Ethnicity, Race + Nationality

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From CSG:

“All Mixed Up: What Do We Call People of Multiple Backgrounds?” | NPR

  • The history of mixed race, multiracialbiracial, and other terms

“Awkward, Uncomfortable Conversations About Racism Worth It” | USA Today

  • Tips on addressing racism with someone who was racially offensive or insensitive

“Blackhorse: Do You Prefer ‘Native American’ or ‘American Indian’? 6 Prominent Voices Respond” | Indian Country Today Media Network

  • Different perspectives on the terms Native, indigenous, Native American, American Indian, Indian, and First American, and the preference for tribal references

“The (Frustrating) User Experience of Defining Your Own Ethnicity” | Medium

  • Accommodating diverse labels and offering inclusive options

“The ‘G’ Word vs. the Invisible Minority” | Gypsy Appropriations

  • When people realize that gypsy and gyp/gip (to mean swindle or cheat) are racial slurs but continue to embrace them

“How to Query a Racist Comment” | Copyediting

“Latina/o/x” | Inside Higher Ed

  • The need for an inclusive, non-gender-conforming term for Latina and Latino
  • The arguments against using an x

Multicultural Romance: When Keeping It Real Goes Wrong: Do’s, Don’ts, and Why Nots! [PDF] | Alyssa Cole, Lena Hart, K. M. Jackson, Falguni Kothari

“‘Obama’s People’ and ‘the African Americans’: Using the Language of Othering | The Huffington Post

  • How use of the word the before any racial group creates distance and puts them in one monolithic category

“Research Says There Are Ways to Reduce Racial Bias. Calling People Racist Isn’t One of Them.” | Vox

  • “In 2016, researchers stumbled on a radical tactic for reducing another person’s bigotry: a frank, brief conversation.”

“There Is No Secret to Writing About People Who Do Not Look Like You” | Literary Hub

  • The role of empathy in writing the “other” as well as you write the “self”

“Why We Need to Confront Bias in Dance Criticism” | Dance

  • “Artists of color endure reviews that are often reductive or dismissive, especially when the work is ‘foreign’ to the critic.”
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