What Exactly is the Mixed Experience?

The idea behind a shared lived experience is that different people can identify with similar things that happen as a result of some part of their identity. Unfortunately, I have met too many people who don’t understand or accept that the mixed experience is on equal footing with any monoracial experience. I’ve listed five common experiences that I have noticed as a black and white biracial woman, but that apply to other mixed backgrounds, as well.

 

  1. Explain, Justify, Defend

Multiracial people are very familiar with constantly having to explain, justify, or defend who we are, our experience, and essentially our existence in the world. The most obvious example of this is the question that all mixed or racially ambiguous people know well: “What are you?” However, the issue goes much deeper than an inconvenience or awkward conversation starter. Sometimes, the answer to the question doesn’t satisfy the asker. It may lead to further explanation or in rare cases, even to an argument.

 

I am often mistaken for Afro-Latina. More than once, when a Latino person has asked me what I am and I respond, they can’t believe my answer so they continue questioning me. “Really? You have no Latina background at all? But you have the face of a Brazilian. (I don’t know what the ‘face of a Brazilian’ looks like, but it has been said to me.) And you dance salsa? You must have at least some Latina in you.” In this situation, my reaction may be amusement, annoyance, or simply boredom with the conversation. In situations involving monoracial black people, things can go a different direction. The dialogue can get much more heated and emotional due to a perceived betrayal or rejection of blackness. In my experience, any negative reaction is more commonly a subtle change in tone of voice or mood. I have a visceral reaction, as well, because I know this to be far from the truth and am hurt by the questioning of my right to accept myself as a complete human being and acknowledge my lived experience.

 

I often avoid these conversations entirely because even the most subtle slights become exhausting and the conversation has never resulted in increased understanding or even acceptance of my experience. Despite what some have been made to believe, acknowledging and validating different experiences among people of color does not create division; rejecting them does.

 

  1. Rejection

No one likes rejection, but everyone experiences it at some point. For mixed roots people, rejection can come from one or all sides of one’s heritage at different times. This reality is what leads to the common feeling of being an outsider and not knowing where we fit in in a racialized world.

 

Some multiracial people, myself included, are most comfortable in racially diverse environments because there is less pressure to conform to the group along racial lines. There is a certain trauma that comes with being rejected over and over again. After years of rejection based on race, you develop defense mechanisms and learn to avoid situations where rejection is more likely, such as a monoracial group setting. But when that avoidance happens, it can be seen as thinking you’re better or rejecting the race. Since we are rarely given a space to talk about mixed experiences, resentment and misunderstanding continue unaddressed.

 

  1. Acceptance — With Conditions

The other side of rejection–acceptance–still involves rejection in a way. Acceptance into a monoracial group often is contingent upon mixed people subverting their own unique experiences as mixed people. If you mention your mixed experience, you risk having to justify or defend it. (See #1) But if you never speak of your experience of being mixed, unless it’s to acknowledge light skin privilege, then you are acceptable. Again, I tend to keep those experiences private because I don’t want to be put in a position where I feel compelled to defend my lived experience.

 

Groups want to claim or reject multiracial people whenever it is convenient- to some people I am black, period. To others, if someone has a parent of any race other than their own, they’re not truly a member of that person’s race. To some white people, as long as you’re some shade of brown or ethnic looking, you’re a minority and that may be enough information for them. At least in my case, I’m sometimes treated as an honorary Latina because I can pass for Latina, I speak Spanish, and dance salsa. All of this can be confusing, especially for youth, and it is why I believe it’s incredibly important for mixed race people to have a strong sense of self despite what anyone else decides to project onto them.

 

  1. Fluidity

Fluidity, when it comes to the mixed experience, means the ability to move between different racial categories and having a variety of experiences with and entry points into different cultures. This wide experience can provide deeper insight into race and the way it plays out. It also means that your perceived and internally felt identity can change depending on your environment. While this is a privilege because it allows increased access to a variety of spaces, there are also downsides. In a world where everyone wants to put people in a box, fluidity can be confusing and very isolating. There is a particular kind of certainty and solidarity that comes with a singular racial identity, something multiracial people do not inherently have. As convenient as it can be to blend in with multiple crowds, it is human nature to desire and seek out one stable community that feels like home.

 

  1. Letting Things Slide Off Your Back

The term “microaggressions” has gotten more attention lately due to the increased dialogue around race. Multiracial people experience microaggressions just like any other minority group; some that are shared with monoracial groups and some that are specific to multiracial people. The difference is microaggressions come from all of the races to which we belong. Sometimes I feel on edge, ready to brace for the impact of microaggressions or outright aggressions from either side. A simple, dismissive “oh, but you’re light-skinned” can throw someone off balance regardless of the intention behind the statement. On top of that, multiracial people are not supposed to speak of the unique experiences they encounter. As I mentioned before, speaking one’s own truth can somehow be seen as a betrayal or statement of superiority.

~~~

 

None of this is to complain about being mixed race; there are ups and downs to everyone’s experience and I am not a fan of the Oppression Olympics. However, I do believe there needs to be more listening and understanding of the fact that our experience as mixed race individuals is no more or less valid than anyone else’s. It is my hope that one day this fact will not need to be stated because it will be implicitly known.

 

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Bio PicAisha Springer is based in Baltimore. Her writing primarily focuses on issues of race, feminism, and personal essay. She is a Contributing Writer for Hashtag Feminism, a blog examining feminist topics through a media lens, has written book reviews for STAND, the ACLU magazine, and was a 2015 Social Good Summit Blogger Fellow for the United Nations Association (UNA-USA). During the day, she works full-time at a civil rights nonprofit.

Aisha has a Master of Public Administration from American University and a B.A. in Spanish and International Affairs from the University of Maryland, Baltimore County.


February 2016 Commons: Hard to Place

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Featured Artist: Qiana Mestrich

Photographer | Writer

http://www.qianamestrich.com/

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“Untitled (Maura and Joseph in Trafalgar Square), 1965” From the series Hard to Place (2016) Vintage photographic print

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Page 42 from the book Hard to Place (2016)

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“Untitled (Birthmark)” From the series Hard to Place (2016) Archival Pigment Print

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Page 46 from the book Hard to Place (2016) From the series Hard to Place (2016) Archival Pigment Print

 
Through still photography my work exposes hidden or denied histories, giving visibility to stories shaped by immigration, assimilation and the perceived failures of multiculturalism. I work primarily within documentary photography but have also employed archival photographs, texts and found digital imagery to create conceptual, constructed pieces.

My practice is research driven and I often use my own personal/family history as a place of reference because it is both what I know best and what I know little of. Driven by the Buddhist philosophy of interconnectedness by which I was raised, I make work because I don’t believe in coincidence. Always seeking to uncover seemingly tenuous connections, I believe the photographic image has the power to relate the personal with the universal.

My latest series, Hard to Place traces the journey of an orphan boy of Nigerian and Irish parentage growing up in 1960s/70s London. A “half-cast(e)” child in 1960s and ‘70s England, Joseph was considered “hard to place” amongst the mostly white, adoptive families. Consequently, Joseph was placed “in care” at eight different times from age three to seventeen.

Joseph is my husband, we met online in 2007. On our first date he nervously told me his lifestory, continuously pulling at his sleeves to hide the ink of bad decisions made during his teenage years as a black skinhead. That night he told me about how he was born in the UK to immigrant parents, eventually growing up in an orphanage located in the posh London neighborhood of Hampstead. We were both born on the 8th (of different months), both only children and we were both “mixed” with unanswered questions about our family origins…that night Joseph and I immediately connected and we’ve been together ever since.

As a wife, over the past six years I’ve witnessed Joseph become a father with little guidance and only an instinct of love. The little boy in the color, documentary images seen in Hard To Place is our son. As a photographer, my lens has captured tender and curious moments with my son and in these images he often becomes that precocious, yet lonely little boy I imagine his father was as a child. As a mother, I’ve developed the utmost compassion for Joseph’s mother and I can’t fathom the (inner and outer) struggles she endured as a single, Irish woman with a black child in a xenophobic and racist society.

Through the United Kingdom’s Data Protection Act of 1998, in 2013 Joseph Robert Cullen received two legal-sized books stuffed with photocopied files documenting the years he spent as an orphan. The documents include typed and handwritten text written by social workers observing both Joseph and his mother Maura aka Maureen who often needed financial and housing assistance. Combining confidential government documentation, archival photographs, personal possessions and documentary images, this series reveals the social and moral forces that denied Joseph his birthright to a family while imagining an alternate (albeit uncertain) narrative. This series includes photographic, archival material and other possessions belonging to Joseph’s parents which he inherited after their passing. The inclusion of these personal archives counters the inherent definition of the orphan child as someone who comes from nothing and no one.

The dominant narrative of mixed-race orphans is that they are all born of wars, the product of illicit love affairs (or rapes) between women and the soldiers that occupied their countries. Some popular examples of these “occupation babies” include those born during/post World War II in Japan and the Korean War. It’s interesting to note that although white soldiers fathered children (often at higher rates), the offspring of black soldiers were far more ostracized.

A relationship between two people is fostered and sustained not only by the love that each person has for one another, but by the support it receives from their community and others outside their union. Even the general social sentiment plays a role in validating their union, allowing for such simple pleasures yet symbolic gestures such as holding hands in public.

I’ve self published Hard To Place as a photography book and the first spread features a portrait of Joseph’s father on the left and his mother on the right. The reason why I chose the book form to represent this series is in relation to the family album or scrapbook, mediums meant to preserve memories. For me this pairing of parents was important to create as it is a familiar photograph found in family albums.

This coupling, preserved in photographic emulsion, has been a constant in the history of the medium. So much so that people who’ve been raised by both parents often take this kind of photograph for granted not realizing how many people worldwide do not have this visual affirmation of the love that created them. I don’t know why Joseph’s parents were never photographed together, but I do recognize the power of this formal arrangement (specifically in the shaping of a mixed-race identity) and have even replicated it on the walls of our home.

The orphan is a common human archetype. There have been many notable celebrities, world leaders, figures within classical history and religious scripture, in literature and even comic book heroes who began life as orphans. Yet there has been very little within popular culture, international news or the arts about ordinary children made orphan because of the strain of historical and everyday racist attitudes. We don’t often hear of the children abandoned by one or both parents because of the stress of discrimination from society and often their respective family members that has fractured their unions.

Alone and marginalized, these children bear the intolerable weight of their parent’s failed love and that of mankind’s dark, unsettled history with race. I’m not sure which hurts worse.

Questions for Further Consideration

  1. Are mixed-race orphans (i.e. bodies) considered more desirable today for adoption?
  2. How can we leverage visual art and culture to publicly affirm mixed-race identities?

Additional Reading

Essay on Hard To Place by writer Paula Kupfer

http://booklyn.org/events/qiana-mestrich-hard-to-place/

RESPONSE

Assemblages convey stories through their grouping and positioning of objects, and Qiana Mestrich’s work Hard to Place weaves the narrative of her husband’s past, present, and future through the lens of acute observation and love. The title, Hard to Place, references the difficulty of placing Joseph in adoption because of his mixed heritage, but also the title alludes to the physical ambiguity of the multiracial body. “What are you?” is a frequent question a mixed body hears because the ways our bodies present themselves make us hard to place as well. What struck me was the speculative elements of Mestrich’s piece, particularly how the piece fill the gaps where Joseph’s story is unclear.  Through imagining a holistic narrative, the places where Joseph’s family story is incomplete is filled in with abstractions and the beauty of the everyday and mundane. The quotidian elements of Hard to Place show how Joseph’s story is at the same time very unique and quite ordinary.  

-Dr. Alexandrina Agloro

Dr. Alexandrina Agloro is a game designer, community-based researcher, and media artist who believes in the possibilities of the decolonial imaginary using digital media as an emancipatory tool. She is an Assistant Professor of Interactive Media and Game Development at Worcester Polytechnic Institute. Find more about her work at http://agloro.org.


Why do humans perceive an Other and does it Matter?

A challenge of the human condition is overcoming bias from others and from within ourselves.  One very problematic bias is the Other-Race Effect. We categorize people based on assumed racial features as either Us or Other. Why does this happen? The oft political response is that people or societies are racist , but that answer does not satisfactorily answer the question.

For me, this kind of question demands that we focus on the evolutionary origin of the trait?” Finding the root is an effective means of understanding causation then working towards changing the effect (i.e. outcome).  That is why I found Ross Pomeroy’s, commentary in Big Think on the subject of “The Other Race Effect” intriguing.

Pomeroy clearly articulates why the issue should be studied, then highlights research that offer the most promising hypothesis for why we do it.  Finally, he closes with answers to the most important question, “Is there any way to prevent or minimize the Other-Race Effect?” Pomeroy’s response is, yes. As he reports:

If infants regularly see and interact with people of other races before nine months of age, the Other-Race Effect may never emerge. But for those who are already inept at distinguishing between people of other ethnicities, don’t fret, there’s still hope. According to University of London psychologist Gizelle Anzures, “the Other-Race Effect can be prevented, attenuated, and even reversed given experience with a novel race class.”

Storytelling is a fundamental to human interaction and can be an effective means of overcoming bias, but stories work best when shared in a safe space. Mixed Roots Stories provides an online platform for sharing and engaging with stories. What is your story?

 


PSA: ‘What are you?’ Is Not an Icebreaker

The “What are you?” question is a form of micro-aggression that is an all too common experience for blended/ Mixed (your word of choice) folks. Vocalist and Songwriter Andromeda Turre recently wrote a fascinating post in the Huffington Post about her – What are you experiences. As Andromeda states, “The problem with this question is, for lot of us blended people, that it doesn’t have a a simple answer.” The rest of the paragraph – for that matter the entire posting – is profound, succinct, and relatable. Read it then come back to mixedrootsstories for more sharing.



Black and Latino

This mini-documentary, assigned in the Mixed Race Experiences course at Arizona State University, speaks to being mixed Black/Latino in America.  Actors, singers, and journalists share their story on topics of language, skin tone, hair, and familial pressures (i.e. Laz Alonso, Tatyana Ali, Gina Torres, Judy Reyes, Christina Milian, Soledad O’Brien and more).  They also speak about difficulties they have had in being cast due to their mixed heritage.

Black and Latino

http://www.mun2.tv/watch/shorts/black-and-latino

 


3rd Annual What Are You?

The Brooklyn Historical Society will be hosting the 3rd Annual What Are You? – A Discussion About Mixed Heritage event Saturday, November 9, 2013 at 2:00pm.

This year they will be discussing questions like: “How do we perform and display our identities? How does media, film, art, humor and photography shape and mediate mixed-race identity?”

Check out their great panel (including Toasted Marshmallows which we have featured on HERE‎). They will even have a special dance performance.

http://cbbg.brooklynhistory.org/blog/3rd-annual-what-are-you-discussion-about-mixed-heritage

This event is FREE! If you are on the East Coast…this is an event worth attending! It will be held at:

Great Hall, Brooklyn Historical Society
128 Pierrepont Street
Brooklyn, NY 11201