Afrofuturism, as a genre, describes fictional works which encompass Black science fiction and may engage with any and all structural elements of the broader umbrella of subgenres (horror, fantasy, magical realism, historical fiction, etc.) classified under Black speculative fiction. [1] [2] [3]
Afrofuturist literary works resist singular notions of a “Black” cultural experience. [4] Instead, Afrofuturist narratives draw upon a variety of ethnic, national, regional histories and cosmologies, as well as indigenous religious frameworks. [5] Thematically, Afrofuturist literature delves into revisionist or alternative history making, while galvanizing conversations on social injustice and Black liberation. Afrofuturist literature investigates questions of Black intellectual production, materiality, and intellectual ownership, while reimagining the potential futures of individuals within the Afrodiaspora. [6]
The emerging genre of Afrofuturist literature is influenced by two strands, Afro-pessimism and Black optimism. [7] Afro-pessimism asserts that the violence of colonialism and slavery contributes to a definition of Blackness as a state of non-being. In this state, Black individuals exist within and yet are alienated from the rest of society. [8] In Afrofuturist literature, Afro-pessimism underscores a bleak view of futurity and any inherent possibility for Black self-determination and social advancement. [9] [10] In contrast, Black optimism reconsiders Blackness after slavery and colonialism relative to modernity, technology, and culture. Black optimism emphasizes Blackness as a complete and holistic state of being. [11] It rejects the essentialism and inherent abjectness of socially-determined “Blackness” as portrayed in Afro-pessimism. [12] [13] Within the context of Afrofuturist literature, the Black imaginary and its creative expression are essential pivot points for self-determining futurity.
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Afrofuturism is a cultural aesthetic, philosophy of science, and history that explores the intersection of the African diaspora culture with science and technology. It addresses themes and concerns of the African diaspora through technoculture and speculative fiction, encompassing a range of media and artists with a shared interest in envisioning black futures that stem from Afro-diasporic experiences. While Afrofuturism is most commonly associated with science fiction, it can also encompass other speculative genres such as fantasy, alternate history and magic realism. The term was coined by American cultural critic Mark Dery in 1993 and explored in the late 1990s through conversations led by Alondra Nelson.
Nnedimma Nkemdili "Nnedi" Okorafor is a Nigerian American writer of science fiction and fantasy for both children and adults. She is best known for her Binti Series and her novels Who Fears Death, Zahrah the Windseeker, Akata Witch, Akata Warrior, Lagoon and Remote Control. She has also written for comics and film.
Kodwo Eshun is a British-Ghanaian writer, theorist and filmmaker. He is perhaps best known for his 1998 book More Brilliant than the Sun: Adventures in Sonic Fiction and his association with the art collective The Otolith Group. He currently teaches on the MA in Contemporary Art Theory in the Department of Visual Cultures at Goldsmiths College, University of London, and at CCC Research Master Program of the Visual Arts Department at HEAD.
Black science fiction or black speculative fiction is an umbrella term that covers a variety of activities within the science fiction, fantasy, and horror genres where people of the African diaspora take part or are depicted. Some of its defining characteristics include a critique of the social structures leading to black oppression paired with an investment in social change. Black science fiction is "fed by technology but not led by it." This means that black science fiction often explores with human engagement with technology instead of technology as an innate good.
Janelle Monáe Robinson is an American singer, songwriter, rapper and actress. She has received ten Grammy Award nominations, and is the recipient of a Screen Actors Guild Award and a Children's and Family Emmy Award. Monáe has also been honored with the ASCAP Vanguard Award, as well as the Rising Star Award (2015) and the Trailblazer of the Year Award (2018) from Billboard Women in Music.
The ArchAndroid is the debut studio album by American singer and songwriter Janelle Monáe, released on May 18, 2010, by Wondaland Arts Society, Bad Boy Records, and Atlantic Records. Production for the album took place at Wondaland Studios in Atlanta and was primarily handled by Monáe, Nate "Rocket" Wonder, and Chuck Lightning, with only one song without production by Monáe. She also collaborated for certain songs with Saul Williams, Big Boi, of Montreal, and Deep Cotton.
"Q.U.E.E.N." is a song by American recording artist Janelle Monáe featuring the singer Erykah Badu. It was released on April 23, 2013, as the lead single from Monáe's second studio album, The Electric Lady. Stylized in the form of question and response, each line of the song has Monáe expressing her thoughts on subjects ranging from sexuality to religion. Prince, a mentor to Monáe, called the music video for "Q.U.E.E.N." the best music video of 2013.
Afropunk Festival is an annual arts festival that features music, film, fashion, and art produced by alternative black artists.
Afro-Surrealism is a genre or school of art and literature. In 1974, Amiri Baraka used the term to describe the work of Henry Dumas. D. Scot Miller in 2009 wrote "The Afro-surreal Manifesto" in which he says: "Afro-Surrealism sees that all 'others' who create from their actual, lived experience are surrealist ...." The manifesto delineates Afro-Surrealism from Surrealism and Afro-Futurism. The manifesto lists ten tenets that Afro-Surrealism follows including how "Afro-Surrealists restore the cult of the past", and how "Afro-Surreal presupposes that beyond this visible world, there is an invisible world striving to manifest, and it is our job to uncover it".
Krista Franklin is an American poet and visual artist, whose main artistic focus is collage. Her work, which addresses race, gender, and class issues, combines personal, pop-cultural, and historical imagery.
Nettrice R. Gaskins is an African-American digital artist, academic, cultural critic and advocate of STEAM fields. In her work, she explores "techno-vernacular creativity" and Afrofuturism.
The term Chicanafuturism was originated by scholar Catherine S. Ramírez which she introduced in Aztlán: A Journal of Chicano Studies in 2004. The term is a portmanteau of 'chicana' and 'futurism', inspired by the developing movement of Afrofuturism. The word 'chicana' refers to a woman or girl of Mexican origin or descent. However, 'Chicana' itself serves as a chosen identity for many female Mexican Americans in the United States, to express self-determination and solidarity in a shared cultural, ethnic, and communal identity while openly rejecting assimilation. Ramírez created the concept of Chicanafuturism as a response to white androcentrism that she felt permeated science-fiction and American society. Chicanafuturism can be understood as part of a larger genre of Latino futurisms.
Africanfuturism is a cultural aesthetic and philosophy of science that centers on the fusion of African culture, history, mythology, point of view, with technology based in Africa and not limiting to the diaspora. It was coined by Nigerian American writer Nnedi Okorafor in 2019 in a blog post as a single word. Nnedi Okorafor defines Africanfuturism as a sub-category of science fiction that is "directly rooted in African culture, history, mythology and point-of-view..and...does not privilege or center the West," is centered with optimistic "visions in the future," and is written by "people of African descent" while rooted in the African continent. As such its center is African, often does extend upon the continent of Africa, and includes the Black diaspora, including fantasy that is set in the future, making a narrative "more science fiction than fantasy" and typically has mystical elements. It is different from Afrofuturism, which focuses mainly on the African diaspora, particularly the United States. Works of Africanfuturism include science fiction, fantasy, alternate history, horror and magic realism.
Before Yesterday We Could Fly: An Afrofuturist Period Room is an art exhibition at the Metropolitan Museum of Art in New York City. The exhibit, which opened on November 5, 2021, uses a period room format of installation to envision the past, present, and future home of someone who lived in Seneca Village, a largely African American settlement which was destroyed to make way for the construction of Central Park in the mid-1800s.
Michelle D. Commander is a historian and author, and serves as Deputy Director of Research and Strategic Initiatives at the Schomburg Center for Research in Black Culture.
AfroDroids is a blockchain-based collection of digital artwork composed of non-fungible tokens (NFTs). It was inspired by the Afrofuturist movement in art. On September 1, 2021, Owo Anietie established AfroDroids.
The Memory Librarian: And Other Stories of Dirty Computer is a collection of short fiction by Janelle Monáe, written in collaboration with Yohanca Delgado, Eve L. Ewing, Alaya Dawn Johnson, Danny Lore, and Sheree Renée Thomas. The collection, which has been described as Afrofuturist and cyberpunk, is Monáe's debut literary work. It is based on the world of her 2018 album Dirty Computer, as well as the accompanying short film of the same name. The book has received critical acclaim.
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