Mixed Race Studies

One Playwright’s ‘Obligation’ To Confront Race And Identity In The U.S.

Code Switch: Frontiers of Race, Culture and Ethnicity
All Things Considered
National Public Radio
2015-02-16

Jeff Lunden

Playwright Branden Jacobs-Jenkins may be only 30 years old, but he’s already compiled an impressive resume. His theatrical works, which look at race and identity in America, have been performed in New York and around the country. Last year, Jacobs-Jenkins won the best new American play Obie Award for two of his works, Appropriate and An Octoroon.

An Octoroon is currently playing at Theater for a New Audience in New York…

…Over the past five years, the young playwright has written a trilogy of highly provocative and fantastical explorations of race in America. In Neighbors, a family of minstrels in blackface moves in next to a contemporary mixed-race family. In Appropriate, a white family discovers their dead father belonged to the KKK. His latest, An Octoroon, is a loose adaptation of a play written more than 150 years ago that deals with identity and race.

“They are all kind of like me dealing with something very specific, which has to do with the history of theater and blackness in America and form,” he says. “And also, my obligation, as a human being with regards to any of these themes.”

It is Jacob-Jenkins’ self-examination that drove Ben Brantley, the chief drama critic for The New York Times, to rank An Octoroon on the top of his best pays list last year. He saw it at Soho Rep, a tiny off-Broadway theater.

“[Jacobs-Jenkins] starts off from self-consciousness, which you would think would be a crippling place for a playwright to begin,” Brantley says.”But his self-consciousness isn’t just particular; it’s national, it’s universal. And it’s the self-consciousness of realizing that we don’t have the vocabulary, the tools to discuss race.”

The play, based on a 1859 melodrama by the Irish-Anglo playwright Dion Boucicault, tells the story of a young man who’s about to inherit a plantation and falls in love with a woman who is an octoroon — seven-eighths white, one-eighth black.

Director Sarah Benson points out that, in the original, all the parts had to be played by white actors…

Read the entire article here. Listen to the story here. Download the audio here. Read the transcript here.

Part Asian-American, All Jewish?

Code Switch: Frontiers of Race, Culture and Ethnicity
National Public Radio
2015-02-10

Rachel Gross, Editor
Moment Magazine

I was five years old when my mother threatened to give me away to journalist Connie Chung.

Chung and her husband, Maury Povich, had just announced their intention to adopt a half-Chinese, half-Jewish child. At this, my mother, watching on TV in our living room, did a double take. She looked at the screen. Then she looked at me, her half-Chinese, half-Jewish, fully-misbehaving daughter. “How would you like to go live with that woman?” she said.

It was then that I had a startling realization: I was special. Not special in the way that everyone’s kids are special — I mean really special. I, with my chubby Chinese cheeks and frizzy Jewish hair, was a unique snowflake, shaped like the Star of David, dusted with matcha green tea powder.

“I’m special!” I announced. “Famous people want to adopt me!”

Mom rolled her eyes as if to say, oy vey.

Only later would I learn the truth: Not everyone was as thrilled about my heritage as I was. The problem was mainly on the Jewish side. As I grew up, announcing I was Jewish often felt “like trying to cross a border with borrowed credentials,” in Joan Didion’s words. “But you don’t look Jewish!” came the incredulous reply. Some even implied that the union that produced me was nothing less than a threat to the Jewish people — that I was what was wrong with Judaism today…

Read the entire article here.

Hawaii As ‘Racial Paradise’? Bid For Obama Library Invokes A Complex Past

Code Switch: Frontiers of Race, Culture and Ethnicity
National Public Radio
2015-01-15

Ellen Wu, Associate Professor of History
Indiana University

Sometime in March, President Obama is expected to announce his choice of the institution that will hold his presidential archive. Vying for the honor (and the money that comes with it) are the University of Chicago, the University of Illinois at Chicago, Columbia University in New York, and the University of Hawai’i (the Hawaiian language spelling of the state’s name). So heated has the competition been that some have called it the “next big presidential race before the 2016 presidential race.”

The front-runner status of both Windy City schools is now in question. The University of Chicago may lack exclusive ownership rights to the proposed sites, while the University of Illinois anticipates future leadership changes.

Yet media reports still cast Hawaii as the underdog. Its fundraising capabilities are out-muscled by the others. Its location is too remote by mainland standards.

But don’t be surprised if Hawaii comes out on top, because the island has a compelling advantage: It’s the one place in the U.S. that has long been imagined as a “racial paradise.”

Liberal white missionaries and sociologists invented this fiction in the early 20th century to convince the nation that Hawaii’s significant Asian population was capable of assimilating harmoniously into American life. Asian laborers were the backbone of the islands’ industrial sugar plantation workforce. By 1945, Life pronounced Hawaii “the world’s most successful experiment in mixed breeding … unmatched … for interracial tolerance and affection.” Today, the “Aloha State” is widely celebrated as the most racially and ethnically diverse in the country, where hapas and multiracial families are the norm. The Root recently named Hawaii one of “The Five Best States for Black People.”…

Read the entire article here.

The Whiteness Project: Facing Race In A Changing America

National Public Radio
All Things Considered
2014-12-21

Karen Grigsby Bates
Los Angeles Correspondent

Whitney Dow found participants in the Whiteness Project by putting out a call for interested white folks in Buffalo to talk about whiteness on tape.

The voices in the Whiteness Project vary by gender, age and income, but they all candidly express what it is like to be white in an increasingly diverse country.

“I don’t feel that personally I’ve benefited from being white. That’s because I grew up relatively poor,” a participant shared. “My father worked at a factory.” These are the kind of unfiltered comments that filmmaker Whitney Dow was hoping to hear when he started recording a group of white people, and hoped to turn their responses into provocative, interactive videos.

“I was essentially giving people permission to discuss this,” he says. “And I believe there’s a huge hunger in this country to engage this topic.”…

…”It is not typical for white people to think about their race,” says Catherine Orr, who teaches critical identity studies at Beloit College in Wisconsin. She says that many white people who don’t feel privileged struggle against the notion that race gives them an inherent advantage. “I think white folks are terribly invested in our own innocence,” she points out. “We don’t want to think about how what we have is related to what other people don’t have.”…

Listen to the story here. Download the story here.

‘Half Asian’? ‘Half White’? No — ‘Hapa’

National Public Radio
Code Switch: Frontiers of Race, Culture and Ethnicity
2014-12-15

Alex Laughlin, Social Media Journalist
National Journal

She was tall and freckled, with long, dark hair — and we stood out in the same way. As I leaned in to say hi, she yelled over the din, “You’re hapa, aren’t you?” It was the last word I expected to hear in D.C., but I welcomed the refreshing respite from the constant and inevitable question: “What are you?”

What am I? This is what they’re really asking here: What is the particular racial mix that created you? Because YOU don’t fit into a single box in my mind, and that confuses me.

I’m half Korean and half white, and it’s usually easier to just leave it there. If I were to volunteer my identity though, I would tell you I’m hapa.

Hapa is a Hawaiian pidgin word used to describe mixed-race people — primarily, though not exclusively, those who are half white and half Asian. It’s short for hapalua, the Hawaiian word that literally means “half” — and it originated as a derogatory term toward mixed-race children of plantation guest workers from the Philippines, Korea, China and Japan, and the women they married in Hawaii in the early part of the 20th century…

…Artist Kip Fulbeck lived in Hawaii for several years, and he remembers a more keen awareness of racial and cultural differences among nonwhites than on the mainland.

“If I’m living in Hawaii and playing pickup basketball,” he said, “they’ll say ‘Hapa haole, throw me the ball!’ or ‘Hey, buddhahead! Hey, kimchi!'”…

…In 2000, Fulbeck started taking photos of hapa people and inviting them to identify themselves in their own words. The collection of photographs grew into the Hapa Project, a multiracial identity project encompassing traveling exhibits, presentations and a published book: Part Asian, 100% Hapa. He has photographed thousands of people for the project, and the community surrounding it remains lively online…

Read the entire article here.

‘Pelo Malo’ Is A Rare Look Into Latin American Race Relations

Morning Edition
National Public Radio
2014-12-10

Jasmine Garsd, Reporter and Host
NPR Music’s Alt.Latino

Actor Samuel Lange Zambrano plays Junior, a boy who becomes obsessed with relaxing his hair. Courtesy of the artist

“Pelo Malo” means “bad hair” in Spanish. It’s a term that is commonly used in Latin America, and it’s also the title of a new Venezuelan film that tackles racism and homophobia.

Junior is a 9-year-old living in a poor neighborhood in Caracas. School is about to start, and he has to have his picture taken. Junior, like many Venezuelans, has European, indigenous and African ancestry, which gives him thick, tightly curled hair. He becomes obsessed with straightening it, trying everything from blow-drying to applying gobs of mayonnaise. That last attempt drives his mother, a struggling widow, insane; she threatens to “cortarle el pelo,” just cut all his hair off.

Pelo Malo is a rare look into identity politics among Latin Americans, where racism is often a taboo topic. Despite the taboo, director Mariana Rondón says, the term “pelo malo” is common currency. “The origin of the term is very offensive. It’s very racist. But it’s also true that in Venezuela, we are so mixed, that in every single family there is someone with … ‘bad hair.’ We joke that the second most profitable industry, after oil, is hair straightening. Because everyone here wants to have straight hair.”…

…The film is very Venezuelan, but many Latin Americans can relate to it. Bianca Laureano is the founder of The LatiNegr@s Project, a virtual space that aims to discuss history and current events in the Afro-Latino community. She says the battles over hair are very much present in her own life: “I have family members who I have never even met. And I meet them, and part of the conversation will be, ‘I don’t like your hair the way that it is.’ ”

Laureano says while she wishes the movie had dealt with its issues in more depth, she thinks it’s representative of a sea change in the way Latinos discuss race. “What I definitely see an increase of is people who identify as Afro-Latino. This is who I am, this is my story. We take part in this as well.”…

Read the entire article here. Listen to the story here. Download the story here.

Hispanic Or Latino? That Is The Question

Tell Me More
National Public Radio
2009-09-25

Michel Martin, Host

Sept. 15 to Oct. 15 is being celebrated as Hispanic Heritage Month, but the some say the word “Hispanic” should be retired, and would rather be referred to as Latino. Host Michel Martin speaks to four Latinos with varying opinions on the subject — syndicated columnist Ruben Navarrette, Afro-Latino Activist Roland Roebuck, “Ask a Mexican” columnist Gustavo Arellano and Tell Me More Planning Editor Luis Clemens.

I’m Michel Martin, and this is Tell Me More from NPR News. It’s time for our weekly visit to the Barbershop, where the guys talk about what’s in the news and what’s on their minds. And this week, we’re going for a different kind of shape-up than we usually do, you know, switching it up a little bit.

It’s Hispanic Heritage Month, and to mark the occasion, we’ve decided to represent right here in the Barbershop. So sitting in the chairs for a shape-up this week are syndicated columnist Ruben Navarrette, who writes for the San Diego Union-Tribune and CNN.com, Gustavo Arellano, who writes the syndicated column “Ask a Mexican,” community activist Roland Roebuck, and NPR editor Luis Clemens, our own. Welcome to you, and dare I say it? Hola…

…MARTIN: All right. And before we jump into other topics, I have to ask, this being Heritage Month, let’s start with the title itself. Whenever, you know, I have to choose, I always have this little moment, you know, why Hispanic versus Latino Heritage Month? Does it matter? Gustavo, I’m going to start with you because this is actually something you’ve written about and thought about a lot. So Hispanic versus Latino, why? Which?

Mr. ARELLANO: Which one? Honestly for me, it’s whatever people want to call themselves, whatever makes them more comfortable. Some people don’t like either of the labels. They want to call themselves Chicano or Boricua, or whatever their particular labels may be.

The reason why it’s called Hispanic Heritage Month is because it comes from the federal government deciding that hey, guess what? We’re all Hispanics, and this happened – the urban myth is that Richard Nixon was the godfather of Hispanics. That’s what Richard Rodriguez, the noted author said, but it was actually done during the Ford administration. And literally, it was done in the back room of some government hall where they took a poll. Should we call these people Latinos or Hispanic?

So Hispanic won. So in that case, that’s why I don’t like the term Hispanic. I don’t like the government telling me what I should call myself. I’d prefer Latino. But again, if you want to call yourself Hispanic, then God bless you. Or Dios bless you, right?

MARTIN: Okay, why do you prefer Latino?

Ms. ARELLANO: Just because it’s more out of, you know, out of eliminating the other part that I don’t like. So I don’t – I mean, I don’t like Hispanic only for that term, so I’ll use Latino. But me personally, I call myself Naranjedal(ph), a child of, you know, an orange-picker because I come from Orange County, California, and my grandparents were orange-pickers. So that’s what I would call myself, and that’s where – whenever I go across the country, that’s what I tell people I call myself. But, of course, only a very limited amount of people can call themselves that. So if I’m going to express brotherhood with the fellow people that were colonized by the Spaniards or the Portuguese, then I’ll just – I decide to call myself Latino.

MARTIN: Okay. Roland, what about you?

Mr. ROEBUCK: Well, this month should be called White Hispanic Heritage Month, because it allows an opportunity for white Hispanic to display their wares, and it also heightens the invisibility of Afro-Latinos that are seldom given a chance to participate in these national holidays. So we are invisible during the year, more so during White Hispanic Heritage Month.

MARTIN: Why do you say that? And for those who can’t – you consider yourself Afro-Latino.

Mr. ROEBUCK: Yes, yes. But just look at the events. Ever since Celia Cruz died, Roberto Clemente is not around, people are scrambling to find Afro-Latinos to be recognized because they concentrate on two areas.

MARTIN: Now, you prefer Latino, as opposed to – you don’t say Afro-Hispanic.

Mr. ROEBUCK: No. I say – if I’m going to use the Latino, it would be Afro-Latino because I want to acknowledge my Africanness, and I also want to recognize my cultural background, which is Puerto Rican. But I have to use both.

For me, Hispanic refers to white, Spanish-speaking individuals. So the whiter you are, the more inclined you will be to identify yourself as Hispanic. And this is prevalent throughout the Southern region of the United States. If you ask the average person on Columbia Road, do you consider yourself Hispanic? No. They will use a geographic identification…

Read the transcript here. Listen to the story here. Download the story here.

Today’s Irish Dancers Step Away From Stereotype

Code Switch: Frontiers of Race, Culture and Ethnicity
National Public Radio
2014-10-27

S. J. Velasquez

Julia O’Rourke (center) wins the 2014 World Irish Dancing Championships. Here, she poses with the top five performers in her age group. Jimmy McNulty/FeisPix

When Riverdance debuted 20 years ago, Irish step dancers — whether citizens of Ireland or any other country — looked, well, stereotypically Irish. The red-haired, freckle-faced lass doing a jumpy jig still comes to mind for many. But the All Ireland Dancing Championships, currently underway in Dublin, will show how that image no longer reflects the reality.

Take the current Irish dance “it” girl, Julia O’Rourke. She was born in New York, and has Filipino and Irish ancestry. At age 15, she is a two-time world champion and star of the Irish dance documentary Jig. That film follows dancers from around the world who are training for and traveling to the 2010 World Irish Dancing Championships.

“I really hope that I helped change that stereotype,” O’Rourke says. “[Ethnicity] really doesn’t matter anymore. It’s how you dance.” She points to the success of her friend and dance classmate Melanie Valdes, whose father is Cuban-American. “There have been so many dancers to join the community who are only part Irish or not Irish at all,” O’Rourke says, “and they’ve really made an impact.”

“I don’t think the judges even react to it anymore,” says Valdes, who has also swept titles at major competitions, capturing gold at the world championships twice. “It’s all about the dancing.”

For the most part, O’Rourke agrees, insisting that she has never been treated badly because of what she looks like. If anything, it has helped. “Because my look is different, my face doesn’t look like a typical Irish girl, it might pop out a little more to the judges,” she explains.

But diversity wasn’t always so welcome…

…Brown Skin, Spray Tans And Hot Pink Shorts

Now, some members of the Irish dance community see a distinctive look as an advantage. Drew Lovejoy, a now retired two-time world champion, is biracial and identifies as African-American. Nineteen-year-old Lovejoy, known for sporting hot pink shirts in competition, says his unique appearance gave him confidence on stage because it set him apart. He jokes that his skin tone allows him to pull off a different color palette completely…

Read the entire article here.

‘A Chosen Exile’: Black People Passing In White America

Code Switch: Frontiers of Race, Culture and Ethnicity
All Things Considered
National Public Radio
2014-10-07

Karen Grigsby Bates, Correspondent
Culver City, California

Dr. Albert Johnston passed in order to practice medicine. After living as leading citizens in Keene, N.H., the Johnstons revealed their true racial identity, and became national news. (Historical Society of Cheshire County)

Several years ago, Stanford historian Allyson Hobbs was talking with a favorite aunt, who was also the family storyteller. Hobbs learned that she had a distant cousin whom she’d never met nor heard of.

Which is exactly the way the cousin wanted it.

Hobbs’ cousin had been living as white, far away in California, since she’d graduated from high school. This was at the insistence of her mother.

“She was black, but she looked white,” Hobbs said. “And her mother decided it was in her best interest to move far away from Chicago, to Los Angeles, and to assume the life of a white woman.”…

…Hobbs began writing about passing for her doctoral dissertation, and was encouraged to turn it into a book. The dissertation became A Chosen Exile: A History of Racial Passing in America. It’s a history of passing told through the lens of personal stories…

…Then there’s the sad tale of Elsie Roxborough, a beauty from a distinguished Detroit family who became the first black girl to live in a dorm at the University of Michigan. She tried acting in California, then moved to New York to live as a white woman. When her disapproving father refused to support her, Roxborough — then known as Mona Manet — committed suicide. Her grieving and equally pale sister passed as a white woman to claim the body, so Roxborough’s secret wouldn’t be given away. Her death certificate declared she was white….

Read the article here. Listen to the story (00:04:58) here. Download the story here.

In Korea, Adoptees Fight To Change Culture That Sent Them Overseas

Code Switch: Frontiers of Race, Culture and Ethnicity
National Public Radio
2014-09-09

Steve Haruch

In the Gwanak-gu neighborhood of Seoul, there is a box.

Attached to the side of a building, the box resembles a book drop at a public library, only larger, and when nights are cold, the interior is heated. The Korean lettering on its front represents a phoneticized rendering of the English words “baby box.” It was installed by Pastor Lee Jon-rak to accept abandoned infants. When its door opens, an alarm sounds, alerting staff to the presence of a new orphan.

The box, and the anonymity it provides, has become a central symbol in a pitched debate over Korean adoption policy. Two years ago last month, South Korea’s Special Adoption Law was amended to add accountability and oversight to the adoption process. The new law requires mothers to wait seven days before relinquishing a child, to get approval from a family court, and to register the birth with the government. The SAL also officially enshrines a new attitude toward adoption: “The Government shall endeavor to reduce the number of Korean children adopted abroad,” the law states, “as part of its duties and responsibilities to protect children.”

In the years after the Korean War, more than 160,000 Korean children — the population of a midsize American city — were sent to adoptive homes in the West. What began as a way to quietly remove mixed-race children who had been fathered by American servicemen soon gained momentum as children crowded the country’s orphanages amid grinding postwar poverty. Between 1980 and 1989 alone, more than 65,000 Korean children were sent overseas.

For the first time in South Korean history, the country’s adoption law has been rewritten by some of the very people who have lived its consequences. A law alone can’t undo deeply held cultural beliefs, and even among adoptees, opinion is divided over how well the SAL’s effects match its aims. The question of how to reckon with this fraught legacy remains unsettled and raw…

Read the entire article here.