on the same day in 1768.

The St Patrick’s holiday has grown into a week-long festival that attracts international tourists and acts as a major homecoming event for Montserrat’s diaspora community.

Today, Montserrat’s connection to an ‘Irish’ identity is strong but this has not always been the case…

Read the entire article here.

“Kiss me, my slave owners were Irish”

Medium
2015-03-16

Liam Hogam

As many of you already know, I have engaged with the “we were slaves too!” narrative on multiple forums and platforms for the past few months. Now I plan to explore some of the uncomfortable truths that this mythology tends to obscure. This Saint Patrick’s Day essay will briefly review Ireland’s anti-slavery history before focussing on the more representative and troubling issue of slave ownership among those of Irish descent. What could be more appropriate?

Ireland has a rich anti-slavery history.

Beginning in the fifth century, a former slave to the Irish, Patricius aka Saint Patrick, sent a now famous letter to the Romano-British warlord Coroticus. In this letter, Patricius condemned and excommunicated the soldiers of Coroticus for enslaving his new Christian converts in Ireland and for selling them to non-Christians. This document is one of the earliest anti-slavery texts in existence.

1700s

In the early-eighteenth century, the Irish philosopher Francis Hutcheson was one of the first to break with Aristotle’s theory of “natural slavery” by declaring that natural liberty was a natural right that belonged to all. This ever increasing dissemination and development of enlightenment thought, such as Hutcheson’s, helped to influence the rise of a formidable anti-slavery movement in Ireland, particularly in Dublin and Belfast…

…(i) The ‘Irish’ Slaves

Upon reviewing the various colonial laws pertaining to anti-miscegenation, it is reasonable to conclude that there were voluntary courtships between enslaved black men and free or indentured white women. But the remarkable case of Eleanor Butler illustrates why these unions were rare.

Maryland 1681

Eleanor “Irish Nell” Butler, was an Irish indentured servant who was brought to Maryland by Lord Baltimore in 1661. In 1681 (by then “well free of her indenture”) she choose to marry Charles, who was a black chattel slave. Her punishment for such an indiscretion was that she was to be a slave as long as her husband was alive and that their children were to be slaves. We find that the descendants of Eleanor and Charles were suing for their freedom 100 years later.

But why was Butler punished in this manner? The colonists in Maryland (as in all the other colonies) created racial laws to discourage marriages between white and black, and their 1664 laws stated that

“divers freeborne English women forgettfull of their free Condicon and to the disgrace of our Nation doe intermarry with Negro Slaves”

Lord Baltimore’s remarks to Nell about her fateful decision are revealing of the racism of this era. It is difficult to say if there was anger, concern or bemusement in his voice when he reportedly asked her

“how she would like to go to Bed to a Negro.”

Either way, her defiant reply would have stung..

“I would rather go to Bed to Charles than your lordship.”

Evidently Nell Butler broke the racial line and law out of love not coercion, and it is thus clear that there were rare cases of chattel slaves of Irish descent on their mother’s side.

Conversely, we find that there were many slaves, just like R.R. Madden’s relatives, who had ‘Irish blood’ on their father’s side, i.e. they were the progeny of an Irish slave-master (or his friends or relatives) and his female slave. This is a disturbing chapter that needs to be explored. The rape and sexual abuse of slaves was an infamous practice. Slaves, who were treated as livestock by their white masters and their white supremacist laws, were offered no protection by the State or polity. Slave breeding had become an important consideration for slave owners once the slave trade was banned. Coerced slave breeding between slaves and the rape of slaves by their owners was thus further motivated by the wish to increase the slave population; these slave breeders wanted to extract future capital from present chattel…

Read the entire article here.

Racialization and its paradigms: From Ireland to North America

Current Sociology
Volume 64, Number 2 (March 2016)
pages 213-227
DOI: 10.1177/0011392115614782

Vilna Bashi Treitler, Professor of Black and Latino Studies; Professor of Sociology
City University of New York

This article offers a template for understanding and analyzing racialization as a paradigm. Further, this template is applied to the North American case – an important one because it has endured and spread across the globe despite the enormous weight of scientific evidence against it. The fallacy of race (and in particular the North American Anglo-origin variant) endures for two reasons. First, social agents seeking to gain or maintain power and control over paradigm-relevant resources benefit from reinvesting in pseudoscientific racial paradigms. Second, new science proving the fallacy of race is ignored because ignoring new paradigmatic science is in fact the way normal science operates. Thus, a paradigmatic analysis of race may help to explain why current social science approaches to the demise of racial thought may be ineffective.

Read or purchase the article here. Read the working paper “Racialization – Paradigmatic Frames from British Colonization to Today, and Beyond” here.

The Black Irish Onscreen: Representing Black and Mixed-Race Identities on Irish Film and Television by Zélie Asava (review)

Black Camera
Volume 7, Number 1, Fall 2015 (New Series)
pages 267-270

Isabelle Le Corff

Asava, Zélie, The Black Irish Onscreen: Representing Black and Mixed-Race Identities on Irish Film and Television (Oxford, Bern, Berlin, Bruxelles, Frankfurt am Main, New York, Wien: Peter Lang, 2013)

The Black Irish Onscreen makes an original contribution to the field of Irish film studies. Author Zélie Asava has gone to great lengths to confront the political hierarchies of black and white in Ireland and question the links between visual culture and social reality. Pointing at Ireland’s long history of cultural and ethnic heterogeneity, the general introduction shows how, although Ireland has shifted from a land of emigrants to one of immigrants, it continues to consider foreigners as people who come to work rather than to settle permanently, the immigrant probably reminding the nation of its own migrant past and present.

Challenging the idea that “being Irish is still often seen as a question of being the product of two Irish people descended from a long line of Irish ancestors,” Asava describes her familial and cultural roots in Ireland and explains that her politics as a heterosexual mixed-race woman have been deeply influenced by the cultural productions of Ireland. As an Irish woman with dual citizenship, her experiences of misrecognition have framed her intellectual interrogation. She can thus assert that the personal is highly political, and stress the importance of using art to challenge socioeconomic and cultural norms.

Since the emergence of the Celtic Tiger and mass immigration as a new phenomenon, there have been enduring problems of racism and acceptance in Ireland. Asava ironically observes that Irish identity now expands to include the seventy million of the diaspora but still excludes non-Europeans living in Ireland, the majority of whom are African. Questioning the link between reality and onscreen representations, she insists that despite a marked increase in the visibility of gay, lesbian, minority-ethnic, and socially excluded characters on the Irish screen, it is still extremely difficult nowadays to find images of mixed-race or black people in Irish visual culture, and the existing representations are frequently stereotyped and prejudiced. Asava cherishes the hope that, with more focus on commonalities than differences, the black and hyphenated Irish may come to be seen as part of the nation rather than as a fractional ethnic group defined as “Other.” Being critical of the way Otherness may be referred to in cultural products is imperative. Different aspects of Irish public culture are pointed out as a means of de-legitimizing the Irishness of anyone who isn’t white or the product of Irish ancestors. Such aspects range from the constant media references to the men of 1916 to the focus on parochial origins, which inevitably position all hybrids as foreigners, albeit foreigners born and bred on Irish soil. Asava’s book is the first in Irish film studies to consider Ireland as a black mixed-race country and explore manifestations of Irishness which challenge the concept of Irish identity as a static, homogeneous ethnicity, seeking to produce a more inclusive and far reaching vision of Irish identity. It complements Debbie Ging’s “Goldfish Memories? On Seeing and Hearing Marginalised Identities in Contemporary Irish Cinema,” published in 2008.

The Black Irish Onscreen is divided into six chapters. The first chapter is devoted to Neil Jordan’s The Crying Game (1992) and Breakfast on Pluto (2005), two Irish films featuring mixed-race protagonists. Jordan’s work was among the first to explore racial narratives in Northern Ireland during the Troubles, and to draw parallels between the political situation in Northern Ireland and interracial and queer/trans* love. His film Mona Lisa (1986) is also cited for starring Cathy Tyson and comparing mixed-race Great Britain and white Ireland. In this chapter Asava briefly refers to Diane Negra and Richard Dyer’s pioneering works on racializing whiteness and showing how representations of gender, sexuality and race have been shaped by the film industry. Sexuality and race are thus equated as alien in an Irish screen culture characterized by major gender imbalances, male directors and male protagonists dominating an industry that favors historical and gangster genres.

The second chapter focuses on black or mixed-race women on Irish television. Different television programs such as Prosperity (RTE, 2007), Love is The Drug (RTE, 2004), and Fair City (RTE, 1989–) are considered for the way they portray black or mixed-race female protagonists. While…

Read or purchase the article here.