Afrofuturism can be defined as the use of ancestral elements to create future worlds.
This semester we explored many different concepts surrounding language, literature, film, culture, and how they are intertwined with the Black experience and intersectionality. Afrofuturism explores personal perception and theory and is divided into three parts: Reclamation, Black Liberation, and revisioning the past and predictions for the future through a Black lens. While Afrofuturism has had its popular culture moments since the 1970s with Sun Ra’s Space is the Place and Quincy Jones’ influence in The Wiz (1978), the idea of revisioning a future of the African diaspora dates back to ancient times, and in African American culture includes elements found in Phillis Wheatley’s “On Imagination.”
I’ve always been fascinated by the inclusion of African people into future worlds, since the imagery from our education systems mainly mentions white leaders and inventors, when oftentimes their work was stolen from Black individuals. A few months prior to this semester, I read Ytasha Womack’s Afrofuturism, where she discussed concern around the erasure of Black people in world history and how it’s possible to see ourselves in “the imaginary future—a space where the mind can stretch beyond the Milky Way.” Growing up watching movies like The Wiz helped keep my young imagination alive, and I believed that I can experience and achieve anything I put my mind to.
The idea of Black people in these whimsical and futuristic worlds is often portrayed in the music industry. George Clinton of Parliament Funkadelic wore an iconic rainbow wig and fused funk and electronic themes in his music. Busta Rhyme’s and Missy Elliott influenced a generation of music videos through their uniquely futuristic sounds, imagery, and fashions. Grace Jones’ powerful and boundary breaking presence transformed the fashion and dance world. Today an amazing example of a futurist creative is Janelle Monae. Since entering the industry her Archandroid era then evolved into Electric Lady, and most recently the Dirty Computer album and film along with her novel The Memory Librarian. Janelle is a perfect example of intersectionality through Afrofuturist themes as her work explores life from a Black, queer, and woman lens. Another example of a modern futurist vision is designer Telfar Clemens, who since founding his brand in 2005, has emphasized inclusion and a future of fashion that's available for all.
Seeing Black figures of many kinds being represented in future worlds is a beautiful way of connecting to ancestral culture without capitalizing off of Black trauma. As someone who is only 2 gen removed from sharecroppers I’ve always had trouble consuming traumatic Black stories as they hit too close to my own home. I felt inspired by the Afrofuturist art in the world and want to explore it deeper for this project. I’ve been pulling inspiration for this project since mid terms, and it’s been an enjoyable and enriching experience being able to connect my work in Sophomore Seminar II with my Art Appreciation and music studies as well. Aside from being a student I’m a professional DJ and artist and have been traveling, studying, and putting together events. Most recently I had a show on December 2nd in New York City called Sno’Nuff. Our theme was afrofuturist and we represented ourselves as the future generation with an eccentric music taste. We were dressed by up and coming indie fashion designer Maya Avery of Insignia MSA. I was able to combine all my studies of Afrofuturism with my own passion for art, music, culture, and fashion. Through this project I was able to make a one stop shop for everything I’ve learned, and I hope all who come across it enjoy it.