Mixed Roots Stories Performance Sampler @ CMRS 2017

Mixed Roots Stories Performance Sampler 2017

February 26th, 2:30 – 4:00 p.m.

At the 4th Critical Mixed Race Studies conference, four dynamic performers will share a sampling of their work followed by an open discussion with the artists on craft, process and engaging with themes of the mixed experience.

 

Elizabeth Chin and the Laboratory of Speculative Ethnology

The Jefferson-Hemings Complex
Elizabeth Chin is an ethnographer and anthropologist with a multifaceted practice that includes performative scholarship, collaborative research, and experimental writing. A professor at Art Center College of Design in the MFA program Media Design Practices/Field, she has published widely on children, consumption, anthropological practice. She has performed and done ethnography in the United States, Haiti, Uganda, and Cuba.

Gregory Diggs-Yang

Becoming Korean, While Growing Out My Afro: A Personal Narrative about a Moment in My Own Identity Development as a Mixed Korean and Black American
Gregory (Chan-wook) Diggs-Yang has a Bachelor’s (BA) in Education from Illinois State University and a Master’s (M.Ed.) in Educational Administration from UCLA. Greg has most recently moved from South Korea where he worked at Seoul National Universities as the Curriculum Coordinator for the IETTP (Teacher Training) and was a co-host of the Arirang Radio segment, ”Footprints of Korea with Chan-wook”. In addition he served as the President of the M.A.C.K. Foundation (Movement of the Advancement of Cultural-diversity of Koreans). A grassroots organization that supports multicultural schools and increases recognition and awareness of the diversity of Koreans. His areas of interest include multicultural education, mixed-heritage, and social justice. Greg is currently a doctoral candidate in the College of Education, Multicultural Education program at the University of Washington, Seattle. His dissertation looks at the support of biracial identity development through educational spaces.


Genevieve Erin O’Brien

Sugar Rebels

Genevieve Erin O’Brien is a Queer mixed race Vietnamese/Irish/German/American woman. She is an artist, a filmmaker, an organizer, a cook/private chef, and an educator who lives and works in Los Angeles. She holds an MFA in Performance from the School of the Art Institute of Chicago. O’Brien was a Fulbright Fellow in Vietnam, a recipient of the Department of Cultural Affairs, City of Los Angeles and Center for Cultural Innovation’s Creative Economic Development Fund. in 2016 she went to Hanoi, Vietnam as a US Dept. of State/ZERO1 American Arts Incubator Artist for a project highlighting LGBTQ visibility and equality. Her newest work More Than Love on the Horizon: West Coast Remix and Sugar Rebels were recently commissioned and presented by the Smithsonian Asian Pacific American Center.

 

For additional conference programing and other details visit the CMRS website.


Mixed Roots Stories LIVE 2017 performers

Mixed Roots Stories LIVE Performance 2017

February 25th, 6:00 – 7:30 p.m.

Mixed Roots Stories will open the 4th Critical Mixed Race Studies conference with live performances by the following:

karimi-standing-72Robert Farid Karimi

Disco Jesus – new work TBA!

Robert Farid Karimi is a community engagement specialist and comedic storyteller. He works with everyday people in cities, companies, and health centers worldwide on making healthy messaging delicious using comedy, culture and food with his culinary cultural engagement project: ThePeoplesCook Project. And, he speaks on issues as mixed race/consciousness, food politics, community deliciousness and the power of the Fool/Trickster to change the world. www.KaRRRimi.com

crystal-alad-3Crystal Shaniece Roman

Black Latina the Play

In 2008 Ms. Roman launched The Black Latina Movement, LLC (BLM) and began performing BLM’s first written theatrical piece: a one woman show about the lives of dark-skinned Latinas and African American Latinas entitled Black Latina. In early 2013 Black Latina received a new format featuring an all female ensemble cast starring Judy Torres; during the fall the revamped Black Latina saw the success of multiple sold out shows. Since 2013 Black Latina the Play has been on tour in the Northeast at campuses such as: Hamilton College, Penn State University, Community College of Baltimore County-Essex and Lehigh University. Most recently Crystal revised the one woman version of Black Latina the Play after being invited to perform at the Smithsonian Institute for Hispanic Heritage Month Festival Latinidad- Looking into Latina Women’s American Experiences September 2016.

 

carly-headshotCarly Bates

Musings of Rachel Dolezal

Carly Bates is an emerging artist from Phoenix, Arizona. With a background in music and piano performance, she is active in the Arizona arts community as a creative collaborator with musicians, movers, poets, actors: storytellers. Having recently graduated from Arizona State University, Carly is currently working with a local playback theatre company called Essential Theater and is also the editor for the Mixed Roots Stories Commons.

 

zave-martohardjono-mr-5-2-16-6337-credit-david-gonsierZavé Gayatri Martohardjono

Untitled (Balinese dance study)

Zavé Gayatri Martohardjono makes intercultural, geopolitical, boundary-defying, high glam performance, video, and installations. Interested in embodied risk-taking and cross-cultural imagery, they combine improvisation with their own cultural roots: Indonesian mythology and dance, queer iconography. Brooklyn based, Zavé has shown at Aljira Center for Contemporary Art, Boston Center for the Arts, Center for Performance Research, Center for Contemporary Arts in Glasgow, Leonard & Bina Ellen Art Gallery, Movement Research at Judson Church, Recess, SOMArts, Winslow Garage, among others. They have been an artist in residence at the Shandaken Project at Storm King, La MaMa Experimental Theatre, Chez Bushwick, and an Lambda Literary Emerging Writers Workshop Fellow.

 

dsc_7157_tLisa Marie Rollins

Performing an excerpt from SIDE CHICK: This ain’t no Harlequin Romance

Lisa Marie Rollins is playwright, poet, freelance director and dramaturg. Most recently she co-directed Young Jean Lee’s The Shipment (Crowded Fire Theater) and a reading of Tearrance Chisholm’s Br’er Cotton (Playwrights Foundation). She is the director of All Atheists are Muslimby Zahra Noorbakhsh and was co-producer of W. Kamau Bell’s “Ending Racism in About and Hour”. Lisa Marie performed her acclaimed solo play, Ungrateful Daughter: One Black Girl’s Story of Being Adopted by a White Family…That Aren’t Celebrities in festivals, universities and academic conferences across the US. She was Poet in Residence at June Jordan’s Poetry for the People at U.C. Berkeley, a CALLALOO Journal London Writing Workshop Fellow and an alumni in Poetry of VONA Writing Workshop. Her writing is published in Other Tongues: Mixed-Race Women Speak Out, River, Blood, Corn Literary Journal, Line/Break, As/Us Literary Journal,The Pacific Review and others. Currently, she is finishing her new manuscript of poems, Compass for which she received the 2016 Mary Tanenbaum Literary Award from SF Foundation. She is in development with her new play, Token. She holds degrees from The Claremont Graduate University and UC Berkeley. She is a Lecturer at St Mary’s College in Performance Studies, and a Resident Artist with Crowded Fire Theater in San Francisco. Lisa Marie is a 2015-16 playwright member of Just Theater Play Lab and Artist-in-Residence at BRAVA Theater for Women in San Francisco.

sasaki_fredFred Sasaki EAT TO JAPANESE: Achieving ethnic authenticity by eating, shopping, emojis

A step-by-step guide to being genuine authentic

Fred Sasaki is the art director for Poetry magazine and a gallery curator for the Poetry Foundation. He is the author of Real Life Emails (Tiny Hardcore Press, 2017) and the zine series Fred Sasaki’s and Fred Sasaki’s Four-Pager Guide To: How to Fix You.

 

 

The Performance will be held at the Norris Cinema Theater 850 W 34th St, Los Angeles, CA 90089

This event is Co-Sponsored by the USC School of Cinematic Arts

Free tickets will be limited. Check back for a link to register.

For additional conference programing and other details visit the CMRS website.

Day of walk-ins will also be welcome pending ticket availability.

 


January 2016 Commons: Island Relationality: Diasporic Indigeneity and Critical Mixed Race Studies

Dear Friends and Communities of MXRS,

     We are so pleased to introduce our new MXRS Commons as part of our Arts and Education Programming. This online forum invites scholars, artists, and activists to gather around central themes and debates taking place in Critical Mixed Race Studies today. Our MXRS team hopes to facilitate thoughtful responses to challenging and controversial issues, as well as critiques of Mixed Race Studies, popular culture, and public discourse.

     This Commons takes shape as a collection of concise thoughtpieces–most organized into cluster conversations between each of the participants. We invite you to follow these conversations as they take place right here on our website each month.

     Our inaugural conversation,  Island Relationality: Diasporic Indigeneity and Critical Mixed Race Studies, is one of great importance and its topics are often overlooked or understudied within Mixed Race Studies contexts. This first Commons brings together three innovative graduate students doing interdisciplinary work at the intersections of race, place, and decolonial studies, and we are excited to share with our MXRS communities a preview of their work.

     Thank you for your continued support and curiosity. And most importantly, thank you for sharing your stories!

Stephanie Sparling Williams

Arts and Education, Chair

MXRS Commons Editor


Mixed Race and Diasporic Indigeneity in Kristiana Kahakauwila’s “Thirty-Nine Rules for Making a Hawaiian Funeral into a Drinking Game”

By: Joyce Pualani Warren

Rather than discrete concepts, Kanaka Maoli (Native Hawaiian) epistemology theorizes time and space as enmeshed and liminal. They are mutually constitutive: In the Hawaiian language, the past is ka wā mamua, what is in front of us; and the future is ka wā mahope, what is behind us.[1] This relationship is mediated by the Kanaka Maoli body and its maintenance of kinship ties between humans and their surroundings: As Lilikalā Kameʻeleihiwa asserts, “the genealogies are the Hawaiian concept of time, and they order the space around us.”[2] However, over the last two centuries U.S. political and economic interests have consciously displaced genealogy as a tool for understanding the Kanaka Maoli’s position in the world, and instead privileged racial blood quantum as the determinant of group belonging. But how is belonging perceived among contemporary Kānaka Maoli (Native Hawaiians) who evade or refuse the exactitude of blood quantum? Furthermore, with a huge portion of Kānaka Maoli residing in the diaspora, how are issues of belonging now compounded by space and time, by how far or how long one has been away from the islands?

This paper utilizes the bodily liminality of the epistemological connections between time and space to index the shifting articulations of belonging in contemporary Kanaka Maoli communities; particularly as they are presented in Kristiana Kahakauwila’s short story “Thirty-Nine Rules for Making a Hawaiian Funeral into a Drinking Game.” This is Paradise, Kahakauwila’s collection of short stories, reveals the malleable intersectionality of diasporic Kanaka Maoli identity: localness is racialized in one text and temporalized in another; indigeneity is spatialized in one text and racialized in another. By close reading key moments of bodily engagements with time and space in “Thirty-Nine Rules for Making a Hawaiian Funeral into a Drinking Game,” I offer a theorization of indigenous cosmogony and epistemology that embraces the liminal as a productive site for discussions of belonging for mixed-race and diasporic Kānaka Maoli.

“Hawaiian, but no Local”

“Thirty-Nine Rules for Making a Hawaiian Funeral into a Drinking Game” pushes us to explore how diasporic offspring bring their own experiences of place and race to bear on their interactions with on island relatives and communities. The anonymous protagonist, a hapa haole (half foreign, half white) English major from California, moved back to Honolulu a year ago to be near her ailing grandmother. The story unfolds during the funeral services and wake for her grandmother, detailing how both the protagonist and her relatives come to understand and accept her liminal positionality.

This liminal positionality is located at the intersection of place and race. The protagonist often finds herself “hovering around the exterior,” feeling as if she does not quite belong because she presents as mixed race and grew up in California.[3] In this story, race and place combine to enhance her marginality, as she reminds herself: “After all, you were not born on Kauaʻi. You weren’t even born in Honolulu. No, you were raised a California girl, like your mother before you. She is haole. White. A foreigner. This makes you hapa haole. Half white. Half foreign.”[4] As her distance from Kauaʻi increases, so does her foreignness. This distance seems to compound her racial foreignness. Because her mother, a foreigner, is white, the protagonist is then perceived by herself and others as racially and spatially foreign. Her father, who is Hawaiian, is also of mixed ancestry, yet this goes unmarked, as her composition of “half foreign” is predicated on her being half native. The only reference to her father’s racial background comes when she sees a photograph of her paternal grandfather for the first time and observes, “He pulls more Chinese than you expected.”[5] Her father’s mixed racial background is mitigated by his proximity to Kauaʻi, being born and raised there.

However, his location and genealogical ties are also complicated by his desire to live a life that is not necessarily in step with traditional Hawaiian cultural protocol. As the narrator observes, “he is Hawaiian but no local.”[6] In observing familial interactions she reflects on her father’s divergent path and creates Rule 29: “Understand your dad was different from the outset…After all, to be a boy and diverge…to leave the island for boarding school; to want to go to college on the mainland; to want to stay there, on the mainland, with only one child to his name, and a girl at that, is to cease to want what men want…Because he is Hawaiian, but no local.” The protagonist’s burgeoning awareness of this mixed identity is part of a shift in her own understanding of Kanaka Maoli kinship systems, racial identity, and constructions of belonging.

A family gathering in Hawaiʻi filled with aunts and uncles as well as “eighth cousin[s] four times removed” and hānai cousins is the perfect backdrop to navigate belonging for a mixed race, diasporic, only child.[7] As nineteenth-century Kanaka Maoli historian David Malo reminds us: “The genealogies have many separate lines, each one different from the other, but running into each other. Some of the genealogies begin with Kumu-lipo…This is not like the genealogy from Adam, which is one unbroken line without any stems.”[8] After talking story with relatives and recognizing how Kanaka Maoli genealogies may incorporate other racial identities, as in the case of her father’s Chinese ancestry, the protagonist begins to recognize the ways her family consciously affirms her belonging.

This affirmation is presented through constructions of spatial inclusion. In contrast to her initial inclination to “[hover] around the exterior,” a cousin invites the protagonist to go surfing with a group: “He’ll tell the other guys to let you catch some waves. He’ll tell the other guys you’re his cuz. He’ll take care of you, and you know what this means: You are no longer some Honolulu hapa. You are a Napili. You have one more name, another branch of family to whom you belong. One more from which you can’t escape.” [9] In contrast to the linear and static ideas of Western identity which undergird the protagonist’s initial feelings of marginality, Kanaka Maoli epistemology affirms that one’s current kinship ties, and subsequently one’s status, are not necessarily fixed from the moment of birth but may broaden and shift—as evidenced by the protagonist’s realization that she is “no longer some Honolulu hapa.”   As J. Kēhaulani Kauanui writes: “whereas in the colonial frameworks a person’s vital substance comes from genetic inheritance, in the Pacific Islands context, one’s substance is acquired through genealogical inheritance and sustenance from feeding in any given set of relationships.”[10] American notions of identity are based largely on the immediate conditions surrounding one’s birth and the supposed inherent qualities of nationhood and race became conflated in an attempt to pre-determine the character and quality of a being.  In this way the American concept of kinship is a restrictive force, an “unbroken line” with no “stems,” that only recognizes immediately tangible relations with no significance placed on shared histories and is essentially restrictive or exclusionary while the Kanaka Maoli mode is inherently extensive and inclusionary. This extensive and inclusive mode reveals a potentiality for belonging that is located within the body, but is not beholden to American discourse’s finite and tangible constructions of identity which initially plagued the protagonist.

Conclusion: Looking to the Source

Oddly enough, I’d like to close this piece with a discussion of this boundless potentiality. Specifically, I’d like to genealogize some of these constructions of belonging by keeping the Kanaka Maoli cultural mandate to nānā i ke kumu, to look to the source. In the aforementioned  quote from David Malo, which discusses kinship systems, he affirms that many genealogies begin with Kumulipo. And as Lilikalā Kameʻeleihiwa again reminds us, “the genealogies are the Hawaiian concept of time, and they order the space around us.” A 2,000 line chant that is simultaneously cosmogony, genealogy, poem, and history, the Kumulipo details the unfolding of the universe from the potentiality of pō—the void, the night, the generative space—all the way through the gods, plants, and animals to man.

This unfolding of the universe through pō and ao is divided into 16 wā. More than handy divisions for storytelling, the wā also reflect the epistemological constructions of time and space which are part of the development of the universe. In Hawaiian, wā can mean era, time or season, as well as “space, interval, as between objects or time.”[11] The enmeshed and liminal relationship between time and space, and the fact that they are constitutive elements of Kanaka Maoli genealogical connections to the universe and humanity, reveal bodily mediations of time and space as defining elements of Kanaka Maoli belonging. As a history of creation and a genealogy which connects the Kanaka Maoli individual to the rest of the universe, the Kumulipo reveals the pō as a tool for understanding and maintaining one’s place in the world—and as such, many Kanaka Maoli see the pō’s liminal potentiality as that which orients and secures their identity.[12]

From this position of privileging humanity’s relationship to the potential of liminal times and spaces, I read Kahakauwila’s work as a theorization of indigenous epistemology that embraces the diasporic and intersectional belonging of contemporary Kanaka Maoli. Wā, as time and/or space, is a simultaneous recognition of difference and relationality and is something to be nurtured. If the future is truly ka wā mahope, that which is behind us, then serious conversations of decolonial futures must be firmly rooted in the past. Thus, if we take seriously the charge to nānā i ke kumu, to look to the source, it seems that we must embrace the liminal as a productive site for discussions of belonging for mixed race and diasporic Kānaka Maoli.

Bio:

Joyce Pualani Warren is a PhD candidate in the Department of English at University of California, Los Angeles. Her research interests include: Kanaka Maoli epistemologies and ontologies, indigeneity in the diaspora, decolonial theory, critical race and ethnic studies, American studies, Pacific Islands literature, and American literature.

RESPONSE

As Joyce accurately stated in her discussion on bodily liminality, examining the past is an instrumental component to decolonization.  As a historian, I constantly remind my students that history is important because it helps explain the present.  Moreover, Joyce’s statement on Kanaka Maoli epistemology regarding time and space gives us insight into understanding how native Hawaiians understand genealogy and how it differs from western notions of family.   Thus, Kanaka Maoli epistemology regarding family, kinship, and land provides a conceptual alternative to western notions of race, diaspora, and belonging.  This alternative is flexible since time and space are “enmeshed” and transcends how most people interpret western constructs of race and inclusion/exclusion.  All in all, I believe Joyce’s work provides a point of entry in which we can rethink diasporic identity.

-Alfred Flores

By engaging Kanaka Maoli spatial and temporal frameworks, Joyce articulates the ways in which one can more easily envision the many lenses from which people theorize their own genealogical connections to land, futurity, the past, and our shared contemporary moment.  Joyce’s work powerfully destabilizes continental conceptions of spatiality and temporality that are used to Other island knowledge as isolating and insignificant, as also noted by Epeli Hau‘ofa (1993).  By highlighting the complex “enmeshment” of Kanaka Maoli conceptualizations of time and space, Joyce brings to the fore the multiplicity and infinite potentiality of relational experiences within the diasporic Kānaka Maoli and mixed race communities.  In noting that “decolonial futures must be firmly rooted in the past” Joyce also actively contests the eradication of Kanaka Maoli cosmogony and reasserts its integral importance within active processes of decolonization and US deoccupation that continue to manifest throughout Hawai‘i’s archipelago.

-Becka Garrison


Island Relationality and Settler Responsibility

By: Rebekah Garrison

In the past year I have begun to think more relationally about particular island spaces and their interconnected histories that produce counter-narratives to US imperialism and militarism.  These counter-narratives are understood through the lens of Indigenous geographies that continue to disrupt colonial cartographies that insist on static notions of regionalized areas.  As the members of the International Women’s Network Against Militarism (IWNAM) illuminate, the Pacific and Caribbean are not contained, but rather, surge together through demilitarization solidarity.  And, as a white settler doing research within Indigenous island space, I continue to work under the methodological approach that I am calling “settler responsibility.”

My research looks at how Indigenous women activists in the Mariana Islands, Hawaiʻi, Vieques, and Puerto Rico link the Pacific Ocean and the Caribbean Sea through demilitarization, as the core, of their social movements.  I examine community mobilizations that resulted in the expulsion of the US military, and its allies, from Kahoʻolawe in 1990 and Vieques in 2003 to demilitarization tactics within the contemporary Mariana Islands.  Using a combination of archival research, interviews, and participant observation, I write a history of “island relationality.” Meaning, my research disrupts singular studies of islands, and instead, works through the analytic of demilitarization for comparative analysis.  By focusing on the IWNAM, I argue that members of this organization construct their own decolonial theorizations of geography.  In working together towards creating a network of relations, participants redefine the parameters of thinking through islands as comparative units. I articulate how the histories of Kahoʻolawe and Vieques circulate within the Mariana Islands and cognitively map decolonial forms of island relationality between Pacific and Caribbean islands.  Analysis of the IWNAM provides a new discourse regarding the ways in which Indigenous women activists across multiple island sites mobilize solidarity that disrupt cyclical histories of colonialism, while also, imagining a future free of US military imposition.

Before going any further, I’d like to take a moment and flesh out the methodological approach I’m calling “settler responsibility.”  As a floating member between the Vieques, Hawai‘i, California, and soon the Mariana Islands chapters of the IWNAM, I am continuously inspired by the California members who fight US militarization from within the “belly of the beast.”  While the California chapter is comprised of settlers from various diasporic communities, who may or may not identify as Indigenous, there are also white women who actively participate in the organization, myself included.  I situate this diverse set of settlers within a methodological framework of “settler responsibility” that derives from the work of Kanaka Maoli scholar ku‘ualoha ho‘omanawanui and her articulations of “kuleana consciousness” (2012).

In Hawaiian “kuleana” translates to many concepts, but is more generally understood as “responsibility” and “privilege.”  According to ho‘omanawanui, “kuleana consciousness extends to all.  Settler colonialism benefits settlers and is bent on eliminating the Native.  Settlers and others with new insights, having heard this story, can adopt a form of kuleana consciousness” (loc. 2901).  I believe that settler responsibility is a form of kuleana consciousness that greatly values listening, and for this reason, the incorporation of oral histories is crucial to my work.  When settlers, particularly white settlers are quiet, there’s less cacophony and more mediation towards breaking down socially constructed divisions that continuously hinder us all from transforming how we interact with one another, at both quotidian and structural levels. In adopting a form of kuleana consciousness, I believe that white settlers, too, may participate in processes of decolonization that break from violent narratives that homogenize multiple island sites as an amalgamated Other, as articulated by Epeli Hau‘ofa (1993).

As noted by the work of decolonial scholars like Haunani-Kay Trask (1999), Vince Diaz (2004), and Dean Saranillio (2014) there has been an ongoing call to settlers to be accountable for and take seriously their settler positionality within continual forms of Indigenous dispossession.  Saranillio, who has been greatly impacted by the life, scholarship, and activism of Trask, like myself, has an incredibly inspiring utopic vision for settler and Indigenous solidarity.  According to Saranillio,

By taking seriously Indigenous knowledges and economies, we can create another future, and in the creation of an alternative future, more space for mutual respect can occur.  Settler states have no interests in non-Natives identifying with native movements, as such identification opens our world to alternatives that the settler state denies are possible (204).

I want to be a part of that world which is denied to all of us.  Because history making is never experienced by a single group, but rather, is the formation of a shared past, the rendering of history solely through a white colonial lens is not only inaccurate but is violent to us all.

My concept of “island relationality” opens a space of possibility for the development of a more unified island historical discourse, as expressed through the oral histories of Indigenous island subjectivities across multiple regionalized and militarized areas.  By incorporating oral histories into my work, past memories entwine with future aspirations and preserve a historical record of island relationality through the lens of demilitarization.  Relationality and demilitarization, then, are not in opposition to one another when viewed through the lens of the women of the IWNAM, but rather, complementary to each other.  As histories of demilitarization strategies navigate across multiple island sites, so too does a greater understanding of these struggles expand and inspire utopic geographies of Indigenous women activism across oceans and seas. The voices and histories illuminated throughout my research conceptualize new ways of decolonial relationality by emphasizing how human mobility can never be contained to static notions of colonial cartography.

As my work highlights, the ways in which relationality is theorized does not necessarily have anything to do with one’s physical proximity to others, but can be conceptualized in terms of experiential ways of knowing and seeing the world.  As the women of the IWNAM bring to bear, the violent totality of US Empire cannot be understood through the research of a single regionalized area.  Rather, US Empire must be re-territorialized through the lens of island spatiality, temporality, and subjectivities and contextualized through a multiregional framework. Demonstrating a lingering discontent since the islands were illegally annexed or ceded to the US in 1898, my project addresses the inflexibility that colonial cartographies presume.

Slide3

Bio:

Rebekah received her B.A. (2006) and M.A. (2010) degrees in Spanish Literature from the University of Hawai‘i at Mānoa and is currently a PhD candidate in the Department of American Studies and Ethnicity at USC.  Her research interests include the intersections of empire and island relationality, Indigenous geographies, colonial cartographies, settler responsibility, demilitarism, and decolonial theory and praxis.

 

RESPONSE

Militarization is a pervasive force that has and continues to negatively impact the lives of people regardless of racial or ethnic background.  It also transcends national and territorial borders, which makes it challenging for individual people to combat.  However, Becka’s work on the connections of demilitarization in the Caribbean and Pacific reminds us that people have agency against capitalist forces such as militarization and globalization.  This agency is also rooted in the possibility of interracial and interethnic solidarity that includes people from various geographic and cultural backgrounds.  Just as importantly, Becka offers us a way to think about how white settlers can also be part of this process of decolonization through “settler responsibility.”  Moreover, I believe Becka’s work is part of a growing scholarship that is calling for greater solidarity similar to that in the documentaries entitled, Living Along the Fenceline (2011) and Insular Empire (2009).

-Alfred Flores

Becka’s emphasis on the dynamism of indigenous constructions of space and memory underscores the ways lived experiences may combat the rigidity of imperial discourses of knowledge and identity. In highlighting the collaborative work of activists across geographical regions, this piece reminds us that static settler cartographies cannot contain these vibrant and fluid constructions “because they are always transforming through new narratives.” Her attention to the ways women have countered militarism and the imposition of colonial cartographies also provides an entry point for discussions of how intersectional feminisms are useful in combating specifically patriarchal aspects of empire and settler colonialism. In addition to privileging the voices of indigenous feminists, the framework of “settler responsibility” invites a plurality of voices. This reliance on gendered, ethnic, racial, regional, and indigenous diversity is a welcome contribution to demilitarization efforts and settler colonial studies, drawing its strength from the endurance, resilience, and vitality of lived experience.

-Joyce Pualani Warren


 U.S. Military Expansion and Settler Colonial Studies

By: Alfred P. Flores

Guam is a 212 square mile island located in the western Pacific Ocean.  Specifically, it is the southernmost island of the Marianas Archipelago.  The indigenous inhabitant are known as Chamorros.  Since the 17th century to the present, Guam has been under the colonial authority of three different nations (Spain from 1688 to 1898, United States from 1898 to 1941, Japan from 1941 to 1944, and the United States from 1944 to the present).  Today, Guam is categorized as an unincorporated territory of the United States.  While those who are born on Guam are U.S. citizens, they have limited protection under the U.S. Constitution and Bill of Rights.[1]  Due to this colonial legacy, scholars have been rewriting the history of Guam by including the marginalized voices of its people.

One of the widely accepted ideas of Guam history is that the Chamorros of Guam were grateful to the U.S. military for “liberating” them from Japan during World War II and were thus, willing to give their land to the U.S. military as an act of gratitude.  By 1950, the U.S. military had occupied approximately thirty to thirty-five percent of the entire island.  Utilizing declassified archival records from the U.S. National Archives, unseen archival documents from the Nieves M. Flores Memorial Library, and thirty-three oral histories I conducted on Guam, my previous work argued that some Chamorros were actually critical of the U.S. military and vehemently objected to the confiscation of their lands.  This was most evident in their opposition to the U.S. military’s attempt to make public spaces such as beaches into restricted areas that were reserved for only the military to use.  I also argued that Chamorros continued indigenous practices of land stewardship that included reliance on land for self-subsistence, the cultivation of clan relationships through family gatherings, and on Chamorro preference for land in-exchange rather than monetary compensation for their property that was confiscated.  While my approach to studying empire and indigenous resistance has helped me complete the writing of this chapter and my dissertation, I want to push the boundaries of my work to think even more broadly on how the U.S. military has confiscated the land of indigenous people in other parts of the world.

A category of analysis that I am now considering to foreground in this chapter and for my entire manuscript is the idea of settler colonialism.  Based on the work of scholars such as Haunani-Kay Trask, Andrea Smith, and Patrick Wolfe, I believe settler colonial studies provides a framework that allows me to not only underscore U.S. military land acquisition as an imperial project but one with the particular goal for the settlement of the U.S. military as a permanent fixture on Guam.  Moreover, the settlement of the U.S. military on Guam also works in concert with the displacement of Chamorros from their lands, which is an ongoing issue for Chamorros today. Thus, this will allow me to connect the experiences of Chamorros in Guam to other ethnic, indigenous, and racial groups who have or currently still do live in U.S. military occupied sites.  This approach should also lead me to other ways in which people throughout the world have resisted against U.S. military occupation.

Bio:

Alfred P. Flores obtained his Ph.D. in History at the University of California, Los Angeles.  Currently, he is a lecturer at California State University, Long Beach and at Pitzer College.

 

RESPONSE

In this piece, Alfred does an excellent job underscoring how in many instances cartography, the science, practice, and art of drawing maps acts as a mechanism for colonial and militarized processes of Indigenous dispossession, as also noted by Margaret Jolly (2007).  In highlighting that some of Guam’s Chamorro community were in “opposition to the U.S. military’s attempt to make public spaces such as beaches into restricted areas that were reserved for only the military to use” one can more accurately see how Indigenous geographies continue to disrupt colonial cartographies.  Through the lens of Chamorro oral histories, Alfred’s work actively demilitarizes ways of conceptualizing Guam’s colonial cartography.  Alfred’s critical engagement with previously classified archival records demonstrates the ways in which Guam’s Chamorro community continues to challenge settler conceptions of the island’s Indigenous geography and historical discourse.

-Becka Garrison

By responding to the complex historical layers of foreign military presence on the island of Guam (Spanish, Japanese, and U.S.), Alfred’s work also opens up avenues for how Chamorro people can find solidarity in decolonial and demilitarization efforts across the globe. His emphasis on global indigenous solidarity coupled with his use of indigenous voices to counter the imperial archive point to the ways mixed methodological approaches—and their variously mixed roots—provide an adaptive and holistic framework for indigenous peoples. In Alfred’s juxtaposition of the indigenous voice and the settler colonial written word, he crafts a space for displaced indigenous peoples to literally talk back to empire(s). Alfred’s attention to the potential of a global indigenous polyphony talking back to imperial archives can be usefully situated alongside pieces such as Achille Mbembe’s “The Power of the Archive and Its Limits” (2002) and Jodi A. Byrd and Michael Rothberg’s “Between Subalternity and Indigeneity” (2011), both of which endorse a critical reappraisal of archival and historiographical processes.

-Joyce Pualani Warren


Academia and the Identity of Mixed-Race Women

I am a 35-year old mixed race woman (Black Jamaican, Nigerian and White British), born and living in Leeds, Yorkshire the UK and I recently completed a counselling diploma. As part of the work I had to do to achieve my diploma I had to do a great deal of work around examining my racial and cultural identity. It was also part of the course requirements that I had to do 20 hours of personal counselling.

I didn’t know it when I started the diploma but I had a massive amount of work that I needed to do around exploring my identity as a mixed race woman. This emerged when I started my personal counselling. I began to realise I had a lot of unresolved feelings around past experiences of racism and the lack of understanding and acknowledgement I had met as a mixed race female. I also needed to look at issues to do with race within my family as well as ancestral baggage. It was extremely difficult, however, for me to find an appropriate counsellor to work with. Prior to starting the counselling it hadn’t really occurred to me that it may be difficult for me to have my counselling needs met if I needed to discuss being mixed race in any detail. My experience (and this includes working with both a white and black counsellor) was that my counsellors really struggled to work with me. My first counsellor defended against hearing my experiences of racism and the second had his own ideas about how I should see myself as a mixed race person which were incompatible with my own views. So after two abortive attempts at counselling I decided to help myself and went away and did a significant amount of reading on mixed race identity. Most of this was academic research from the U.S as research in the U.K on the mixed race population is incredibly thin on the ground. Worryingly there has only actually been one UK academic paper published on mixed race identity and counselling and this was published in 2014!

The reading I did on mixed race research from the U.S was enormously helpful to me. I found quite a lot of it fairly easily online but I did have to buy some books which were often very expensive and in some cases hard to get copies of. The research was somewhat limited in that being mixed race in the UK is obviously different to being mixed race in the US due to different political landscapes and histories. Slavery is much more tangible in the US and this significantly influences perceptions of race there. The UK’s history of slavery and colonialization still massively impacts thoughts around race here but has some different implications for UK Britons of colour. I still found the US research helpful, however, and I did manage to find enough literature on race and cultural issues in general in the UK to receive positive benefits.

Armed with more understanding of myself from the reading I had done I went back into counselling and managed to find a counsellor who did have some specific understanding of mixed race identity. I was able to do some good work on my identity with her.

It feels important to point out though that for counsellors in the UK there is no specific requirement for them to demonstrate any meaningful level of competency or knowledge about working with the mixed race population or working with racial issues in general. My own negative experiences in counselling are certainly not unique and it is widely acknowledged that counsellor training is falling short in preparing counsellors to work competently in this area. I would recommend anyone reading this who is considering counselling around racial issues does their homework regarding their counsellor’s level of skill and comfortability when it comes to the topics of race and culture.

Without the help of reading academic texts on mixed race identity I think my understanding of myself would realistically not have advanced as far as it did. It was crucial for me in developing a fuller understanding of myself as a woman of colour as was my increasing interest in intersectional feminism. Particularly I would say academic research helped me to see my experiences were completely normal and were experienced by many women. The research also gave me ideas about how I could improve my self-esteem and my life.

The problem I would highlight is that reading academic texts can be challenging at times, even for people who have the privilege of a university education. I feel very aware that the mixed race population in the UK will more than likely be deprived of the benefits of academic texts, which would serve them because they are not readily available, not always easy to read and also specifically UK research on mixed race identity is minimal anyway. It takes dedication to commit to searching for appropriate texts.

The answer seems to be that mixed race people urgently need to be more represented in UK social policy and mental health experts need to do the groundwork of converting academic texts on mixed race identity into their practice. We are in a quandary though as for this to happen more academic research on mixed race identity is needed in the UK in the first place. The future for the mixed race population is currently not looking very bright in my opinion where academia is concerned.

The mixed race population is a rapidly growing in Britain and is the third largest ethnic minority group.Both black and mixed race people are over-represented in prisons and the mental health care system. Mixed race people have been reported as more likely to be victims of crime. Mixed race children are the most likely to be put in care and also over-represented in youth justice and child protection systems. I think it’s fair to say right now that academia is definitely failing us.

This piece originally published at the Ain’t I A Woman Collective.

The Mixed Roots Stories team is, like Nicole, eager to see more mixed race representation in global academic discourse. Stay tuned with Mixed Roots Stories this year as we release the Mixed Roots Commons, our forthcoming online forum for invited scholars to gather around central themes and debates taking place in Critical Mixed Race Studies today. 


photoNicola Codner is 34 years old and currently training to be a person-centred counsellor in Leeds, UK. She is biracial and her heritage is White British and Black Caribbean. She has a strong interest in difference and diversity which led her into re-training as a counsellor. Prior to training as a counsellor she worked as a publisher in academic publishing. She’s keen to continue to develop my writing experience hence part of her interest in blogging. She has a degree in English Literature and Psychology.

In her spare time, she loves reading, music, art, theatre, traveling and cinema


Critical Mixed Race Studies 2017 -Call For Proposals

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Link to PDF of CFP.

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Submission instructions:
Individual Papers

Topics are not limited to the theme “Explorations in Trans (gender, gressions, migrations, racial) Fifty Years After Loving v. Virginia.” Successful proposals will introduce topics that promote research and debate on Critical Mixed Race Studies topics.

Be prepared to submit your contact information, a bio (500 word limit), paper title, abstract (500 word limit), and your AV needs.

Panels

Topics are not limited to the theme “Explorations in Trans (gender, gressions, migrations, racial) Fifty Years After Loving v. Virginia.” Successful proposals will introduce topics that promote research and debate on Critical Mixed Race Studies topics, and present a clear rationale for the papers’ collective goals. Panels generally feature 3-4 participants (15-20 minutes each) followed by a moderated discussion. Panels will be scheduled for 90 minutes.

Be prepared to submit contact information for all participants, including bios (500 word limit), the panel moderator, panel title, panel abstract (500 word limit), paper abstracts for each presenter (500 word limit), and your AV needs.

Roundtable

Unlike panels, which generally feature a sequence of 15-20 minute talks followed by discussion, roundtables gather a group of participants around a shared concern in order to generate discussion among the roundtable participants and the audience. To this end, instead of delivering papers, participants are asked to deliver short position statements in response to questions distributed in advance by the organizer or take turns responding to prompts from the moderator. The bulk of the session should be devoted to discussion. The moderator’s role in maintaining the flow of discussion is particularly critical in the roundtable format, thus the moderator should be selected with attention to this issue. Roundtables will be scheduled for 90 minutes and feature 3-6 presenters.

Be prepared to submit contact information for all participants, including bios (500 word limit), the roundtable moderator, roundtable title, roundtable abstract (500 word limit), presenter position statements (optional) for each presenter (500 word limit each), and your AV needs.

**NEW**Posters

Topics are not limited to the theme “Explorations in Trans (gender, gressions, migrations, racial) Fifty Years After Loving v. Virginia.” Successful proposals will introduce topics that promote research and debate on Critical Mixed Race Studies topics. Posters will be displayed from 1 to 5pm on February 25th and 26th. Posters must be self standing. A trifold presentation board under 60″ wide is suggested. Be prepared to submit your contact information, a bio (500 word limit), poster title, and abstract (500 word limit).

Mixed Roots Stories Artist (performance or video)*

Describe of your presentation piece or video. Please include a link and password (if password protected) to where we can review this piece and/or a sample of your work. (500 word limit)

Be prepared to also submit your contact information, project title, your bio (500 word limit), and AV needs. Please list the full name of any other artists a part of your piece and their email addresses.

Click HERE to apply!

For more information about this and past conferences: http://criticalmixedracestudies.org

Check out clips from #CMRS2014.

 


Netflix Binge Watch with Mixed Roots Stories

Do you binge watch shows and movies online? We do! We found these 6 programs on Netflix  that feature mixed roots discussions. Check them out, critically discuss them with others, and learn more! We have provided some questions to consider while watching each one, as well as further reading/resources to keep you thinking and critically looking at mixed roots stories!

 

We are just getting started with our Netflix recommendations, and we’d love your contributions. What films/TV series have you seen that are relevant? What critical questions can we explore when/after watching them? What mixed identity groups aren’t represented here? Send us an email to info@mixedrootsstories.org.

 

Trevor Noah: African American

From Trevor Noah:
Trevor Noah brings to film his unique brand of observational humor born of his mixed-race experience under the South African apartheid system. In his most recent stand-up special Trevor weaves together compelling stories with wicked smart observations on the inanity of the racial construct in the United States. The theme of Trevor’s presentation is his journey to America, because he believes he can be fully black here. A clip from Gabriel Iglesias StandUp Revolution:

Mixed Roots Stories Questions to consider while watching:

1) Can humor be an effective storytelling tool for change, especially on matters of race, culture and ethnicity?

2) As you watch Trevor Noah: African American, do you think his point-of-view effectively challenges our racial assumptions?

3) How does idea of mixed/blackness transfer between countries?

4) What does it mean to be “fully black?”

For Further reading/discussion:
Nancy Goldman makes an argument in her paper that humor can be a powerful tool for social change – Comedy and Democracy: The Role of Humor in Social Justice. 


 

The Fosters

From abcfamily.go.com/shows/the-fosters:
The Fosters is a one-hour drama about a multi-ethnic family mix of foster and biological kids being raised by two moms. Stef and her partner Lina have built a close-knit , loving family with Stef’s biological son from a previous marriage, Brandon, and their adopted twins Mariana and Jesus. But how will things change when they meet troubled teen Callie and her little brother Jude?

Mixed Roots Stories Questions to consider while watching:
1) What responsibilities do parents raising kids from different cultures than themselves have in teaching their children about those cultures?

2) Lina identifies as biracial – how does this affect her relationship with her partner, Stef, and her children? Do the conversations she has with her African American mother surprise you, or not? Why?

For Further reading/discussion:
Lisa Marie Rollins is a TRA (TransRacial Adoption) Activist. Her blog, poetry and live performance provide lots of insight into the TRA experience. Learn more here: https://birthproject.wordpress.com/


 

The Loving Story

From lovingfilm.com:
The Loving Story, a documentary film, tells the story of Richard and Mildred Loving to examine the drama, the history, and the current state of interracial marriage and tolerance in the United States.

Mixed Roots Stories Questions to consider while watching:
1) What do you think were the most compelling arguments made by the Loving’s legal team to persuade the Court to rule in their favor?
2) What are some of the other Supreme Court decisions that have had a strong impact on the mixed community?

For Further reading/discussion:
For a more in-depth analysis on Loving v. Virginia and the people involved, see Race, Sex and the Freedom to Marry by Peter Wallenstein (mixedracestudies.org).


 

Parenthood

NBC recently aired the final season (season 6) of Parenthood. You can catch up/re-watch the first 5 seasons on Netflix. “Parenthood bravely and delicately take on the complexities of family life leaving viewers full of emotion after every episode like all good comedy/drama stories should! In addition to other major topics (cancer, post traumatic stress disorder and more), this series follows an interracial marriage and their child, the process of a transracial adoption and has explored an interracial teenage dating situation.” (http://mixedrootsstories.com/parenthood/)

A few key seasons/episodes:
Season 2 – Crosby and Jasmine (an interracial couple) are trying to figure out how to raise their child and if they are going to work on their relationship or continue to be separated. Addie begins dating Alex, and her parents begin to question the relationship, pushing her to move in with her grandparents. But are they questioning it because he is a different race or because he has a history of substance abuse?
Season 3 – Crosby and Jasmine work out their differences. Julia and Joel interracially adopt a son.
Season 4 – Crosby and Jasmine have a discussion with their son about race (Episode 4). Julia and Joel take on the challenge of raising their adopted son.
Season 5 – Crosby and Jasmine expand their family with a new baby girl. Jasmine’s mother has ideas of how religion should play a role in the families life.

Mixed Roots Stories Questions to consider while watching:
1) If your child brings home a partner with a mixed background (different race, culture, religion, gender orientation, country of origin, etc.) than what you expected, would you be concerned? Why? Would you voice your concern? How?
2) In Season 4 Episode 4 Crosby realizes there are situations his mixed race son will have to deal with that he won’t be able to protect his son from. How would you or do you answer these/similar questions?

For Further Reading/Discussion:
Raising Biracial Children by Kerry Ann Rockquemore & Tracey Laszloffy, takes on identity development with mixed-race individuals within a historical context and creates a framework to assist parents, educators, social workers, counselors and anyone who works with multiracial individuals.
Donna Jackson Nakazawa wrote Does Anybody Else Look Like Me: A Parent’s Guide to Raising Multiracial Children out of frustration in a bookstore, when she was unable to find a book that provided guidance on how to address the situations she was facing in her mixed roots family.

The appendix of both books have lists of useful resources!


 

Rabbit Proof Fence

Set in 1930, western Australia, Rabbit Proof Fence tells the true-life story of two “half-caste” girls who were taken from their families, by the government, and placed in a camp where they are trained to be servants for white families. The hope is for these children to end up marrying white Australian men so their aboriginal blood can be bred out. The girls escape and take off on a journey to find their family.

Mixed Roots Stories Questions to consider:
1) The United States is not the only country that has had a history of hiding unspeakable events around race/color differences. What value, if any comes, from being aware of a global mixed roots history?

2) In what ways do institutions continue to support and enforce the separation of different people?

For Further Reading/Discussion:
“My Place” by Sally Morgan

“Daughter Dies With Her Story Still Incomplete”


Black in Latin America: with Henry Louis Gates, Jr.

In this PBS 4 episode series, “Prof. Henry Louis Gates Jr. Discusses the massive influence of African ancestry on the history and culture of Latin America and Caribbean.” He goes to: Mexico, Peru, Brazil, Cuba, Haiti, and the Dominican Republic.

Mixed Roots Stories Questions to consider:
1) As Gates interviews each country, how does his North American views of “Black” influence his questions, interactions, and expectations on what answers he is looking for in South America?

2) Both North and South America have a history of slavery with “Black” or African people. How are these histories similar and/or different? What lessons can be gleaned from both continents mixed roots histories?

For Further Reading/Discussion:
“Black In Latin America” by Henry Louis Gate Jr. http://www.mixedracestudies.org/wordpress/?p=31565

“Latining America: Black-Brown Passages and the Coloring of Latino/a Studies by Claudia Milian
http://www.mixedracestudies.org/wordpress/?p=25463


Mixed Roots Stories goes LIVE at #CMRS 2014

We had a blast at the Critical Mixed Race Studies Conference in November of 2014.

KT2014 Live performers with MXRS in bgWe were honored to have such a talented, global cast, for the LIVE event.

Here are some of the clips from the LIVE event on the closing night of the conference!

Note: Mature Language in several of the pieces.

Part 1 – Joe Hernandez-Kolski (with guest Dustin)

www.pochojoe.com

Part 2– Joe Hernandez-Kolski

www.pochojoe.com

Part 3-Tangled Roots (Katy Massey, Zodwa Nyoni, Lladel Bryant, Adam Lowe)

www.tangledroot.org.uk

Part 5-Tania Cañas

www.tania-canas.squarespace.com

Part 6– Fred Sasaki

Part 7 – Joe Hernandez- Kolski

www.pochojoe.com


CMRS Mixed-Race Irish Film Keynote Links

Following my keynote on mixed representations in contemporary Irish cinema and television at the 2014 Critical Mixed Race Studies Conference, here are some links to the films discussed.

 

In 1976 Radharc, a TV production company run by the Irish clergy whose work was commissioned by the state broadcaster RTE, produced The Black Irish, a documentary on mixed-race people in Kinsale, Montserrat.

Recut trailer for Irish language TV channel TG4: http://www.youtube.com/watch?v=0QHYFXDGf4Y

Full documentary: http://www.rte.ie/archives/exhibitions/1378-radharc/355633-the-black-irish/

 

In The Commitments (Parker, 1991), the black and mixed-race Irish are an absent presence as the white protagonists reappropriate the elements of African-American culture relevant to their needs, in order to voice their own feelings of oppression and victimhood:

http://www.youtube.com/watch?v=o_aO9pv0Y7I

 

1993 TV series Queen explores the divisions of racialization in America, and the difficulties faced by a young mixed-race Irish-African-American woman, Queen (played by Halle Berry), in the slavery-era South who does not fit into either side of the established black/white binary. The series also featured mixed actress Jasmine Guy as Queen’s mother.

https://www.youtube.com/watch?v=fQLMqZ5I_Xs

 

The 1998 melodrama The Nephew (Brady) begins with a baggily dressed, dreadlocked mixed-race man arriving by boat at Inis Dara, a small island off the Irish mainland. Chad Egan-Washington (Hill Harper) is the son of an Irish emigrant who married an African-American. Here’s a clip of his performance of a song in Gaelic, with the refrain Fill a Rúin O [Come back, my love]: http://www.youtube.com/watch?v=FjGSsBmZtOY

 

In rom-zom-com Boy Eats Girl (Bradley, 2005), a budding romance between teenagers Jessica (played by Irish-Zambian popstar/actress/model Samantha Mumba) and Nathan (David Leon) is disturbed by a zombie attack. Nathan fears that Jessica has stopped loving him and so commits suicide. His mother uses voodoo to bring him back from the dead and as he feeds he produces a zombie army. Here’s the trailer: http://www.youtube.com/watch?v=Vr3uDod2Kd4

 

Rural realist horror Isolation’s (O’Brien, 2005) protagonists are also a young couple. Mary (Irish-Ethiopian actress Ruth Negga) and Jamie (Sean Harris) run away together after her family reject him – he’s a Traveller (i.e. nomad), another of the marginalised Irish, but of a lower status here than non-whites. In this scene, Mary gets to know the farmer whose land they’re staying on: http://www.youtube.com/watch?v=UbsEDVrIyAQ

Trailer: http://www.youtube.com/watch?v=OHUdt6abG64

 

Multicultural Irish Shorts (full film links):

Moore Street Masala (Ireland, O’Sullivan, 2009): http://www.thisisirishfilm.ie/shorts/moore-street-masala

Oscar nominated New Boy (Green, Ireland, 2007): http://www.thisisirishfilm.ie/shorts/new-boy

Racist B&B (O’Brien, 2013): https://www.youtube.com/watch?v=J80q7Q3UIEM

The Blaxorcist (King, Ireland, 2007): http://www.thisisirishfilm.ie/shorts/the-blaxorcist

Cactus (Molatore, Ireland, 2007): http://vimeo.com/6213753

 

 

2013 Irish Films on Mixed Roots

Paula Kehoe’s An Dubh ina Gheal [Assimilation] is a documentary on the Irish-Aborigines of Australia: http://vimeo.com/92388921

 

Joe Lawlor and Christine Molloy’s film Mister John positions the Irishman within an interracial family in Singapore: https://www.youtube.com/watch?v=6cUpuB5s-rw

 

Donal O Ceilleachair’s documentary Aisling Gheal [Bright Vision] follows the life of Shahira Apraku, a young mixed-race pupil of sean-nós (traditional song), in the Gaelic speaking region of Connemara in the West of Ireland: http://www.youtube.com/watch?v=orCEyy206iI

 

 

Further Irish Films Featuring Mixed and Black Actors Include:

Pigs (Black, 1984), Oscar winning feature The Crying Game (Jordan, 1992), Mona Lisa (Jordan, 1986), When Brendan Met Trudy (Walsh, 2000), Black Day at Black Rock (2001), Breakfast on Pluto (Jordan, 2005), Pavee Lackeen (Ogden, 2005), Irish Jam (Eyres, 2006), Ghostwood (O’Brien, 2006), The Front Line (Gleeson, 2006), Kisses (Daly, 2008), 3 Crosses (Figgis, 2009), Trafficked (O’Connor, 2009), Sensation (Hall, 2010), The Guard (McDonagh, 2011); Between the Canals (O’Connor, 2011), The Good Man (Harrison, 2012), Milo (Boorsma and Boorsma, 2012), Byzantium (Jordan, 2012), What Richard Did (Abrahamson, 2012), Calvary (McDonagh, 2013).


See also RTE  television series: The New Irish: After the Bust (2012), Love/Hate (2010-present, featuring mixed Irish actors Ruth Negga and Aaron Heffernan), Prosperity (2007), Raw (2008-10), Father and Son (2009, featuring mixed actors Reece Noi and Sophie Okonedo), Little Brazil: Gort, Ireland (2006), Love is the Drug (2004, also starring Negga), The Clinic (2003-9), Fair City (1989-present, currently featuring mixed-race Irish actress Donna Anita Nikolaisen). And TG4 2011 documentary on Gaelic-speaking Zimbabwean Irish sean-nós dancer, choreographer, composer, performer Tura Arutura, Steip le Tura.

 

By Dr Zélie Asava


 

IMG_4237Dr Zélie Asava is Joint-Programme Director of the BA in Video and Film at Dundalk Institute of Technology, where she teaches courses on film and media theory. She also lectures in UCD Film Studies. Her monograph is entitled

The Black Irish Onscreen: Representing Black and Mixed-Race Irish Identities

on Film and TV (Peter Lang, 2013). She has published essays in a wide range of journal and essay collections, including: Masculinity and Irish Popular Culture: Tiger’s Tales (Palgrave MacMillan, 2014); Oxford Bibliographies Online: Cinema and Media Studies (Oxford University Press, 2013);Viewpoints:Theoretical Perspectives on Irish Visual Texts (University of Cork Press, 2013);The Universal Vampire (Farleigh Dickinson University Press, 2013); France’s Colonial Legacies: Memory, Identity and Narrative (University of Wales Press, 2013).


 


Mixed Roots Stories on Mixed Race Radio

We were invited to participate in Tiffany Reid’s Mixed Race Radio podcast this week. If you’re curious about the personal stories behind our co-curators Mark, Chandra and Fanshen, have a listen to the episode below. We hope you’ll be inspired to share your story – and to join our community as a Guest Blogger, or by voting on our logo, or by allowing us to tell others about you and what you do by filling out our Promote Your Story link.

More Entertainment Podcasts at Blog Talk Radio with Mixed Race Radio on BlogTalkRadio

MXRS Podcast Episode 1: Lawrence-Minh Búi Davis and the Mixed Race Initiative

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We are thrilled to launch Episode 1 of the MXRS Podcast – bringing you the story behind the stories. Our first several episodes are in partnership with the Asian American Literary Review and its Mixed Race Initiative. Editor-in-Chief Lawrence-Minh Búi Davis is our first guest. Join us as our conversation winds its way through language, how we identify ourselves, the origins of the Mixed Race Initiative and its components, making our work more accessible, and much more. TRANSCRIPT: MXRS Episode 1 Lawrence-Minh Búi Davis To SUBSCRIBE ON iTUNES  – click here: MXRS: The Stories Behind the Story

AALR interns with Lawrence-Minh Búi Davis

Lawrence with Interns: Carrie Wolford, Andrew Mayton, Maggie Yiin, Esther Kwon and Thornton McKinney


by-nc