Mixed Race Studies

What is Racial Passing?

Digital Studios: Origin of Everything
PBS Digital Studios
Public Broadcasting Service
Season 2, Episode 13 (First Aired: 2019-02-27)

Danielle Bainbridge, Host, Writer, and Postdoctoral Fellow
Northwestern University, Evanston, Illinois

What motivates someone to disguise their race, gender, religion, etc.? Today Danielle explores the complicated history of passing in the United States.

Why Do People Pass?: The Complex Journeys of Belonging and Identity in America

Beacon Broadside
2017-11-07

Brando Skyhorse, Associate Professor of English
Indiana University, Bloomington

Lisa Page, Acting Director of Creative Writing
George Washington University, Washington, D.C.

Image credit: Bob Kosturko

America has a long and complicated history of passing. We’re familiar with the stories of African Americans who passed as white in the past in order to improve their social mobility. Nowadays, we are hearing a variety of personal experiences about passing that transcends additional modes of identity—class, religion, gender, sexuality, and more. Writers Brando Skyhorse and Lisa Page have brought together some of these stories in their new essay anthology We Wear the Mask: 15 True Stories of Passing in America. As they point out in the introduction of the book, excerpted below, there have always been many ways in which people pass, and many reasons to do so.

In June 2015 a surprising number of Americans stopped to gawk at a thirty-seven-year-old “African American” woman named Rachel Dolezal who, after an almost decade-long act, was outed by her parents as a white woman who chose to pass as black. The national response, culminating in a Today Show appearance, was extreme. Some were outraged by her deception, while others drew parallels between her right to live her “truth” the same way Caitlyn Jenner embodies hers.

Rachel—or “#BlackRachel” as she trended online—never once “broke character.”

Later that month, the Daily Beast reported on Andrea Smith, an Anglo woman and esteemed professor of Native American studies at the University of California, Riverside, who presented as Cherokee for over twenty years. She had a long history of American Indian activism and published articles and books purporting to speak on Indian issues as an American Indian despite not a trace of Indian ancestry being found after two rounds of genealogical research.

If you’re looking for historical precedent, how about jazz clarinetist Mezz Mezzrow? A middle-class Jewish kid from Chicago, he married a black woman, moved to Harlem, self-identified in the 1940s as a “white Negro” and was listed by his draft board as “Negro.” His understanding of being a black American was an odd brew of sincere cultural musical appreciation and promoting the oversimplified “shuck and jive” stereotypes. Go back further and you’ll find Clarence King, a nineteenth-century blue-eyed white scientist and best-selling author who thrilled in “slumming.” For thirteen years, King passed as a black Pullman porter, complete with a black common-law wife and five mixed-race children.

American history is filled with innumerable examples like these. Why, then, did “#BlackRachel” fascinate and outrage so many of us? The answer lies in the complex phenomenon of passing…

Read the entire article here.

The Original Rachel Dolezal Was a Jew Named Mezz Mezzrow

Forward
2015-06-16

Seth Rogovoy

As we all know, Rachel Dolezal was by no means the first white American to take on aspects of African-Americanness in her persona — calling Elvis, is anybody home? — although she will go down in history as one of the all-time champions of the syndrome based on the sheer chutzpahdik of her transformation. But blackness has always been an integral part of American identity, and has only grown more so with the passage of time (think of white-rap pop star Eminem and black President of the United States Barack Obama for two recent mirror-image examples), so that for any American, it’s nearly impossible not to take on some degree of Afritude without even trying.

But for all her efforts at “crossing the line,” including attending Howard University, changing her name, and becoming an official of the NAACP, Dolezal might not merit the crown from the all-time champion of race-crossing. That honor still and forever may belong to jazz musician Mezz Mezzrow, born Milton Mesirow to Russian-Jewish immigrants in Chicago in 1899. We have yet to hear the full story from Dolezal herself, and to understand just what her motivations were in creating a new African-American identity for herself to such an extreme that her parents felt impelled to out her as a liar. But Mezzrow’s story may at least provide help in understanding or at least contextualizing the Dolezal phenomenon…

Read the entire article here.

Crossing the Line: Racial Passing in Twentieth-Century U.S. Literature and Culture

Duke University Press
July 2000
272 pages
12 b&w photographs
Cloth ISBN: 0-8223-2479-2, ISBN13: 978-0-8223-2479-9
Paperback ISBN: 0-8223-2515-2, ISBN13: 978-0-8223-2515-4

Gayle Wald, Professor of English
George Washington University

As W. E. B. DuBois famously prophesied in The Souls of Black Folk, the fiction of the color line has been of urgent concern in defining a certain twentieth-century U.S. racial “order.” Yet the very arbitrariness of this line also gives rise to opportunities for racial “passing,” a practice through which subjects appropriate the terms of racial discourse. To erode race’s authority, Gayle Wald argues, we must understand how race defines and yet fails to represent identity. She thus uses cultural narratives of passing to illuminate both the contradictions of race and the deployment of such contradictions for a variety of needs, interests, and desires.

Wald begins her reading of twentieth-century passing narratives by analyzing works by African American writers James Weldon Johnson, Jessie Fauset, and Nella Larsen, showing how they use the “passing plot” to explore the negotiation of identity, agency, and freedom within the context of their protagonists’ restricted choices. She then examines the 1946 autobiography Really the Blues, which details the transformation of Milton Mesirow, middle-class son of Russian-Jewish immigrants, into Mezz Mezzrow, jazz musician and self-described “voluntary Negro.” Turning to the 1949 films Pinky and Lost Boundaries, which imagine African American citizenship within class-specific protocols of race and gender, she interrogates the complicated representation of racial passing in a visual medium. Her investigation of “post-passing” testimonials in postwar African American magazines, which strove to foster black consumerism while constructing “positive” images of black achievement and affluence in the postwar years, focuses on neglected texts within the archives of black popular culture. Finally, after a look at liberal contradictions of John Howard Griffin’s 1961 auto-ethnography Black Like Me, Wald concludes with an epilogue that considers the idea of passing in the context of the recent discourse of “color blindness.”

Wald’s analysis of the moral, political, and theoretical dimensions of racial passing makes Crossing the Line important reading as we approach the twenty-first century. Her engaging and dynamic book will be of particular interest to scholars of American studies, African American studies, cultural studies, and literary criticism.

Table of Contents

• Preface
• Acknowledgments
• Introduction: Race, Passing, and Cultural Representation
• 1. Home Again: Racial Negotiations in Modernist African American Passing Narratives
• 2. Mezz Mezzrow and the Voluntary Negro Blues
• 3. Boundaries Lost and Found: Racial Passing and Cinematic Representation, circa 1949
• 4. “I’m Through with Passing”: Postpassing Narratives in Black Popular Literary Culture
• 5. “A Most Disagreeable Mirror”: Reflections on White Identity in Black Like Me
• Epilogue: Passing, “Color Blindness,” and Contemporary Discourses of Race and Identity
• Notes
• Bibliography
• Index