Mixed Race Studies

Black and White, or Shades of Gray? Racial Labeling of Barack Obama Predicts Implicit Race Perception

Analyses of Social Issues and Public Policy
Volume 10, Issue 1 (December 2010)
pages 207–222
DOI: 10.1111/j.1530-2415.2010.01213.x

Lori Wu Malahy
University of Washington

Mara Sedlins
University of Washington

Jason Plaks, Associate Professor of Psychology
University of Toronto

Yuichi Shoda, Professor of Psychology
University of Washington

The present research capitalized on the prominence and multiracial heritage of U.S. 2008 presidential election candidate Barack Obama to examine whether individual differences in classifying him as Black or as multiracial corresponded to differences in implicit perception of race. This research used a newly developed task (Sedlins, Malahy, & Shoda, 2010) with digitally morphed mixed-race faces to assess implicit race perception. Participants completed this task four times before and one time after the election. We found that people who labeled Obama as Black implicitly perceived race as more categorical than those who labeled Obama as multiracial. This finding adds to the growing literature on multiracial perception by demonstrating a relationship between the explicit use of multiracial and monoracial race classification and implicit race perception. The results suggest potential implications for governmental, educational, and judiciary usage of racial categories.

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Fluidity without Postmodernism: Michelle Cliff and the “Tragic Mulatta” Tradition

African American Review
Vol. 32, No. 4 (Winter, 1998)
pages 673-689

Suzanne Bost, Associate Professor of English
Loyola University

I am writing the story of my life as a statue… I wish they had carved me from the onyx of Elizabeth Catlett.  Or molded me from the dark clay of Augusta Savage.  Or cut me from mahogany or cast me in bronze.  I wish I were dark plaster like Meta Warrick Fuller’s Talking Skull.  But I appear more as Edmonia Lewis’s Hagar—wringing her hands in the wilderness—white marble figure of no homeland—her striations caught within.  (Cliff, Land 85)

In “The Laughing Mulatto (Formerly a Statue) Speaks,” Michelle Cliff invokes past stereotypes of the mulatto and the sculptors who remolded them. From Edmonia Lewis (1844-1909)—the half-black, half-Chippewasculpor who gained international fame with the help of abolitionists William Lloyd Garrison and Lydia Maria Child—to Augusta Savage (1892-1962)—the Harlem Renaissance artists who sculpted busts of W. E. B. Du Bois, Frederick Douglass, and Marcus Garvey—black artists have been reconstructing images of African Americans.  The speaker of “The Laughing Mulatto” identifies with racial “betweeenness,” yet she also subverts racist conventions that privilege the whiteness within biracial African Americans. She wishes that her skin were darker: onyx, mahogany, or bronze, not white marble (Cliff, Land 85).  Her wish implicitly compares race to workable materials, as if racial identity were something that could be chiseled and molded by an artist…

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