Swirlz Article

Recently I was contacted through Twitter by a new magazine called Swirlz. They had read a tweet I had posted about being multiracial, which had been retweeted by a few "heavy hitters" in the multiracial media world, like the children's author of "Amy Hodgepodge". They asked me to write a small article on multiracialness and submit it to them. If they liked it enough they were going to publish it in their magazine, and from there I would offically become a published writer.

Below is the short article I wrote from them on growing up with a multiracial identity. I will know by the end of this week if it is getting published - so keep your fingers crossed.

Enjoy!

I, myself, identify as a multiracial male that grew up in the South. Within this geographic arena I was constantly assaulted with questions about my identity. Being of a multiracial background, I fulfilled the stereotype that floats around in society that when two persons of different ethnic/racial backgrounds have children, their children will grow in a society where they will be confused and in a constant feeling of exclusion from their multifaceted background. I was constantly reminded that my brown skin marked me as Black, Egyptian, Cuban, and anything else that had a skin tone that parallels a coffee drink at a local Starbucks. And from my minority background, I always faced a constant competition of "realness" revolving around my racial identity. From this I learned that it isn’t exactly praised when one is of multiracial status.

Daily, I was confronted with the single praise that anyone of multiracial/national/ethnic background can see coming from a mile away – “What are you?” Many say that when this question is asked it is most commonly referring to ones ethnic makeup, but for the little boy of color in the suburbs of Tennessee all I heard was “You’re not a 'real' person". I became hyperaware of all my attributes that society shunned and I had to learn to love them quickly, because I thought that no one else would.

My life experiences have made me continually thankful for my multiracial background daily. It has allowed me to have a beautiful life journey, so far, where I am allowed to experience so many environments. Growing up people always worried that I and my sister were going to be "confused" about our identities and face discrimination. I will not argue that we did not face discrimination, but however I will argue that confusion isn't something I experienced, personally. Awareness is a better word for this feeling, and I am thankful for being allotted that quality. I was aware of what people truly thought of me, I was aware on how I felt about this treatment, and I most importantly became aware of what I can do to make myself happy.

Children of multiracial or biracial backgrounds should not always be spoken to with empathy and concern, because behind that beautiful skin tone is a person who is unique, beautiful, and most importantly aware, and that will take them as high in life as they can ever imagine.

William Eggleston

Yesterday, I had the chance to view the new exhibit at the Art Institute of Chicago's Modern Wing, William Eggleston: Democratic Camera, Photographs and Video, 1961 - 2008. I have been a fan of Eggleston for quite some time, but mainly in just a passing admiration. For those of you that are not familiar with this photographer, let me give you a quick background.

Eggleston is a Tennessee native that spent most of his pre-adult life living in the South. He attended various universities, including the prestigious Vanderbilt University, but never gained an actual degree. Eggleston is considered one of the most influential American Artists, and is widely accepted as the person who helped secure color photography as a legitimate artisitc medium. His saturated photos have amazed millions around the world, and his continuation of portraying the symbols of America (good or bad) continue to inspire many.

Below, is my one of my favorite pieces that he has done - Sumner, Mississippi, 1972.

The position of the driver and the "master" are so exquisite in this piece. Spacially, it is amazing. It shows the tensions with race relations during this time period. You have both men, looking un-hostile and respective of one another - equal per se. But, however, looking at this one can feel the tension, see a sort of paternalism from the White male to the Black male, and feel that the White male is dominating the Black individual. Also, I feel that the Chevy in the back laces the photograph with just the right amount of Americanism/Capitalism, but thats me just digging.

Eggleston's work stretches from the 40's till present day. His work captures a hostile and dangerous time in the South with grace and a level of poeticism. His visuals capture the past, and allow the narratives within the pieces to transcend time and become relevant in the now. I highly recommend checking his pieces out very soon.

William Eggleston Democratic Camera, Photographs and Video, 1961 - 2008.

February 27 - May 23, 2010 at the Art Institute Chicago