Loving Day Re-post: Why I Believe Marriage Equality = Common Sense

In honor of Loving Day, June 12th, 2015, I am reposting this piece from three years ago. Great progress has been made since then. Gay marriage is now legal in thirty-seven states! But the fight for marriage equality is not yet over. There are still bans in place in thirteen states, as well as a number of organizations and individuals who cite religious beliefs to justify their right to discriminate (just as they once did against interracial unions).

TulipsAs fewer and fewer eyebrows are raised by interracial marriages, I look forward to the day where same-sex marriages elicit the same ho-hum reactions. A marriage is a marriage. Love has no room for bigotry.

So here’s the repost:

I am glad to say that by now—nearly a week after Valentine’s Day, 2012, the day  “The Loving Story” aired on HBO—interracial marriage is more accepted in this country than ever.  According to a new poll from the Pew Research Center, about one out of every seven new marriages in the U.S. is interracial.  (Which you can read about in this link from GOOD Magazine.)  On that note, I believe it’s time to extend marriage rights to same sex couples.

As the child of a very long and happy interracial marriage, I know that it is possible for two people to have a loving, lasting bond even if there are societal barriers to “their kind” of union.

I believe that a marriage between two people of different races is no less a marriage than one between two people of the same race.

I believe that a marriage between two people of the same sex is no less a marriage than one between two people of different sexes.

If you love and wish to marry someone of a different race, and I love and wish to marry someone of my same race, I do not believe that your marriage in any way undermines my marriage.

If I love and wish to marry someone of a different gender and you love and wish to marry someone of your own gender, I do not believe that your marriage in any way undermines my marriage.

But what about the children?  One reason people used to give (and still give) for opposing interracial marriage was the children.   As in: Think of the children!  Won’t they have issues?  Well, yes we do have issues, just as every other group or combination of groups has issues.  We are also teachers, doctors, lawyers, dancers, writers, husbands, wives, same-sex partners, parents … and—oh yeah—the U.S. president.  We’re doing OK.   As are children of same-sex parents, last I checked.

What about that business about undermining the sanctity of marriage in general? 

I believe that if one couple’s inter-sex marriage is undermined by another couple’s same-sex marriage, then the first marriage wasn’t particularly strong to begin with.  Same-sex marriages don’t undermine marriage any more than same-race marriages do.

What undermines marriage is marrying someone because your publicist told you to.   What undermines marriage is doing it for reality show ratings.  What undermines marriage is infidelity.  What undermines marriage is denigrating other peoples’ marriages when you are supplementing your marriage with extramarital partners.  What undermines marriage is going into it while keeping your options open.  What undermines marriage is violence.

My parents—a black man and a white, Jewish woman—got married in Chicago, Illinois in 1950, eight years before Richard and Mildred Loving wed.  At the time, interracial marriage was illegal in over thirty states.  My parents were married for forty-five years when my father died.  In four and a half decades, their interracial marriage did not threaten the sanctity of anyone’s same-race marriage.   Not even a little bit.

I think it is time to acknowledge that marriage is a loving, committed relationship between two people who love and commit to one another.

I’m on a Podcast!

So I’m on a podcast! (As you can guess from the title of this post). I am honored to have been interviewed by Alex Barnett, Comedian, blogger and Multiracial Family man on his podcast, aptly named Multiracial Family Man.

Alex is the white, Jewish husband of a black woman (who converted to Judaism) and the father of a 3 year-old, biracial son. Each episode of his podcast is devoted to the issues that confront multiracial families and the experience of being biracial.

In my interview, Alex asks me basically everything about my experiences of being mixed and part of a multiracial family—from my parents’ marriage to my own, to how I handled my multiracial identity in college, grad school as well as in the ballet world.

Here are the links to the podcast:

On iTunes:

https://itunes.apple.com/us/podcast/multiracial-family-man-ep./id969793342?i=341813854&mt=2

And on Libsyn Podcast Network: http://traffic.libsyn.com/multiracialfamilyman/Lisa_Rosenberg_Podcast.mp3

By the way, Alex is smart, funny, down to earth and very candid about his family’s experiences. (Fun fact: it turns out he also went to college with my husband, though they never met!)

Make sure to check out Alex Barnett on the Web:

www.alexbarnettcomic.com

Youtube: www.youtube.com/alexbarnettcomic

Facebook: www.facebook.com/alexbarnettcomic

Twitter: http://twitter.com/barnettcomic

The Heartbreak of Striving

img002I know the heartbreak of striving. If you’re a dancer or a writer or anyone who has ever put your all into something, be it an art or sport or pursuit of a truth—knowing the odds of success might be questionable—you know it too.

It’s the moment “hobby” turns to passion. “Like to” turns to “have to.” “Want to” turns to “my heart will break if I don’t.”

For me, that shift happened in ballet when I was at that pivotal age of eleven. For years my friends and I had danced happily, loving the music, loving the combinations our teachers asked of us. High on childhood and music and ballet, we had a rose-colored view of ourselves. Blind to the work ahead, we could imagine that we were ballerinas already. We were being taught technique in such a loving way, it fed our dreams without building the muscles of self-critique. We soared on our dreams.

But suddenly, around the age of eleven, something dawned on all of us—especially those with talent. Ballet is hard. Really, really hard—even if you have talent for it. It’s a strange phenomenon. As you get closer to being a real dancer, as your teachers demand more of you and you demand more of yourself, you begin to feel the pain of not being good enough. Not yet. Your ability to happy with the pictures you make in the mirror must be delayed. It was a hard realization. To suddenly feel inadequate at the age of eleven. My first heartbreak.

The thing is, in order to become good at ballet, I needed to recognize that there was room for improvement. We all did. We needed to push through to become better at it. Our teachers impressed this upon us. We were not good enough yet. Those of us who truly loved ballet understood that it would take years before we were good enough. And because ballet was what we wanted, we were willing to do the work and to wait. Even though we were just kids. Even though we knew that, even with work and time, some of us might not make it. I hope I do, we’d say. I hope I make it. We were competitors, fellow strivers and fellow sufferers.

One day half the girls in my class had learned they were going on pointe. The other half—myself included— were told we weren’t strong enough and would have to wait one more excruciating year to get our satin pinks. No matter how hard we’d worked, we were not ready. A second heartbreak.

Beginning then, our four-times-per-week ballet class was extended fifteen minutes. Our teacher would clap her hands say the words—ladies, put on your pointe shoes! And the lucky half would run for the corner to wrap their toes in lamb’s wool and slip on their hard-tipped shoes, lace up the gleaming ribbons. The rest of us, with heavy hearts, joined in their special exercises in our normal “flat” ballet slippers—our dreams deferred as our classmates blistered and bled, building callouses they would later show off.

The year passed. I got my shoes, then my callouses. Another year later, no one in our ballet class could remember who had gone on pointe at eleven and who’d had to wait. But now the work of becoming real ballet dancers kicked into high gear. We had ballet class six days per week, knowing that other girls our age danced three classes per day to our one. Still, there was plenty of blood, sweat and tears. Some of us made it.

As a writer, I have revised my novel umpteen times, received great feedback, but also rejections. I will continue to revise and work until my book is good enough. Just as I did with my dancing. If you are to strive for something you love, no matter what the endeavor, there will be heartbreak along the way.

teaching at MAD LOMI saw a germ of this in one of my little ballet students just two weeks ago. I was teaching the class a new skill—a single pirouette from fourth position. We’d been building up to it, working on passé, passé relevé, spotting the head, opening and closing the arms, proper placement. This girl was ready to turn, I thought. So I stayed with her as she worked through the steps and tried the turn. I was patient and encouraging in just the right measures, I thought. She was determined—I could see it—and I would not let her give up.

“That’s it,” I kept saying, between more technical instructions. “You’re there.” I kept pushing, gently, sure I was going to get a result that delighted us both. She’d have that feeling of balance, of landing, of making the illusion of spinning.

“Once more.” As I said it, I realized it was too much. Her brown eyes were welling up, spilling over. Soon she was sobbing, having put her all into something that was not working. Not yet.

I felt awful. So guilty. I had made a child cry. But then I remembered how many times I had cried while I was striving for my dream—sometimes because I was hard on myself, other times because I was scolded by my ballet teachers. Granted, in my day, adults were more openly critical of children in ways that weren’t always good. Today, we have expressions like “It’s all good.”

Of course, in ballet, it isn’t all good. As teachers, we have the difficult task of expressing that in a non-damaging way. I don’t believe it’s necessary to be negative with children, to “draw the talent out of them,” as some teachers did when I was growing up. Instead, I think we need to find creative ways to inspire children, to nurture their passion for art or sports or science or music. When they love what they are doing, striving—having a self-imposed standard to meet—comes naturally. And, though there will certainly be heartbreak along the way, hearts are resilient.

To my little, tearful student, to all children moving from play into passion, my advice is as follows:

Whatever your dream—enjoy the journey, keep your eyes on the prize, and don’t give up when it’s tough. You’ll get there.

Mixed in America: Closing the Arch

New Profile picIn my last post, Does the “White Privilege” Umbrella cover Black and Biracial Children?, I introduced my White Umbrella Project, including a survey, about the experiences of other black and biracial people whose early guides to the world were white parents. Since the survey went live, here and on various multiracial Facebook groups, responses have been coming in steadily—people sounding off on what it means to reside on both sides of the bridge between black and white.*

This project has been brewing in me for years, but there is a reason I’m launching it now.

This past fall and winter, in the aftermath of the killing of Michael Brown and Eric Garner, in the wake of the protests and the speeches and the clashes, the calls for justice and calls for dialogue, I kept hearing about an America divided along racial lines. It wasn’t a new phase by any means, but one that rears up and becomes prevalent every few years.

There is a black America and a white America and never shall the two see eye to eye, was the message—expressed most eloquently in the New Yorker cover of December 8th, 2014, by Bob Staake, a “post-Ferguson” depiction of Eero Saarinen’s iconic Gateway Arch, centerpiece of the St. Louis Skyline, in this case shaded black on one side, white on the other, the arch broken, its ends reaching in vain for reconciliation.

New Yorker image,

I took in that cover with a heavy heart, registering the sentiment loud and clear. I am one of many Americans—the president of the United States included—for whom black and white are inseparable. It is what we are.

It’s worth mentioning, too, that all the blacks, whites, Asians and Latinos I know have varied and nuanced views of the events, to say nothing of the fact that the protestors and police defenders seemed to come in all races.

I’m not naïve. I recognize that the black/white rift is more stark in some parts of the country than others, that the multiracial mobs with linked arms hailed mostly from the two coasts and from university towns. But it’s my pet peeve when the press oversimplifies and disregards those who live in the middle. With interracial marriage on the rise, as well as more multiracial people than ever identifying as such, the racial “grey” area is becoming more and more populous.

It goes beyond America too. Trevor Noah, the South African comedian of black Xhosa and white Swiss parentage, who is slated to replace Jon Stewart in the Daily Show, also grew up in two separate worlds—being shuttled back and forth between his mother’s home in black Soweto and his father’s apartment in largely white Johannesburg. In a New York Times article, Noah describes being alternately embraced and rejected in both settings.

This echoes the experience of so many mixed-race Americans. The both/and-ers, the neither/nors. For some of us, like Barack Obama or Halle Berry, our African ancestry is plainly visible. For others, like Wentworth Miller and Carol Channing—not so much. Many of us have identities that resonate sometimes black and sometimes white, depending on where we are, which side of the family we’re with—regardless of what we look like.

I was raised by a black father and a white mother, but because of their work schedules, it was my mother who accompanied me most places. My early view of the world came through her eyes. Whether we went to her friend’s pool club in the summer, or shopped on the Upper East Side, I assumed—correctly or not—that I would be accepted and embraced. I didn’t grow up feeling particularly different from the white or black people I met. It was not until college that anyone demanded I choose my allegiance.

Everyone’s experience of being biracial is different, but I suspect I’m far from alone in my cringe-reflex when I hear about the irreparable chasm between my two sides.

Does the “White Privilege” Umbrella cover Black and Biracial Children? (Survey included)

Baby 1966This is the first post I have written soliciting responses to a survey—so I’m stating it up front: At the end of this post is an actual, honest-to-goodness survey for those who are interested and who fit the demographics* I’m looking for.

So, what is this about “White Privilege?” Sounds kind of political, kind of threatening, no?

The first time I heard the term “White Privilege,” I was in my late twenties and teaching at a very exclusive, private girls’ school on the Upper East Side of New York. Peggy McIntosh, PhD., the feminist, antiracism activist and associate director of the Wellesley College Women’s Project, had been brought in by the Parents’ Diversity Awareness Committee of said school. McIntosh, who is white, was there to discuss her famous paper, White Privilege, Unpacking the Invisible Backpack, as part of a workshop for staff, parents and students about the ways in which whites unwittingly benefit from racism on a daily basis.

I was fascinated as McIntosh described white privilege as an

invisible package of unearned assets which [she could] count on cashing in each day, but about which [she] was ‘meant’ to remain oblivious.

However, as she began to list these assets and privileges, I found myself thinking: hold on a minute—I grew up with a lot of those assets and I’m not white! What gave?

As I thought it over, I realized that, as a child—regardless of my color—I had walked through the world in the care and company of a white mother. I had un-harassed entry into upscale department stores and swimming pools. Most everywhere I went, people had treated me with the same respect they paid my mother.

When McIntosh went on to list the ways in which her skin tone worked in her favor:

“I can turn on the television or open to the front page of the paper and see people of my race widely represented …When I am told about our national heritage or about “civilization,” I am shown that people of my color made it what it is … Whether I [use] checks, credit cards, or cash, I can count on my skin color not to work against the appearance of financial reliability.… I can swear, or dress in second hand clothes, or not answer letters, withouthaving people attribute these choices to the bad morals, the poverty, or the illiteracy of my race.

I started to see her point. Okay, maybe all of those privileges hadn’t been mine, but under the umbrella of my mother’s whiteness, the world had been a different, more accepting, place than it might have been otherwise.

When I was alone with my father, we visited restaurants  and little shops in Harlem—which was mostly black at the time. It was a world apart from the Englewood, New Jersey pool club my mother’s friend belonged to, where Mom and I went almost every day in the summer. As a child, I felt equally welcome in both places. However, if the whole family had shown up together in either location, there might have been stares or even questions.

My father taught me to be aware—and sometimes wary–of racism, that I might be treated differently because of my color. But my mother took me everywhere; the hostility, if there was any—was subtle enough for me not to notice. I believed I belonged anywhere my mother did.

The stories of black and biracial children raised by white parents are as varied as humanity itself. I know my own, but am curious about others. For this reason I’ve started a project I’m calling Under the “White Privilege” Umbrella: Children of Color in their White Parents’ World.

As part of the project I have created a survey where I ask adults of color, like myself, who were raised by at least one white parent, to reflect on their childhoods. My purpose is to understand the experience of growing up black or biracial** in the care and company of a white parent, to learn whether–and how–any of us benefited from the day to day privileges our white parents might have experienced.

*If you are between the ages of 18 and 70, identify as biracial or mixed, the product of a white parent and a black parent, or if you are adopted, either black or biracial/black-white, and raised by white parents, interracially married parents (one of whom is white), or by a single, white parent), I would love to hear from you.

Please note, I have no hypothesis to support and no political agenda. And here is the link to my survey.

**The reason I’m only including black and white in this project–at first at least–is to understand whether parental “white privilege,” dilutes the very specific biases directed toward blacks.

To Dance Again: Return to Self

teaching at MAD LOM

A few years back, when I started this blog about body image and identity, I was thinking a lot about my relationship to ballet. It defined me from late childhood, though adolescence and into my late twenties. It was my niche, my career, until I left to find out who I was without it.

To recap: some time in 2012, after who-can-even-count how many years of not dancing, a friend lured me back to ballet class. I was flooded with all kinds of emotions—excitement, dread, nostalgia—but most of all, an overpowering sense of return-to-self.

Return-to-self isn’t anything I learned about in social work school, but I’d have to define it as a process of acute identity repair.

Earlier this week, I had a conversation with a sixty-something-year-old guy on the table next to mine at physical therapy. I was there for my knees—the culprits who’d distanced me from ballet. He was there for a leg or back injury, I never asked what. I should mention that my physical therapist, to distract patients from their agony, has large-screened TVs on every wall, all synced, streaming sit-coms from the 1990’s—Friends, Frasier, Everybody Loves Raymond. Depending on the hour of your appointment, you can usually predict what will be playing.

At the time of my narrative, Will and Grace was on. After my neighbor and I shared a chuckle over Karen’s alcohol-fueled antics, he mused about how the country had changed since the show had aired.

“You can’t make cracks about alcoholism anymore,” lamented the guy with the back-or-leg injury. “You can’t even say words like Jew or Black on primetime without a lawsuit.”

Whether that’s true or not, I kept listening. Soon, the conversation led to the guy sharing some of his history with me.  He’d been an outdoor sports guy, he said. Hunting, boating, motorcycle racing. Sure, he’d suffered various wounds from these high-risk diversions. He’d been shot Cheney-style more than once (he showed me a shoulder scar), thrown from bikes and boats—all minor events he’d shrugged off at the time. But the injury he faced now (again, he did not specify, but later I saw he walked with a severe limp) had sidelined him from everything he loved to do. Everything.

“But my faith is in him,” he aimed a thumb at our PT, “and Him.” He re-directed said thumb toward the ceiling. “You watch. I’ll get back on that bike if it’s the last thing I do.”

I could see he meant it. Getting back on his motorcycle was worth that much to him. Life just wasn’t life without the thrill-rides he loved. That I understood.

For me, the sine qua non endeavor was ballet, as I wrote back in 2012, when I went back to ballet for the first time. I didn’t stick with it back then; my knees wouldn’t permit it. But I kept ballet in my heart, blogging about it, watching my favorites on YouTube, penning a novel about teenage ballet dancers in New York City. Through my characters, I still lived ballet, still danced in my mind and through my fingers on the keyboard. I kept thinking, should I try dancing again? Or should I let this be enough? I ran for exercise, so it wasn’t like I was completely sedentary. (Running, oddly, has no negative impact on my knees.) But every so often I’d wonder: is it really over? Will I never dance again?  That sounded so sad, so final. I pushed the thought away, rather than try to challenge it.

I still dreamed I was dancing, though. One night I even dreamed I was still good. I got back my arabesque, my turns, my elevation. The very next day, I got an email from a friend, a former dancer who runs a dance, theater and drumming school in town. Would I teach ballet for her one night a week, she wanted to know? Two classes, for ten to twelve year old girls? I thought it over and rose to the challenge. How could I possibly say no? Especially after the dream I’d had.

So back again I went. It’s been over a month. I never thought I’d love teaching children to do something that could be painful and frustrating as well as beautiful. But, guess what? I do. Because I value ballet for its elegance, its purity and the way it lets you merge with the music, I believe I’m giving these children something precious. I’m stricter than I thought I’d be, but also loving, because I can see that they love what I’m sharing with them. I don’t allow them to not point their feet; I don’t allow them to give up. But I do lavish praise on effort and hard work. I say things my teachers used to say—grow taller as you plié, drop the tailbone, roll back your shoulders and keep breathing!—and I mean them.

I have begun taking a weekly ballet class in addition to the ones I teach. What has happened is curious and hard to describe. I don’t do everything full-out, but as I dance, I can almost hear my soul clicking into place.

I still have my psychotherapy practice; I am still writing fiction—both of which I love. But now, the dancer in me is back from hibernation.

So what about you? How many years has it been since you did that thing you used to live for? It might have been a hobby or a passion—dirt-biking, fly fishing or found-object sculpting—any activity that completed you, that was your dessert after a hard work week. Maybe you performed with a band whose members all had day jobs. Maybe you wrote poetry you never shared with anyone, but that sustained you nevertheless. Or maybe you were one of the lucky few whose passion—be it acting or football—was once your career.

What took you away from that passion? An injury? The practical reality of needing to make more money? Lack of time? Maybe you can’t immerse yourself in the activity like you once did, but there might be a way to reconnect yourself with it. For example, one woman I danced with years ago, benched by a back injury, became a dance photographer. A friend and former performer—another psychotherapist—writes plays in her “spare time.”

If you ever look back on the days when that activity was part of your life, and think: That was when I was most fully me, you deserve this. Dust off your old passion and find a way to take it back, in any way you still can. Whatever it is, I wish you hope, courage, and a safe return to your Self.

Don’t hate your Thighs, Baby!

DSC00276


 

I almost rolled my eyes at the PC police. Granted, as a member of three at-one-time-or-another oppressed groups, I tend to applaud the PC police. When something is politically incorrect, that means it has the power to hurt someone. And why is it okay to hurt someone if only to get a laugh out of someone else who’s standing there going, “Lighten up already?”

But this time, I almost said, “Lighten up already.”

Until I thought the issue over for half a second. The issue is a onesie for babies, printed with the phrase: “I HATE MY THIGHS.”

It’s funny, okay? It’s funny because it’s so ludicrous. I mean, who doesn’t love fat thighs on a baby? And what baby has any opinion whatsoever about his or her thighs? What baby even knows he or she has thighs? I am sure that’s what the people at WryBaby were thinking when they created said onesie as part of their infant apparel line, marketed at new parents and their friends.  I am sure they did not expect the uproar that came.  Who, us? Fat-shaming babies?

Were people really getting up in arms about baby clothes? I wondered. Even if the baby did have body image issues (like that could seriously happen) babies can’t read!

But then, I remembered who else might be reading. The babies’ older siblings and cousins, for a few. My daughter could read by the time she was five. I used to stand in line at the A+P checkout with her, wishing I could cover up all the tabloid headlines waxing catastrophic about Jessica Simpson’s cellulite. Check out all the best and worst beach bodies! Guess who gained a hundred pounds? (Answer on page 27.) My daughter would study the pictures, read the headlines and then ask me questions I had to come up with answers for.

“Mommy, why does it say Kirstie Balloons?”

“She was blowing them up for a birthday party.” Thinking fast, Mom.

Remembering those days, I could only imagine what a newly reading four-year-old might think about seeing her baby brother suited up to declare loathing for his own little gams. Kids that age are concrete thinkers, yet absorb every piece of information around them. Wondering why Baby Ezra hates his thighs might lead a young child to wonder if he or she should start hating his or her own thighs.

Doesn’t seem like a big deal? Think I should lighten up? Take a joke? Well, maybe you’re right about that. Often, it takes much more than a little joke to set body image issues and disordered eating in motion. But, just as often, all it takes is a passing comment, a few misguided words.

Just saying.

P.S. Since the controversy, WryBaby has replaced the onesie with one that makes the healthy declaration: “I Love My Legrolls.”