Introductory activities

Context

The Hate Race tells the story of Maxine Beneba Clarke, whose parents migrated to Australia, and her experiences as the target of racist remarks and encounters. To understand a little more about Clarke’s cultural heritage and background, explore the following topics with your students.

The Atlantic slave trade

Watch the TED-Ed talk on the Atlantic slave trade and record any key ideas or surprising pieces of information that arose. Having established a supportive and respectful classroom context, discuss these ideas with students, insisting on inclusive and non-discriminatory approaches and monitoring for insensitive commentary. Draw students to the long-term and lasting effects of the slave trade.

Consider the image of the ‘point-of-no-return’ from the House of Slaves on the Senegalese island of Gorée. This is the location of the market where African slaves would be traded and shipped off to the New World. What is the symbolism associated with the point-of-no-return? How does the door act as a powerful metaphor for the experiences of those involved with the slave trade?

In 2007, the United Nations General Assembly declared 25 March as the International Day of Remembrance of the Victims of Slavery and the Transatlantic Slave Trade. The 2020 and 2021 themes revolved around confronting and ending slavery’s legacy of racism. In what ways can your students contribute to these themes? What might ‘confronting the legacy of racism’ look like in your community or classroom?

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Australian slavery

In June 2020, Australian Prime Minister Scott Morrison proclaimed that there was ‘no slavery in Australia’. Whilst Australia was not a slave state like North America, there have been instances of slavery on Australian shores that your students may not know or understand.

Break your class into small groups and have them research the following:

  • the importation of Melanesian people to Queensland to work in sugar plantations from 1863 to 1904 (also referred to as ‘blackbirding’)
  • the use of Aboriginal Australians in the pearling industry in Western Australia
  • sealers in the Bass Strait who abducted Aboriginal women into sexual slavery
  • the forced recruitment of Indigenous station workers, labourers and stockmen starting in the early 20th century
  • the abduction of the Stolen Generations into government missions
  • the convict slave labour of British criminals sent to Australia between 1788 and the 1850s

On top of these instances of slavery, Australia still grapples with a colonial attitude towards those who are ‘different’, not white or considered lower class – and, most notably, towards our First Nations peoples. A colonial attitude is an internalised mentality of cultural superiority stemming from colonisation. Some early colonial attitudes continue to persist in Australian society and are dominant in the media, such as:

  • a preoccupation with Western Europe
  • celebration and reinforcement of Anglo-centric ideas and ways of life
  • a focus on conflict and war

After this research, allow some time for classroom discussion to unpack the following:

  • What kinds of attitudes towards people who may have a different skin colour or cultural background persist in the Australian media, or in networks you participate in?
  • How are these ideas detrimental or pervasive?
  • Why would generations of Australians go to great lengths to conceal our history of slavery, so much so that our own Prime Minister doesn’t acknowledge it?

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The ‘Windrush generation’

In the initial stages of her memoir, Clarke outlines her family heritage. Her paternal grandparents from Jamaica and her maternal grandparents from Guyana both migrated to Britain after the Second World War. Clarke details their voyage on the HMT Empire Windrush, docking in Essex on 21 June 1948, with hundreds of other Caribbean migrants hoping to seek a new life and opportunities in Britain. The BBC has compiled a photo essay documenting some of the early experiences of the migrants. In a similar fashion, Clarke’s parents (Bordeaux and Cleopatra) migrated to Australia in the early 1970s after the White Australia policy was renounced by then-Prime Minister Gough Whitlam.

Have students study the paper ‘A multi-cultural society for the future’, written in 1973 by Whitlam’s Minister for Immigration, Al Grassby. Grassby outlines his vision for a multicultural Australia looking toward the turn of the century. Students should analyse the intentions and vision laid out by Grassby for the year 2000, and comment on whether his vision has been actualised and whether they believe that multiculturalism has been accepted as part of the ‘family of the nation’ Grassby hoped to create. Consider the early experiences of Bordeaux and Cleopatra when they arrived in Australia in the context of this examination and discussion.

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Western folklore

Throughout her memoir, Clarke makes continued reference to the ‘folklore way of telling a story that West Indians have’. Before retelling a significant story, she uses a variation of this expression as if to signal the change. Folklore refers to the stories that people tell, often orally, that are passed down through generations. What makes folklore different from fairy tales is that the stories have no author. Folklore is the passing on of stories that have become embedded in culture and custom. The main purpose of folklore is to tell a moral lesson about how people should behave.

Consider how The Hate Race could be an example of folklore. Arguably, Clarke’s stories of racism and the memories she shares of her experiences are so commonplace and frequent that they are like folktales – repeated stories about experiences that have, in effect, become customary for individuals of colour in Australia (though this shouldn’t dampen the grotesque nature of these occurrences).

Could Clarke be making a statement about such events entering into folklore, as if to warn future generations of the experiences to come? Consider:

  • the prologue of the memoir, where Clarke recounts unprovoked racist vitriol whilst walking her youngest child in the pram
  • her awareness of being brown and singled out by her classmate, Carlita Allen, who continues to point this out every day as a way to ostracise her (pp. 24–30)
  • her resignation that her nickname ‘Patch’ would stick, despite her earnest attempts to cover her pigmentation issues and ‘blend in’ with her peers (p. 73)

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Towards a definition of racism

It is important that students have a working understanding of racism when reading The Hate Race. The Australian Human Rights Commission is a useful starting point for unpacking the nuances with students. Have them examine the website and record their own understandings of racism, and any preconceptions they may have had that have been clarified through their reading.

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Personal response on reading the text

Welcome to Oz

Bordeaux and Cleopatra Clarke arrive in Australia to a ‘luminous southern hemisphere sunlight they had never seen before in an impossibly clear blue sky’ (p. 14). Contrast the socio-historical context of Britain in the 1970s with that of Australia using a table such as the one below.

Australia United Kingdom
Politics
Cultural changes
Science and technology
Key events

Clarke makes the comparison between Australia and Oz from The Wizard of Oz. Play the scene to which she refers, and discuss with students what connections can be made between the two stories of arrival.

  • What does Clarke hope to evoke in the reader by using this analogy?
  • Does it work?
  • What connotations are implied by comparing Australia to the Land of Oz?
  • In what ways might this analogy foreshadow what is to come in the lives of Cleopatra and Bordeaux?

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Life in Sydney

Show students the Life in Australia: Sydney film made by the Department of Immigration in 1966. Consider encouraging them to view this film through a postcolonial lens and address the following questions:

  • What do you immediately notice about the way that Sydney is advertised in this short film?
  • From whose perspective do we view this film?
  • Who is central to this film? Who is marginalised? Who is not represented at all?
  • Whose version of Sydney do we see in this film?
  • How does the text represent a particular view of Australian culture, values and history?

Consider how two Afro-Caribbean migrants such as Cleopatra and Bordeaux Clarke may have been enticed by the Immigration Department’s video, and how the values conveyed in the film translate to their actual lived experiences in Kellyville.

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‘Tallying up the brown people’

Clarke begins to notice other ‘brown people’ she sees on a daily basis. At the end of p. 25, she outlines those she sees and the context in which she sees them. Present the following statements that Clarke makes here to students. Have them discuss the groups of people that the author sees and recognises as being like her, and what kinds of assumptions others may make about ‘brown people’ if these are the only contexts in which they see them.

  • ‘There were a few family friends of varying shades, perhaps ten or so.’
  • ‘I saw people on the telly sometimes, on the news, or in the running races my father liked to watch. The telly was black and white though, so I could never really be sure.’
  • ‘I saw brown folks in the newspapers some mornings, little kids even. But they were mostly so swollen-bellied and sad-looking that I didn’t feel I was anything like them at all.’

Ultimately, you are helping students consider Clarke’s observation that people of colour are only celebrated in sports, and are otherwise pitied as victims of inescapable poverty who are ‘worthy’ of charity. Have your students pay close attention to when Clarke observes ‘brown people’, and to the connotations associated with them in the given circumstance.

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The brown Cabbage Patch doll

After pleading with her mother, Maxine is finally promised a Cabbage Patch doll for her birthday, which preoccupies her thoughts for several months. When Maxine unwraps the doll, she is disappointed to see that her mother has picked a brown doll for her, exclaiming, ‘I’d been talking about [a Cabbage Patch doll] for months, and this was what I was supposed to show [the girls at school]’ (p. 50).

Discuss the scene that unfolds with the girls in Maxine’s class and how she perceives the brown Cabbage Patch doll bringing her closer to her classmates (p. 51). How does the doll further contribute to observations that society is preoccupied with brown skin only in specific contexts (such as sport, poverty or uniqueness)? What does this highlight about Maxine’s own insecurities and desire to ‘fit in’ with her peers?

Show students this image taken by American photographer Chris Buck. In what ways does it reverse the power dynamic that exists in society?

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Representations of beauty

Maxine really struggles with accepting her physical appearance, and at various points in the story aspires to make it more palatable, including wanting braces and hoping her skin turns white. Later on, she has her hair braided and acknowledges the process as a form of cultural expression. Ask students why she would be so concerned with wanting to change her appearance so drastically. Analyse the comments she makes after each of these changes and what they reveal about acceptable beauty standards in Australia.

Additionally, if you can source a collection of old magazines such as Cosmopolitan or Dolly (or even those with a lot of advertising such as New Idea or Woman’s Day), students could undertake an assessment of the types of women who are represented in these magazines and those who are not.

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Outline of key elements of the text

The Hate Race

The title of the text, The Hate Race, is a play on the concept of racial hatred or race hate. Discuss with students their understanding of this phrase. You may like to give them some examples from the media, or ask them to share moments when they have read or heard about expressions of racial hatred. Draw their attention to media treatment of the Cronulla Riots, the appearance of neo-Nazi graffiti in Melbourne and Sydney, and recent accounts of racially-motivated attacks on people of Asian descent in the wake of the Coronavirus pandemic.

Consider exploring the two words separately and brainstorming the implications and connotations of each. This worksheet (PDF, 87KB) may be of use. Given the reversal of the two words, the title can be interpreted in a different way. When using the worksheet and exploring all possible meanings, encourage students to consider the implications of word order:

  • How are specific images conjured by the reversal of the words?
  • How does the order of words change the meaning of the original phrase?
  • What kind of image do you see when you think about a ‘hate race’? Consider other types of races, such as a running race, the Melbourne Cup (touted as ‘the race that stops the nation’) or even a race car. Where does the ‘hate race’ fit amongst these other examples?
  • If a race is a competition to see who can most quickly cover a course, who are the competitors in the ‘hate race’ and what might be the prize for the winner?

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Plot

Clarke’s work revolves around the damage caused by racist views, attitudes and actions that she encountered growing up in Australia. Each memory serves the purpose of illustrating the pervasive effects of racism and the trauma caused by such abuse. Her stories are woven together with recollections from her childhood, stories about her family, and snippets of historical information that help flesh out the experience of being a woman of Afro-Caribbean descent finding her way in Australia.

Prologue

In this section, Clarke recounts her experience of being followed by a man in a ute as she walks with her youngest child. The man hurls racist slurs at her, disgustingly telling her to ‘fuck off’ and ‘go drown your fucken kid’ (p. vi). The prologue provides the premise for the memoir, describing the ‘only home [she] knew’ (p. x) and the pride she takes in carrying the stories of her ancestors who lived on the continent of Africa.

Part One: Chapters 1–11

Part One provides an overview of the formative experiences that shaped young Maxine’s life. It also illustrates her family ancestry and heritage, acknowledging the struggles of her grandparents and parents in paving the way for her to grow up on Australian soil. This part grapples with young Maxine’s desire to be accepted and liked by her peers, and her fierce individualism. It retells those events from Maxine’s primary school years, up until the age of 13.

Part Two: Chapters 12–24

Part Two centres around Maxine’s teenage and high school years. There is a notable shift in her attitude towards her classmates as this part progresses, especially as she starts to develop close friends and interest in the opposite sex. Clarke carefully retells the instances of bullying, harassment and teasing that she faced with searing detail, and offers contrasting stories of victimising her peers in an attempt to fit in – taking the reins as oppressor rather than the oppressed to regain control of her life. Interestingly, in this part of the memoir, Maxine appears to be more aware of her culture and grapples with balancing, acknowledging and respecting it.

Epilogue

The final part of the memoir sees Clarke circle back to the central ideas outlined in the prologue. It is her son’s first day back at school after the holidays and he is enthusiastic about returning. This time, we meet a pensive Clarke who reflects on ‘the chest-tightening feeling’ (p. 255) brought about by the years of racist taunts she has suffered at the hands of others.

There are several elements to explore here with students. When considering the plot and structure of the text, encourage them to think about:

  • The significance of breaking the text into two distinct parts. What is the symbolism of beginning Part Two as Maxine enters high school?
  • The importance of the prologue. How does this set the tone for the memoir? How does the prologue serve to foreshadow the events to come, as well as provide the backstory to the central themes of The Hate Race?
  • The circular nature of the narrative with the inclusion of an epilogue. How does the epilogue provide closure for the reader or add to the development and understanding of Maxine’s character?

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Themes

Clarke’s text is an account of the struggles faced by people of colour in Australia, and reveals the colonial attitudes of white Australians that are ingrained into every facet of daily life. The following themes have been identified to help students explore key ideas and issues. Some starting points for discussion have been suggested, but by no means constitute an exhaustive approach to unpacking these topics.

Racism

The theme of racism is central to The Hate Race. It is not possible to study the text without a thorough understanding of this issue.

  • Consider exploring the topic with students in detail, taking in a number of different definitions and examples.
  • The Australian Human Rights Commission and All Together Now are two very helpful websites that students could explore to better understand the nuances of racism and the extent of pervasive racist attitudes in Australia.
Bullying

Like racism, bullying is a key theme and Maxine is both bullied and a bully in the text. Building empathy is crucial to be able to unpack the memoir respectfully. You may find that your students already have a great deal of experience with bullying.

  • It is worth breaking down the differences between bullying and harassment to help students understand Clarke’s accounts.
  • The Australian Institute of Health and Welfare has collected extensive longitudinal data on children’s experiences with bullying, which may shed some light on the frequency and specificity of bullying in Maxine’s circumstances.
  • It may be an interesting task for students to talk to their peers or families about bullying, and/or to share their own experiences.
Difference and acceptance

A crucial component of The Hate Race is the idea of being considered different. Maxine finds this very hard to cope with in the text and is torn between loving her background and the things that make her different, and then loathing them, desperate to change herself to fit in with her peers.

  • There will be many students in your class who feel different for some reason and it is worth acknowledging this with them.
  • If comfortable, students can share ways that they have tried to change themselves for another person or group, and how this has been a positive or negative experience.
  • Both Maxine and Cecelia go through periods of accepting their differences, strengths and weaknesses, as well as the experiences that have shaped them. Discuss with your class the power of self-acceptance as an ultimate aspiration for both young women.
Family and heritage

Clarke proudly recounts her heritage in the early chapters of the memoir. She eloquently explains how her family arrived in Australia and recalls the experiences of her ancestors and the Atlantic slave trade. Family and family history are clearly very important to Clarke. The text unpacks the importance of connection and of knowing, understanding and appreciating where you come from – acknowledging the work of those who came before you to bring you to where you are. She says of her children at the end of the novel, ‘[they are] descendants of those unbroken’ (p. 256): a testament both to her own ‘survival’ and to those who preceded her.

  • Discuss with your students the importance of family and of pride in culture and family history.
  • As a point of contrast, you may like to proffer why Australians were so bent on burying their convict ancestry before genealogy searches became wildly popular.
  • Ask students why they think Australians are so proud of being a multicultural country when racist ideas and values still seem to be so prominent.
Belonging

Another overarching theme in this text is that of belonging. The tales we hear about young Maxine’s upbringing paint a picture of a lonely girl looking to fit in: to be embraced, seen and acknowledged by her peers. This is best seen when Maxine is named Student of the Week and has only one friend who writes down comments about her personality and friendship in the class card.

  • What is the importance of belonging?
  • How can a simple gesture, such as that of Maxine’s primary school friend, go a long way to helping someone to fit in?
  • Students can identify a time when they wished they could belong and how isolating it felt to be on the outside.

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Characterisation

The character of Maxine

In her interview with Astrid Edwards for The Garret, Clarke reflects on the character of young Maxine and describes her as more of an anti-hero than a hero. This may be an unfamiliar concept to students. Share the definition and ask them to come up with some examples. See if your students can explain the differences between villains and anti-heroes.

Have students create a chart, table or page of sketchnotes that explains the ‘anti’ components of Maxine’s actions, as well as the ‘hero’ components. They should support their comments about Maxine with specific examples from the text.

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Identifying with Flo-Jo

Florence Griffith Joyner is one powerful and influential African American that young Maxine idolises. Her family watch several of her races on television and Maxine is captivated by her physical appearance, costuming and speed. Flo-Jo was known for her wild fashion choices whilst competing. Watch this video with students for some insight into her performance and style. Consider:

  • How would watching Flo-Jo on television inspire a young Maxine?
  • What kind of characteristics does Maxine assign to Flo-Jo?
  • How does she apply these to herself when playing Catch and Kiss?
  • What are the implications for Maxine when she discovers the real reason the boys can’t catch her in Catch and Kiss?

The aim of this activity is to draw your students’ attention to a positive connection Maxine makes with her heritage. There are very few times in the text when she is proud to be associated with a black woman. These questions are designed to pull apart Maxine’s idolisation of Flo-Jo and the importance of having a role model who is celebrated for her athleticism and individuality rather than criticised for it, as is Maxine’s experience in the text.

Later in the novel, Maxine finds out that some students at school refer to her sister as the ‘Black Flash’ (p. 143). Perhaps coincidentally, the Black Flash is also a character in the DC Universe, whose touch can cause instant death. In this section of the novel, Maxine wonders if she should start running like her sister and other people of colour she sees on television. She imagines herself ‘doing something a real black person could do’ (p. 144).

  • Discuss the connotations of describing Cecelia as the ‘Black Flash’. What could be another appropriate nickname for her that excludes colour?
  • Discuss the resignation in Maxine’s assertion that running was something ‘a real black person could do’.
  • Discuss whether the comments made by the running coach were helpful or harmful to Maxine and her sister.
  • What kind of parallels can be drawn between Cecelia and Flo-Jo?

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Characterisation of Cleopatra and Bordeaux Clarke

In Chapter 23, Clarke recognises her parents as individuals with unique personalities that function outside of their roles as father/husband and mother/wife. She describes her mother as creative and patient and her father as hardened and cynical. As students read the novel, have them record the details that Clarke reveals about her parents in a table resembling the one below.

Direct characterisation What it reveals Indirect characterisation What it reveals
Cleopatra Clarke ‘Then there was Cleopatra, ever-stylish in her head wraps, earrings and boots’ (p. 18). The fact that the neighbours have recognised and gossip about Cleopatra’s fashion shows that her style is unusual, unexpected and uncommon for their area.
Bordeaux Clarke ‘Dad had this list of things that needed doing around the house’ (p. 247). Shows Bordeaux’s persistent attitude. He is houseproud and continually works to improve the appearance of his house. Pre-empts a conversation where he explains that, as a black person, Maxine will have to work harder than others to be recognised for the same feats.

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Carlita Allen

It is through Carlita that we see the beginnings of racist taunts and comments levelled at Maxine. Clarke describes Carlita as a ‘joy killer’ (p. 22) who had ‘just stepped out of a glossy illustrated copy of Seven Little Australians’. Seven Little Australians is a pre-Federation children’s book that follows the antics of seven siblings in 1880s Sydney. It has been adapted into a television miniseries, a film and even a stage play. Show students the first episode of the television series.

  • Considering Clarke’s cultural background, what connotation is she hoping to bestow by describing Carlita as a ‘Judy type’?
  • What similarities can be drawn between Carlita’s description and actions in Chapter 3, and that of Judy and the other female characters in Seven Little Australians?

The concept of ‘othering’ is worth unpacking with your students. Powell and Menendian define it as ‘a set of dynamics, processes, and structures that engender marginality and persistent inequality across any of the full range of human differences based on group identities’. Othering is always expressed in a negative way, as groups that are othered are considered strange or harmful to the microcosm of society. These groups may be othered on the basis of:

  • religion
  • gender
  • race
  • ethnicity
  • disability
  • skin tone
  • sexual orientation
  • socio-economic status

Bearing this concept in mind, how detrimental is a television series such as Seven Little Australians to those who are othered? What kind of values does this program seem to promote, and how are groups othered based on its representation?

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Synthesising task

When Maxine is named Student of the Week, her classmates are required to write something nice about her, but the exercise turns sour as her peers write insults and derogatory remarks on her card. The only nice comment comes from Jennifer, a friend of Maxine’s who writes ‘real’ things about her and makes her feel valued and seen.

Dutch photographer Paul Piebinga writes on his website: ‘I see you. Meet people, and bring no expectations.’ A lot of Piebinga’s work involves capturing people as they go about their business with no expectation of being acknowledged or recognised, let alone photographed. The photographs are powerful because they show people’s daily lives: offering prayers, undertaking religious rituals, sipping coffee, walking in the rain or cooking meals. In many ways, Piebinga is like Jennifer: he recognises people outside skin tones and stereotypes, and sees them for who they are and what they can do. Explore his website and note the focus of his work.

Set students the task of photographing someone in moments that try to capture who they really are. They could take pictures of a parent or guardian tending the garden or putting on jewellery; a friend who has a special talent but is caught up in their reputation at school; or people at a local café being good friends, listeners and confidants.

Students can compose individual photo essays for submission, or they could assemble a classroom gallery that pays tribute to their efforts to really ‘see’ people in their community.

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