Mixed Race Studies

Breaking the Color Barrier: Regina Andrews and the New York Public Library

Libraries & the Cultural Record
Volume 42, Number 4, 2007
pages 409-421
DOI: 10.1353/lac.2007.0068

Ethelene Whitmire, Associate Professor of Library & Information Studies
University of Wisconsin, Madison

Chicago native Regina Anderson Andrews (1901–93) was a librarian in the New York Public Library (NYPL) system for nearly half a century beginning in 1923 at the 135th Street branch (now the Schomburg Center for Research in Black Culture) until her retirement from the Washington Heights branch in 1967. Andrews broke the color barrier by becoming the first African American supervising librarian in NYPL history. Her accomplishment was not an easy one. This article illustrates Andrews’s groundbreaking career as a librarian and activist, including her fight, with W. E. B. Du Bois as a powerful ally, against the NYPL administration for opportunities for promotion and equal pay.

“I’m American,” Regina Anderson wrote in 1923 on her application for a position in the New York Public Library (NYPL) when asked to give her race. Three or four days after she completed the application at the main branch on 42nd Street, Anderson received a request to return to discuss her answers—this one in particular. Asked again about her racial designation and stating firmly that she was American, Anderson was told, “You’re not an American. You’re not white.”

Like untold numbers of U.S. citizens, Anderson came from a multicultural background requiring a roadmap to follow. Her father, William Grant “Habeas Corpus” Anderson, a prominent criminal lawyer in Chicago, was the son of a Swedish immigrant and his American Indian wife. Her mother, Margaret Simons, was the daughter of Henry Simons, the son of an Arkansas Confederate general and an immigrant Jewish woman. Henry’s wife, Regina’s maternal grandmother, was the offspring of a  Madagascar woman and an East Indian man. Regina considered herself an American.

In December 1924, a year after the application incident, this “pert olive-skinned girl” would grace the cover of Messenger magazine’s issue that featured “Negro women who are unique, accomplished, beautiful, intelligent, industrious, talented and successful.”

The NYPL hired Anderson, but because of her color, her interviewer told her, “We’ll have to send you to Harlem.” Besides determining her…

Halving the Bones: A film by Ruth Ozeki

Women Make Movies
1995
70 minutes
Color/BW, DVD

Ruth Ozeki, Filmmaker, Novelist, and Zen Buddhist Priest

Skeletons in the closet? Halving the Bones delivers a surprising twist to this tale. This cleverly-constructed film tells the story of Ruth, a half-Japanese filmmaker living in New York, who has inherited a can of bones that she keeps on a shelf in her closet. The bones are half of the remains of her dead Japanese grandmother, which she is supposed to deliver to her estranged mother. A narrative and visual web of family stories, home movies and documentary footage, Halving the Bones provides a spirited exploration of the meaning of family, history and memory, cultural identity and what it means to have been named after Babe Ruth!

AWARDS, FESTIVALS, & SCREENINGS

• Sundance Film Festival
• International Documentary Association Award Nomination
• Sydney & Melbourne Film Festivals
• Margaret Mead Film Festival
• San Francisco Asian American Film Festival
• Montreal World Film Festival

Ellen Gallagher: wigs, waterworlds and Wile E Coyote

The Guardian
2013-05-07

Bim Adewunmi

Adverts from black magazines, Plasticine, eyeballs – in the work of Ellen Gallagher, it’s all woven together into something new. Bim Adewunmi visits her chaotic Rotterdam studio

Throughout our interview, Ellen Gallagher makes frequent trips to a large bookcase on the other side of her studio, pulling out items she thinks are relevant and interesting. By the time I leave, I have a list of names written down on a piece of paper: people from the realms of visual art and literature whose work Gallagher implores me to seek out.

Overlooking the port of Rotterdam, her studio is a whitewashed space bathed in light, with vast windows and occasional glimpses of passing clouds via skylights. It is busy and not especially tidy: the artist’s red, paint-spattered desk is cluttered with books, little knives and intricate paper cutouts. You get the impression, however, that she knows where things are. On the walls are a couple of newer paintings: abstract, blue, serene. On a low table, there are proofs of the catalogue for AxME, her new show at the Tate Modern in London. Its title is a play on the fictional Acme corporation that supplied Wile E. Coyote with mail-order gadgets in the cartoon Roadrunner, as well as a reference to the African-American vernacular for “Ask me”.

Born in Rhode Island in 1965, to a black father of Cape Verdean extraction and a white Irish Catholic mum, Gallagher studied writing before attending art school in Boston. She is probably best known in the UK for Coral Cities, which appeared at Tate Liverpool in 2007. The show featured Watery Ecstatic, a series of paintings inspired by the myth of Drexciya, or the Black Atlantis – an underwater city populated by the descendents of Africans thrown off slave ships. Gallagher’s fantastical lost souls and eerie sealife fascinated the writer Jackie Kay, who called her work “jazz on a huge canvas”. The playwright Bonnie Greer is a big fan, too…

Read the entire article here.

slippery positions

The State
2013-05-17

Tiana Reid
Columbia University

As a self-defined Black, lesbian, mother, warrior poet, Audre Lorde is the model representative for intersectionality. As such, Sister Outsider: Essays and Speeches has become a ubiquitous text in undergraduate courses, for the theory and practice of intersectionality; a way to look at what women’s studies scholar Leslie McCall calls “the relationships among multiple dimensions and modalities of social relationships and subject formations.” Put crudely, intersectionality is an idea used to explain the links between positions or configurations of oppression. What’s more, as a Caribbean-American (her parents were born in Barbados and Carriacou), we could say Lorde straddled two worlds—or perhaps none at all.

Lorde’s poetry as poetry and not as purely a feminist rubric, however, has been written about far less. In Warrior Poet: A Biography of Audre Lorde, writer and scholar Alexis De Veaux describes the genesis of the poem “Sahara,” published in Lorde’s 1978 book of poems, The Black Unicorn, in a moment while Lorde was on a plane in 1977 that passed over the Sahara desert after making a stop in Madrid to refuel. The poet, flying from New York City, was on her way to Lagos, Nigeria for FESTAC, the Second World African Festival of Arts and Culture. Lorde’s trip to Nigeria is meaningful not simply because the plane ride—the birds-eye view of the vastness of the Sahara—inspired the homonymous poem. By 1977, Nigeria had emerged as what De Veaux calls the “richest black-ruled nation” in Africa because of oil wealth. Bringing together Black activists, academics, writers, artists and spectators, FESTAC acted as a transnational spectacle establishing new political, literary and racial grounds.

What’s most significant here is that despite the literal and symbolic coming together of a black diasporic vision in the name of arts and culture, Lorde stayed on the fringes and felt separate from some sense of a monolithic group identity, an identity based seemingly solely on race—and not gender or sexuality. Lorde’s participation and view on FESTAC is mostly shrouded in mystery but what we do have is the poem “Sahara.” I read “Sahara” through Lorde’s trip to FESTAC and thus, envision landscapes of diaspora as heterogeneous and transformative. Her hesitation toward FESTAC parallels the poem’s fluctuating hesitation toward the Sahara desert. I say hesitation rather than outright fear despite the all-encompassing terror that can be gleaned from Lorde’s approach to the masculine desert: “grief of sand… male sand / terrifying sand.” The hesitation emerges from the heterogeneous incarnations sand is allowed to take. Rocks, what sand is made of, take millions and millions of years to become sand, meaning the image of a desert can’t be separated from its process, from its formation through finely divided particles, a prolonged breaking down…

Read the entire article here.

Dr. Ralina Joseph and Transcending Blackness: From the New Millennium Mulatta to the Exceptional Multiracial

Voxunion: Media + Education
2013-01-11

Jared A. Ball, Host and Associate Professor of Communication Studies
Morgan State University, Baltimore, Maryland

This is part one of our discussion with Dr. Ralina Joseph about her book, Transcending Blackness: From the New Millennium Mulatta to the Exceptional Multiracial.

Watch the video interview here.

A Review of One Drop of Love: A Daughter’s Search for Her Father’s Racial Approval

Gino Michael Pellegrini: Education, Race, Multiraciality, Class & Solidarity
2013-05-08

Gino Michael Pellegrini, Adjunct Assistant Professor of English
Pierce College, Woodland Hills, California

Is Fanshen a noun, a verb, or an adjective? Is it a who or a what? What does it have to do with the history of race and racism? Or, as Grandma Cynthia puts it, “De next time you talk to your mommy an’ your daddy, ahsk dem for me – what in God’s name is a Fanshen?…Why dem give you dat name?”

These are some of the central questions that Fanshen Cox DiGiovanni addresses in her brilliant and timely one-woman show, One Drop of Love: A Daughter’s Search for Her Father’s Racial Approval.

I am present for Fanshen’s debut performance on Saturday, March 9, 2013 at the Arena Theater on the campus of California State University, Los Angeles. The Arena is small, intimate, packed, and a few people have traveled across the country to see this debut. I sit in the front row with my good friend Rocco Robinson, and we notice right away that the audience is relaxed, friendly, and excited; the set is simple, arousing, and well thought out.

Fanshen is an educator, a writer, a film maker, and an accomplished actor who recently played a part in Argo, the Academy’s Best Picture for 2012. Fanshen is also well known within the nascent multiracial community for being the co-creator and co-host (with Heidi Durrow) of the award-winning podcast series, Mixed Chicks Chat (2007-2012) and of the Mixed Roots Film and Literary Festival (2008-2012). Both projects have been instrumental in making the public more aware of the so-called mixed experience, and of the growing number of critical and creative works about multiracial lives and issues.

Both collaborative projects have also been a means for Fanshen and Heidi to come to a deeper understanding of their own mixed experiences and identities, which, in turn, has facilitated the development of their own creative works. Heidi was the first Mixed Chick to gain national recognition for her bestselling novel, The Girl Who Fell from the Sky (2010). Now it is Fanshen’s turn to deconstruct longstanding racial assumptions, traditions, and allegiances with her own hybrid, experimental work.

One Drop of Love emphasizes the history of the construct of race from the 1700s to the present. More specifically, the interrelated American history of race and the decennial Census constitutes the factual and visual backdrop against which Fanshen performs her own personal history and evolution. Fanshen plays herself at different junctures in her life and, using multiple dialects and gestures, fifteen other characters (including her family) of different ages, genders, nationalities, and ethno-racial-cultural backgrounds. Though the subject matter is difficult, her acting ability helps her engage, entertain, touch, and enthrall her audience. Considered altogether, her multiple character depictions and interactions expose into view how the history of race–in conjunction with a shared belief in static racial categories, values, identities, and traditions–impacts intimate relationships, social opportunities, self-perception, and personal growth…

Read the entire review here.

Community Profiles – Melissa Nobles

MIT School of Humanities, Arts & Social Sciences
Great Ideas Change the World
2013-04-21

Leda Zimmerman

“All societies periodically have to do soul-searching,” says Melissa Nobles, the Arthur and Ruth Sloan Professor of Political Science. With research that illuminates historic episodes of racial and ethnic injustice, Nobles has developed a deep understanding of how different nations go about the process of self-examination and attempt to right the wrongs of the past. Such efforts, believes Nobles, require rigorous honesty and “making sure all voices are heard.”

Budding Political Aspirations

A self-described “political person,” Nobles learned early on about speaking up in the public arena. She was class president during most of her high school years in New Rochelle, NY and remembers attending forums in city hall to protest the school board “taking our school’s money away.” The daughter of parents born and raised in the American South, Nobles grew up during a racially fraught era, and was riveted by news accounts of the civil rights movement, as well as profoundly interested in the political struggles and history of black Americans.
 
Politics and Race
 
This passion to understand politics and its relation to race found an outlet during Nobles’ undergraduate years at Brown University in the early 1980s. Through courses on Latin America, she became fascinated with Brazil, a slave-holding country like the U.S. well into the 19th century. The prevailing academic wisdom was that post-slavery, Brazil evolved into a racial democracy with “no sharp lines of racial demarcation,” while the U.S. saw reconstruction, Jim Crow, racial violence and socioeconomic inequities.
 
But as scholars scrutinized the lives of contemporary Brazilians of color, the disparity (between U.S. and Brazilian national stories) began to crumble. According to Nobles, who eagerly absorbed the new findings, “all socioeconomic indicators that make democracy meaningful didn’t look so good for them, and in a further irony, things looked better for black Americans.” She recalls thinking, “If I’d been born in Brazil, looking the way I do, I wonder what my life outcomes would have been.”…

Read the entire article here.

Acclaimed Actress Performs Play on Race, Love

The Daily Nexus
University of California, Santa Barbara’s Independent, Student Run Newspaper
2013-05-08

Carissa Quiambao

William Zhou / Daily Nexus

Award-winning actress and playwright Fanshen Cox DiGiovanni performed her one-woman play, “One Drop of Love: A Daughter’s Search for Her Father’s Racial Approval” at the UCSB Multicultural Center Theater yesterday evening.

DiGiovanni, who has appeared in the Academy Award-winning film “Argo,” is the co-creator and co-host of award-winning weekly podcast Mixed Chicks Chat and a co-founder and co-producer of the Mixed Roots Film & Literary Festival.

Her solo performance, “One Drop of Love,” co-produced by Ben Affleck, Matt Damon and Chay Carter, begins with DiGiovanni counting the number of “whites” and “blacks” in the audience in a portrayal of a United States Census Bureau employee in 1790, then transitions into her present-day narrative meeting her husband and getting married in 2006, only to have her father decline attending her wedding…

…DiGiovanni alternates between scenes of racial categorization by the U.S. Census Bureau in the late 1700s and her personal narrative about growing up as a multiracial youth in cities across the United States and in West and East Africa. Using filmed images, photographs and animation, she explains the development of “race” in the U.S. and how it affected her identity and her relationship with her black, Jamaican father.

Over the course of the play, DiGiovanni explores her family history in order to reconstruct her racial identity and confront her father about his absence at her wedding. She said this process gave her insight into her heritage and ultimately allowed her to feel more comfortable with her personal identity.

“Today, especially having done this and reconnected with my dad, I feel stronger in my black identity as well as in my mixed identity,” DiGiovanni said. “I feel stronger, and I feel so much more relaxed about it. Unfortunately, it took a long time, and it might take you guys a long time, but just know that you will feel comfortable at some point. I think the sooner we can all get there, it will really help in terms of looking at racism.”…

Read the entire article here.

Solo Show at UCSB’s MultiCultural Center Examines Notions of Racial Identity

Public Affairs & Communications
University of California, Santa Barbara
News Release
2013-05-01

Contact: Andrea Estrada: 805-893-4620; George Foulsham: 805-893-3071

Multimedia performance is produced by Ben Affleck, Matt Damon and Chay Carter

(Santa Barbara, Calif.)—When actress and playwright Fanshen Cox DiGiovanni married the love of her life in 2006, her father did not walk her down the aisle. In fact, he declined to attend the wedding altogether.

Seeking to understand why he chose not to participate, DiGiovanni began a trek through family history—and time and space—that ultimately led to her M.F.A. thesis project: the multimedia one-woman play, “One Drop of Love: A Daughter’s Search for Her Father’s Racial Approval.”

DiGiovanni will perform the hour-long show at UC Santa Barbara’s MultiCultural Center Theater on Tuesday, May 7. The performance begins at 6 p.m. and will be followed by a question-and-answer session with G. Reginald Daniel, professor of sociology at UCSB. Daniels is a leading expert in the field of critical mixed race studies…

…A leading activist on issues related to mixed race, DiGiovanni is an actor, comedian, producer, and educator. She developed “One Drop of Love” as the thesis project for her Master of Fine Arts degree in film, television, and theater from California State University Los Angeles. She will use footage from her performances—the most recent was at the University of Maryland—to produce a documentary film…

Read the entire news release here.

One Drop of Love: A Daughter’s Search for Her Father’s Racial Approval (at University of California, Santa Barbara)

University of California, Santa Barbara
MultiCultural Center Theater [Directions] [Map]
University Center, Room 1504
Tuesday, 2013-05-07, 18:00-20:00 PDT (Local Time)

Fanshen Cox DiGiovanni, Playwright, Producer, Actress, Educator

Jillian Pagan, Director

Produced by: Ben Affleck, Matt Damon and Chay Carter

Q&A afterwards hosted by:

G. Reginald Daniel, Professor of Sociology
University of California, Santa Barbara

Fanshen Cox DiGiovanni returns to the West Coast after a phenomenally successful performance at the University of Maryland.

Incorporating filmed images, photographs and animation, this one-woman show tells the story of how the notion of ‘race’ came to be in the U.S., and its effects on the narrator’s relationship with her father—a journey that will take audiences from the 1600s to the present, to cities all over the U.S. and to West and East Africa, where both father and daughter spent time in search of their ‘racial’ roots.

Fanshen Cox DiGiovanni. ^©2103, Evan Tamayo

Fanshen Cox DiGiovanni is a leading activist concerning mixed race, and is an actor, comedian, producer and educator. One Drop of Love is her MFA thesis, and she will be using footage from her performances to make a documentary.

Fanshen and her father after University of Maryland performance. (2013-03-29). ^©2013, Marvin T. Jones

Ms. Cox DiGiovanni appeared in the 2013 Academy Award and Golden Globe winning film Argo (2012); co-created, co-produced and co-hosted the award-winning weekly podcast Mixed Chicks Chat (2007-2012); and co-founded and produced the annual Mixed Roots Film & Literary Festival^® (2008-20012). For more on Ms. Cox DiGiovanni and One Drop of Love, visit: http://www.onedropoflove.org.

G. Reginald Daniel is a professor of sociology at the University of California at Santa Barbara and a leading expert in field of critical mixed race studies. He received the 2012 Loving Prize from the Mixed Roots Film and Literary Festival in Los Angeles for his lifelong work as a scholar and participant within the multiracial community. He is the author of More Than Black? Multiracial Identity and the New Racial Order (Temple University Press, 2001) and Race and Multiraciality in Brazil and the United States: Converging Paths? (Pennsylvania State University Press, 2006). He is also the author of over 40 chapters and articles dealing with the topic of multiraciality. His latest book is Machado de Assis: Multiracial Identity and the Brazilian Novelist (Pennsylvania State University Press, 2012).

Fanshen and her parents after University of Maryland performance (2013-03-29). ^©2013, Michael J. Hardy

Admission is free.

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