Mixed Race Studies

“My dad is samurai”: Positioning of race and ethnicity surrounding a transnational Colombian Japanese high school student

Linguistics and Education
Available Online: 2013-05-22
DOI: 10.1016/j.linged.2013.03.002

Satoko Shao-Kobayashi
Chiba University, Japan

Highlights

• Racial hierarchies in different countries impact transnational students’ positioning in local contexts.
• Participants Other coethnics by using various labels to destigmatize their own minority positions.
• Racial mixedness is variously interpreted and represented in the identity negotiation.
• Social stratification of dominance and subordination is reenacted through Othering of coethnics.

From sociocultural, interactional and critical perspectives, this study investigates the practices and ideologies of racial and ethnic identities and relationships surrounding Jun, a Colombian Japanese high school student, within a transnational Japanese student community at Pearl High School (pseudonym) in California. In particular, the analysis focuses on how Jun’s racial and ethnic positioning is interpreted and represented by others and himself through examining their labeling and categorization practices. I utilized the analysis of two-year ethnography, in-depth discourse analysis of narratives and conversations and mental map analysis. The study shows how Jun and other participants interactionally negotiated their racial and ethnic identities and relationships by strategically positioning each other in an attempt to survive in the environment where they were marginalized. The study illuminates the dynamics and politics of inter-/intraracial and ethnic relations and identities as well as the circulation of a persisting Whiteness ideology in a global context.

Read or purchase the article here.

The Limits of Literary Realism: Of One Blood’s Post-Racial Fantasy by Pauline Hopkins

Callaloo
Volume 36, Number 1, Winter 2013
pages 158-177
DOI: 10.1353/cal.2013.0049

Melissa Asher Daniels, Assistant Professor of English (Starting in Fall 2013)
University of Alabama, Birmingham

Fiction is of great value to any people as a preserver of manners and customs—€”religious, political and social. It is a record of growth and development from generation to generation. No one will do this for us; we must ourselves develop the men and women who will faithfully portray the inmost thoughts and feelings of the Negro with all the fire and romance which lie dormant in our history, and, as yet, unrecognized by writers of the Anglo-Saxon race.

—Pauline Hopkins, Contending Forces

In the preface to her first novel, an excerpt of which appears above, Pauline Hopkins offers a critical assessment of the cultural stakes of fiction. According to the prolific writer and editor, fiction and history should serve mutual ends: the uplifting of the race. Pointing to the artistic and archival merits of both disciplines, Hopkins implores her fellow African Americans to take up the pen. As Hopkins seems to suggest, fiction’s primary power lies in its pedagogical potential. Fiction has the ability to educate literate African Americans about their rich and painful past, and this past can in turn enrich literary production, as it is replete with material that might easily be adapted for the sake of artistic development and political agitation. Addressing African Americans specifically, Hopkins indicates that it is the responsibility of the race to produce the writers who will narrate this past “with all the fire and romance” that it deserves. Calling for a fiction of mimetic detail and romantic affect, Hopkins echoes white writer Albion Tourgée’s claim, made some several years before, that realism alone cannot convey “the grand truth which makes up the continued story of every life” (411).

In Of One Blood; or, the Hidden Self (1902-1903), Hopkins advances her views on the limitations of literary realism and puts her ideas about the aesthetic virtues of romantic fiction into practice. Published serially in the Colored American Magazine, the episodic novel blends realism with romance to explore issues of ancestry, miscegenation, and tangled kinship. In this respect, the novel is generically and thematically akin to much of nineteenth-century African American writing. But in some fundamental ways, Of One Blood is one of the most intricate, if not bewildering texts. Indeed, critics often describe it as “unruly”—taking their cue from the title of an anthology edited by John Cullen Gruesser. To be sure, the novel draws from several romantic traditions—the gothic, adventure, utopian genres—€”and adopts a bifurcated plot line—one American, one African—€”that splits the novel into two separate narratives. The text begins in America, focusing on Reuel’s racial passing, and culminates in Africa with his discovery of a hidden city that doubles as a metaphor for his hidden identity. Together, both the American and African sequences form a “realistic” and “romantic” meditation on blood, genealogy, and fantasies of racial difference circulating in the United States imaginary during the nadir.

Critics, however, have a tendency to overlook the novel’s realism or to under assess its romantic value. Some, following Eric Sundquist’s cue, read the book as “patently escapist” (569); while others, such as Adenike Marie Davidson and Yogita Goyal, more recently, situate it within a constellation of black nationalist and Pan-Africanist discourses advocating emigrationism. My trouble with these readings is twofold: first, critical assessments that describe the novel as “escapist” come off sounding slightly condemnatory; such readings carry a pejorative connotation that seem to suggest that the novel evades pressing political concerns confronting black Americans at the turn of the century or that it disavows literary realism (which it does not); second, analyses that take the novel’s “back to Africa” plot at face value are too literal, neglecting the novel’s fantastic and allegorical qualities in the service of advancing emigrationist readings. And while the novel is clearly in conversation with such discourses, it is more interested in promoting black consciousness and cultural distinctiveness than in advocating actual repatriation. An imaginative take on the problem of American racism,…

A Conversation with Lawrence Hill

Callaloo
Volume 36, Number 1, Winter 2013
pages 5-26
DOI: 10.1353/cal.2013.0072

Winfried Siemerling, Professor of English
University of Waterloo, Ontario, Canada

When Paul Gilroy in The Black Atlantic offered an alternative account of modernity that placed transnational, black transatlantic lives and cultures at the center, Canada was not on his map. Slavery, however, did not stop at the borders first of New France and then the Canada’s until it was abolished in the British Empire in 1834, and the Underground Railroad made Canada an important site of black writing especially after the Fugitive Slave Act of 1850. To be fair, the current surge of impressively strong African Canadian writing, heralded by some authors and anthologies since the 1960s and 1970s, was still gathering steam in the early 1990s.

Lawrence Hill, a novelist and nonfiction writer whose parents immigrated to Canada from the United States after WWII, has become one of the most important contributors to black culture here. His first novel, Some Great Thing (1992), was followed by Any Known Blood (1997), a multi-generational border-crossing novel in which the allusively named Langston Cane V explores his own mixed race and family. In the process, he uncovers a forebear’s slave narrative that recounts his involvement in John Brown’s raid on Harpers Ferry. Hill’s third novel, The Book of Negroes (2007), is a neo-slave narrative in its entirety that redraws the map of Gilroy’s black Atlantic. The protagonist Aminata, abducted in West Africa, flees first from slavery in South Carolina, then from Americans taking control of New York in 1783, and finally from Nova Scotia to return to Africa. She travels to Sierra Leone in 1792, and from there sails to London to support the abolition of the slave trade. In Hill’s transfiguration of these historical events, Aminata herself becomes a scribe of Guy Carleton’s “Book of Negroes,” recording the 1783 black exodus from New York. The use of the word “Negroes” in Hill’s title, although taken from that historical document, has proven controversial, and the novel appeared in the United States, New Zealand, and Australia as Someone Knows My Name. A breakthrough for Hill internationally, the novel won among other awards the Commonwealth Writers’ Prize and the Rogers Writers’ Trust Fiction Prize.

Hill’s work offers United States readers an especially inviting entrance into contemporary black Canadian literature, not only because of his fiction’s frequent transborder thematic but also since his nonfiction—€”for example Black Berry, Sweet Juice: On Being Black and White in Canada—often speaks to issues of race from a United States-Canadian comparative perspective. The following interview conversation, though concentrating on the novels, seeks to provide an introduction to his entire career, including his formative travels in Africa. It is divided by short subtitles for orientation and ease of reading.

Early Writing and Travels in Africa

Siemerling:

In your last novel, The Book of Negroes (named after a historical document but published in the United States as Someone Knows My Name), you thematize the back-to-Africa journey of 1,200 people from Nova Scotia to Sierra Leone in 1792, and you talk about the fact that it is the first one historically. We also know that for many people still today it is a very emotional and important event, to “go back” to Africa.

Hill:

Yes, and many people of African American or African Canadian origin are seeking some sort of validation from or connection with the motherland. It’s a connection with one’s extended family, metaphorically. Of course, why should a typical African who is selling coffee in his street stand in Niamey, Niger, look at some kid from Toronto and say “hey, here’s my brother.” Sorry, that’s just not going to happen, especially with the way I look, which to many of them was white. Many African Americans and African Canadians have observed this kind of rocky reception that they received. When I went there, I wanted to be welcomed as one of the race and have my blackness celebrated. I wanted to be brought into the arms of my people, in a way. And it’s a natural thing for a twenty-two-year-old to…

The Place in Between: An Interview with Esi Edugyan

Callaloo
Volume 36, Number 1, Winter 2013
pages 46-51
DOI: 10.1353/cal.2013.0070

Maaza Mengiste

Esi Edugyan’s 2011 Man Booker Prize finalist, Half-Blood Blues, opens with the lines, “Chip told us not to go out. Said, don’t you boys tempt the devil.” It is 1940 in Nazi-occupied Paris and the “boys” include Afro-German, Jewish, and African-American members of a jazz band who have recently fled an increasingly dangerous Berlin. They are living under a terrifying regime, trapped as much by the color of their skin as the curfews and constant presence of the Gestapo. Told from the perspective of Sid, an African-American bassist who left pre-civil rights era Baltimore to escape racial segregation, it is Hiero, the incomparably gifted trumpeter player, who holds the band together. But Half-Blood Blues is more than a book about music. Edugyan illuminates one of the forgotten victims of Nazi Germany’s ruthless quest for a racially “pure” state: the “Rhineland Bastards,” mixed-race Germans whose stories were lost when they went into hiding, fled, or disappeared into concentration camps. Hiero is one of those “mischlings,” and through him, we begin to understand how encompassing a denied history can be. But perhaps more than anything, this is a story about friendship, betrayal, loyalty, and the possibility of redemption through music. To read Half-Blood Blues is to hear jazz and the ache of regret through prose. Garnering nominations and awards internationally, the book has kept Edugyan on a busy, hectic schedule. It was my honor to have the chance to catch her in a quiet moment to talk about her book.

Mengiste:

I want to just jump right in and talk a little bit about the book’s setting and its characters. Part of the story takes place in 1940 Paris and Nazi Germany. What was your motivation for writing about this moment in history? What got you really interested in it, and these characters?

Edugyan:

I think I’ve always had a fascination with that period of history. It was such an extreme time in terms of what was happening everywhere, but especially in Europe, in those initial months when the Third Reich came to power. It was very fascinating for me. I had been living in Germany for about a year and a half, over two separate periods. The first time I was there for about thirteen months, learning German and really trying to immerse myself in the culture. And being a black woman living in Southern Germany, I started to wonder about the history of black people in Europe in general, but specifically in Germany. And so I did some research and discovered the story about the Rhineland Bastards—or the so-called “Rhineland Bastards.” That’s how I came to focus on this period that I had done quite a bit of reading on over my lifetime. It was interesting to me.

Mengiste:

When you were researching these Rhineland Bastards, these children born to black soldiers and German mothers in the period following WWI, what guided your decision to make your characters musicians?

Edugyan:

I have a very strong interest in music and grew up with a very strong interest in music even though I was never able to play the instruments very well. So, I’d been working on a project about a different kind of musician, a classical musician. And when I was in Germany, I started putting that aside and turning my sights to jazz musicians. And this was, in large part, because I quite love jazz. I’m not a huge expert on it, I’ll admit that, but what I’ve heard I really like. But also because I knew that Germany had gone through a big jazz age in the twenties, you know, there was a big avant-garde time after the First World War. So then you start to think about “well, what would happen to all of those musicians once the Third Reich took power?” And, you know, it was something that I certainly didn’t know anything about, so I just had to do…

Bullying Pulpit: Racism, Barack Obama and the Selective Call for Personal Responsibility

Tim Wise, Antiracist Essayist, Author and Educator
2013-05-19

Tim Wise

Sometimes, white privilege isn’t about stuff. It’s not always about better opportunities, or more money, or even greater access to those things than people of color.

Sometimes, white privilege is as simple as knowing that, generally speaking, if you’re white, you’ll be perceived as competent and hard-working until proven otherwise, while people of color — even those who have proven themselves competent and hard-working — will still be subjected to presumptions that they just might not be, and that somehow, they (but not you) need to be reminded of the importance of hard-work and personal responsibility, lest they (but never you) revert to some less impressive group mean.

To wit, President Obama’s commencement address today at Morehouse College — one of the nation’s preeminent institutions of higher learning, and perhaps its most famous historically black college or university — during which, among plenty of rather standard commencement speech boilerplate, the president lectured this year’s graduates about the importance of taking personal responsibility for their lives, and not blaming racism for whatever obstacles they may face in the future.

It’s hard to know what’s more disturbing.

Either that President Obama thinks black grads at one of the nation’s best colleges really need to be lectured about such matters; or, alternately, that White America is so desirous of exculpation for the history of racial discrimination that we need him to say such things, and he knows it, thereby feeding us the moral scolding of black men we so desperately desire and love to hear.

Either way, the result is tragic…

Read the entire article here.

Obama Urges Morehouse Graduates to ‘Keep Setting an Example’

The New York Times
2013-05-19

Mark Landler

ATLANTA — President Obama came to Morehouse College, the alma mater of the Rev. Dr. Martin Luther King Jr., on Sunday to tell graduates, 50 years after Dr. King’s landmark “I Have a Dream” speech in Washington, that “laws and hearts and minds have been changed to the point where someone who looks just like you can somehow come to serve as president of these United States.” [Read the transcript here.]

The president tied Dr. King’s journey to his own, speaking in forthright and strikingly personal terms about his struggles as a young man with an absent father, a “heroic single mom,” and the psychological burdens of being black in America.

He also issued a challenge to the graduating class, imploring the young men of Morehouse, the nation’s only historically black, all-male college, to be responsible family men, to set an example, and to extend a hand to those less privileged than them.

While Mr. Obama has struck these themes before, he has rarely done so in such unsparing terms. After a week in which his presidency seemed adrift on a sea of controversies, the speech served as both a reminder of his historic role and an emphatic change of subject.

“We know that too many young men in our community continue to make bad choices,” Mr. Obama said. “And I have to say, growing up I made quite a few myself. Sometimes I wrote off my own failings as just another example of the world trying to keep a black man down.”…

Read the entire article here.

What Obama must say to African-American grads

CNN Opinion
Cable News Network
2013-05-18

Paul Butler, Professor of Law
Georgetown University

—”My brothers.”

That is how President Obama should begin one of the most significant speeches of his presidency: the commencement address at Morehouse College this Sunday. Addressing the historically black all male institution gives Obama an opportunity to rectify his strategic neglect of African-Americans. In this high-profile talk to his own demographic, the president has some explaining to do.

Obama’s identity as a black man is usually communicated subliminally, with the swag in his walk, the basketball court on the East Lawn, the sexy glances at the first lady, his overall cool. Now, however, comes the time to be explicit: to speak out loud his affiliation, his fraternal pride and concern. That’s the good work that calling us “brothers” would do…

Read the entire opinion piece here.

What We Mean When We Say ‘Race Is a Social Construct’

The Atlantic
2013-05-15

Ta-Nehisi Coates, Senior Editor

In a world where Kevin Garnett, Harold Ford, and Halle Berry all check “black” on the census, even the argument that racial labels refer to natural differences in physical traits doesn’t hold up.

Andrew Sullivan and Freddie Deboer have two pieces up worth checking out. I disagree with Andrew’s (though I detect some movement in his position.) Freddie’s piece is entitled “Precisely How Not to Argue About Race and IQ.” He writes:

The problem with people who argue for inherent racial inferiority is not that they lie about the results of IQ tests, but that they are credulous about those tests and others like them when they shouldn’t be; that they misunderstand the implications of what those tests would indicate even if they were credible; and that they fail to find the moral, analytic, and political response to questions of race and intelligence.

I think this is a good point, but I want to expand it. Most of the honest writing I’ve seen on “race and intelligence” focuses on critiquing the idea of “intelligence.” So there’s lot of good literature on whether it can be measured, its relevance in modern society, whether intelligence changes across generations, whether it changes with environment, and what we mean when we say IQ. As Freddie mentions here, I had a mathematician stop past to tell me I needed to stop studying French, and immediately start studying statistics — otherwise I can’t possibly understand this debate.

It’s a fair critique. My response is that he should stop studying math and start studying history…

…Our notion of what constitutes “white” and what constitutes “black” is a product of social context. It is utterly impossible to look at the delineation of a “Southern race” and not see the Civil War, the creation of an “Irish race” and not think of Cromwell’s ethnic cleansing, the creation of a “Jewish race” and not see anti-Semitism. There is no fixed sense of “whiteness” or “blackness,” not even today. It is quite common for whites to point out that Barack Obama isn’t really “black” but “half-white.” One wonders if they would say this if Barack Obama were a notorious drug-lord.

When the liberal says “race is a social construct,” he is not being a soft-headed dolt; he is speaking an historical truth. We do not go around testing the “Irish race” for intelligence or the “Southern race” for “hot-headedness.” These reasons are social. It is no more legitimate to ask “Is the black race dumber than then white race?” than it is to ask “Is the Jewish race thriftier than the Arab race?”…

Read the entire article here.

Half/Full

UC Irvine Law Review
University of California, Irvine Law School
Volume 3, Forthcoming
Online: 2013-04-07
pages 101-125

Nancy Leong, Assistant Professor of Law
University of Denver Sturm College of Law

Research suggests that multiracial identity is uniquely malleable, and I will focus here on the significance of that malleability for mixed-Asian individuals. At various times, mixed-Asian individuals may present themselves as “half” Asian; other times, they may present themselves as “full” Asian, “full” White, or, in some instances, fully ambiguous. Mixed-Asian racial identity negotiation, I will argue, often presents considerable challenges for mixed-Asian individuals. And mixed-Asian individuals are often targets of what I have elsewhere called “racial capitalism” by White individuals and predominantly White institutions. Still, I conclude that the malleability of mixed-Asian racial identity provides unique opportunities for destabilizing existing views about racial identity, reinvigorating stale conversations about race, and ultimately facilitating progress toward a racially egalitarian society.

Contents

• Introduction
• I. Mixed-Asian Identity
  • A. Sociology
  • B. Legal Discourse
• II. Using Mixed-Asian Identity
  • A. Commodification
  • B. Exploitation
  • C. Entrepreneurship
• III. Harms
  • A. Intrinsic Harms of Commodification
  • B. Harms to Individual Mixed-Asians
  • C. Harms to Society
• IV. Half Full

INTRODUCTION

About one out of six new marriages in America takes place between two people of different races—an all-time high. And Asian Americans are ahead of the curve: about one in three Asian Americans marries someone of a different race. Such relationships precipitate what commentators have described as an “interracial baby boom.”

Research suggests that multiracial identity is uniquely malleable, and I will focus here on the significance of that malleability for mixed-Asian individuals. At various times, mixed-Asian individuals may present themselves as “half” Asian; other times, they may present themselves as “full” Asian, “full” White, or, in some instances, fully ambiguous. Mixed-Asian racial identity negotiation, I will argue, often presents considerable challenges for mixed-Asian individuals. And mixed-Asian individuals are often targets of what I have elsewhere called “racial capitalism” by White individuals and predominantly White institutions—that is, these individuals and institutions derive value from mixed-Asian racial identity. Still, I conclude that the malleability of mixed-Asian racial identity provides unique opportunities for destabilizing existing views about racial identity, reinvigorating stale conversations about race, and ultimately facilitating progress toward a racially egalitarian society.

In Part I, the Essay examines the social scientific literature regarding mixed-Asian racial identity. As the result of a wide range of factors, including phenotypic characteristics, life experiences, and family dynamics, mixed-Asian individuals often view their racial identity differently from members of any of the traditional socially ascribed racial categories. In particular, mixed-Asian identity is often more fluid and dynamic, shifting from one context to the next. Such fluidity and dynamism is facilitated by a social view of mixed-Asian individuals as occupying a unique racial space. Part I also briefly notes the relative dearth of legal discourse relating to mixed-Asians.

Part II explores the way mixed-Asian racial fluidity is used, manipulated, exploited, and leveraged. Mixed-Asian individuals often engage in what scholars have described as “identity performance” or “identity work,” so as to present themselves in the manner most favorable in a particular social or employment context. For example, mixed-Asian individuals may be able to present themselves in a way that is more palatable to employers by displaying greater assimilation into dominant White norms of behavior and self-presentation. But mixed-Asian racial identity is also exploited by White individuals and predominantly White individuals. For example, an employer might count a mixed-Asian person for purposes of its diversity numbers even if that person does not personally consider herself a minority, or might incorporate photos of a mixed-Asian person on its website or in its promotional literature in order to advertise its nominal commitment to diversity without engaging harder questions of structural disadvantage and remediation.

Part III examines some of the negative implications of such uses of mixed-Asian identity, which harm both mixed-Asian individuals and society at large. For example, mixed-Asian individuals suffer identity demands that harm the integrity of their racial identity and submerge their own complex processes of identity negotiation. More broadly, exploitation of mixed-Asian racial identity by White individuals and predominantly White institutions often essentializes mixed-Asian individuals, impoverishes our discourse around race, fosters racial resentment by inhibiting the reparative work essential to improved racial relations, and detracts from more meaningful antidiscrimination goals.

Despite the many negative implications of manipulating mixed-Asian identity in the ways I have described, the Essay concludes in Part IV by suggesting that the fluidity and malleability of mixed-Asian identity also has the potential to serve as a powerful tool for racial reform. Mixed-Asian racial malleability has the potential to destabilize entrenched beliefs about race, to lay bare hidden demands of racial identity performance, and to engender a dramatic improvement in our conversations and policies regarding race.

Read the entire article here.

The Gil Gross Program with Marcia Dawkins

The Gil Gross Program
Talk 910, KKSF AM
San Francisco, California
Monday, 2013-05-13

Gil Gross, Host

Gil speaks with Marcia Dawkins, author of “Clearly Invisible; Racial passing and the Color of Cultural Identity“, about the growth of our mulit-racial nation.

Download the audio here.