By Heike Raphael-Hernandez, Shannon Steen, Gary Okihiro, Vijay Prashad
With a Foreword by way of Vijay Prashad and an Afterword via Gary Okihiro
How could we comprehend yellowface performances by means of African americans in Thirties swing variations of Gilbert and Sullivan's The Mikado, Paul Robeson's help of Asian and Asian American struggles, or the absorption of hip hop via Asian American adolescence culture?
AfroAsian Encounters is the 1st anthology to examine the mutual effect of and relationships among individuals of the African and Asian diasporas. whereas those teams have usually been considered occupying incommensurate, if now not opposing, cultural and political positions, students from background, literature, media, and the visible arts right here hint their interconnections and interactions, in addition to the tensions among the 2 teams that usually come up. AfroAsian Encounters probes past pop culture to track the ancient lineage of those coalitions from the overdue 19th century to the present.
A foreword by means of Vijay Prashad units the quantity within the context of the Bandung convention part a century in the past, and an afterword by way of Gary Okihiro charts the contours of a “Black Pacific.” From the heritage of jap jazz composers to the present acclaim for black/Asian “buddy movies” like Rush Hour, AfroAsian Encounters is a groundbreaking intervention into experiences of race and ethnicity and a very important examine the moving that means of race within the twenty-first century.
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Additional resources for AfroAsian Encounters: Culture, History, Politics
22 s a n d a m a y z a w l w i n II. The Railroad and the Promise of Mobility It is ironic that Harlan’s invocation of the Chinaman—his fictional narrative of a Chinese man boarding a “whites only” car—occurs during the period of Chinese exclusion as well as in the imagined space of the railroad. Chinese laborers were crucial to the completion of the transcontinental railroad and comprised over 90 percent of the railroad’s ten thousand workers. 23 Instead, he chooses to pit the experiences of one racialized minority against another.
Persons belonging to it are, with few exceptions, absolutely excluded from our country. 16 The first of the Chinese Exclusion Acts was passed by Congress in 1882 and held the dubious honor of being the very first racebased immigration act in the United States. The act prohibited Chinese laborers from entering the United States and explicitly denied naturalized citizenship to those Chinese who were already residing there. ” Rather than seizing this opening to dislodge the black/white binary, he attempts to resolve the problem of the color line by redrawing it as one between citizens and noncitizens of the United States.
It is noteworthy that Chesnutt does not comment any further about the appearance of the Chinese man. Despite the acute awareness of class issues throughout the novel, he makes no comment on the inclusion of what appears to be a Chinese laborer—to be specific, a “Chinaman, of the laundry type”—in the whites only car. The Chinaman boards the train and sits in the white car without objection. Aside from this acknowledgment, neither Miller nor Chesnutt offers any further response. The Chinaman passes onto the white car—and onto the page of the text without further comment.