From Wikipedia, the free encyclopedia

"Serengeti Cyborg", an artistic depiction of Afrofuturism by Fanuel Leul

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. [1] While Afrofuturism is most commonly associated with science fiction, it can also encompass other speculative genres such as fantasy, alternate history and magic realism. [2] The term was coined by American cultural critic Mark Dery in 1993 [3] and explored in the late 1990s through conversations led by Alondra Nelson. [4]

Ytasha L. Womack, writer of Afrofuturism: The World of Black Sci-Fi and Fantasy Culture, defines it as "an intersection of imagination, technology, the future and liberation". [5] She also follows up with a quote by the curator Ingrid LaFleur who defines it as "a way of imagining possible futures through a black cultural lens". [6] Kathy Brown paraphrases Bennett Capers' 2019 work in stating that Afrofuturism is about "forward thinking as well as backward thinking, while having a distressing past, a distressing present, but still looking forward to thriving in the future". [7] Others have said that the genre is "fluid and malleable", bringing together technology, African culture, and "other influences". [8]

Seminal Afrofuturistic works include the novels of Samuel R. Delany and Octavia Butler; the canvases of Jean-Michel Basquiat and Angelbert Metoyer, and the photography of Renée Cox; the explicitly extraterrestrial mythoi of Parliament-Funkadelic, Earth, Wind and Fire with their overt Afrocentric symbolism bold performance attire and hopeful visions of Black sovereignty, [9] Herbie Hancock's partnership with Robert Springett and other visual artists, while developing the use of synthesizers, the Jonzun Crew, Warp 9, Deltron 3030, Kool Keith, Sun Ra and the Marvel Comics superhero Black Panther. [10] [11] [12] [13]

History

Mid- to late 20th-century development

Afrofuturism within music represents a diaspora of music that is non-traditional, focusing around the topic of blackness and space. [14]

Afrofuturism was a label also retroactively applied to George Clinton and his bands Parliament and Funkadelic with his magnum opus Mothership Connection and the subsequent The Clones of Dr. Funkenstein, P-Funk Earth Tour, Funkentelechy Vs. the Placebo Syndrome, and Motor Booty Affair. This also applies to Jimi Hendrix's work such as Electric Ladyland and " Third Stone from the Sun". [15] [16] [17]

Provoked by Miles Davis to use electric keyboards, Herbie Hancock quickly developed his taste for gadgets into an appreciation for electric and synthesized sounds. He did this in his solo career throughout the 1970s and 1980s, at the same time adopting tribal names for his group and increasingly using electronics in his music, in a techno-primitive direction. His record covers were a very important element in this aesthetic, involving artists such as Robert Springett, Victor Moscoso and Nobuyuki Nakanishi. [18] [19] [20] [21] [22]

In 1975, Japanese artist Tadanori Yokoo used elements of science fiction, along with Eastern subterranean myths, to depict an advanced civilization in his design of the cover art for African-American jazz musician Miles Davis's live album Agharta. [23]

Other musicians typically regarded as working in or greatly influenced by the Afrofuturist tradition include reggae producers Lee "Scratch" Perry and Scientist, hip-hop artists Afrika Bambaataa and Tricky, electronic musicians Larry Heard, A Guy Called Gerald, Juan Atkins, Jeff Mills, [24] Newcleus [25] and Lotti Golden & Richard Scher, writers of " Light Years Away", described as a "cornerstone of early 80's beatbox afrofuturism". [26]

During the 1980s, the burgeoning Detroit techno scene also developed a futurist vision specific to Detroit's suburban black community. [27]

A newer generation of artists are creating mainstream Afrofuturist music – for example, Janelle Monáe, Outkast, Missy Elliott and Erykah Badu. [28] [29]

Cultural criticism in the 1990s

In the early 1990s, Mark Dery, in his 1993 essay "Black to the Future", [3] began to write about the features he saw as common in African-American science fiction. Dery dubbed this phenomenon Afrofuturism. [30] Afrofuturist art has been written about by scholars like Alondra Nelson, Greg Tate, Tricia Rose, Kodwo Eshun, and others. [1] In an interview, Alondra Nelson explained Afrofuturism as a way of looking at the subject position of black people which covers themes of alienation and aspirations for a utopic future. The idea of "alien" or "other" is a theme often explored. [31]

Additionally, Nelson says that discussions around race, access, and technology often bolster uncritical claims about a so-called " digital divide". [32] Nelson is of the opinion that the digital divide overemphasizes the association of racial and economic inequality with limited access to technology, and that this association then begins to construct blackness "as always oppositional to technologically driven chronicles of progress".

21st century

Janelle Monáe at The River, 25 September 2010

Contemporary Afrofuturism often explores metaphysical areas such as "cosmogony, cosmology, and speculative philosophy". [33] A new generation of recording artists has embraced Afrofuturism through their music and fashion, including Solange Knowles, [34] Rihanna, and Beyoncé. Other artists such as Erykah Badu, Missy Elliott and Janelle Monáe have expanded on these themes incorporating the use of cyborg and metallic visuals into their style. [28] Other 21st century musicians who have been characterized as Afrofuturist include singer FKA Twigs, [28] musical duo Ibeyi, [35] DJ/producer Ras G, and musician and filmmaker Flying Lotus. [36] [37]

Janelle Monáe's work emphasizes Afofuturist themes in urban contemporary music. Her notable works include the music videos "Prime Time" [38] and "Many Moons", [39] which explore the realms of slavery and freedom through the world of cyborgs and the fashion industry. [40] [41] She is credited with proliferating Afrofuturist funk into a new neo-Afrofuturism by use of her Metropolis-inspired alter-ego, Cindi Mayweather, who incites a rebellion against the Great Divide, a secret society, in order to liberate citizens who have fallen under their oppression. This ArchAndroid role reflects earlier Afrofuturistic figures Sun Ra and George Clinton, who created their own visuals as extraterrestrial beings rescuing African-Americans from the oppressive natures of Earth. Other influences include Blade Runner and Star Wars. [42] Additionally, Monae expanded contemporary Afrofuturist explorations to literary media. In 2022, Monae released a companion to her 2018 album, Dirty Computer, called The Memory Librarian: And Other Stories of Dirty Computer. [43]

Additional musical artists to emerge since the turn of the millennium regarded as Afrofuturist include dBridge, SBTRKT, Shabazz Palaces, Heavyweight Dub Champion, [24] and Drexciya (with Gerald Donald). [44]

Other artists include visual artists Hebru Brantley as well as contemporary artist Rashid Johnson, a Chicago native currently based in New York. In 2013, Chicago resident Ytasha L. Womack wrote the study Afrofuturism: The World of Black Science Fiction and Fantasy, and William Hayashi has published all three volumes of his Darkside Trilogy [45] which tells the story of what happens in America when the country discovers African Americans secretly living on the backside of the moon since before the arrival of Neil Armstrong, an extreme vision of segregation imposed by technologically advanced blacks. [46]

Krista Franklin, a member of University of Chicago's Arts Incubator, is currently exploring the relation between Afrofuturism and the grotesque through her visual and written work with weaves and collected hair. Recently, she also created an audio narrative in collaboration with another Afrofuturist, Perpetual Rebel, called The Two Thousand and Thirteen Narrative(s) of Naima Brown, which explores the ideas of identity and transformation within the context of hair and African-American culture. [47]

The movement has grown globally in the arts. Afrofuturist Society was founded by curator Gia Hamilton in New Orleans. Artists like Demetrius Oliver from New York, Cyrus Kabiru from Nairobi, Lina Iris Viktor from Liberia, famed Nigerian-American solar muralist, Shala., [48] [49] and Wanuri Kahiu of Kenya have all steeped their work in the cosmos or sci-fi. [50] [51] [52] [28] [53]

Today, Afrofuturism has been portrayed in popular movies like the feature film Black Panther. American costume designer Ruth E. Carter brought her vision to life. To best represent her work, she borrowed ideas from true African designs. "To imagine the fictional African nation of Wakanda, without the influence of [European colonizers], Ms. Carter borrowed from indigenous people across the continent." [54] In early February 2021, it was announced that the companies of Idris Elba and his wife, Sabrina Dhowre, would be developing an Afrofuturist adult animated, sci-fi, series, tentatively titled Dantai, for Crunchyroll, which would be about a time when biotech has "created an ever-widening gap between the haves and have-nots". [55] [56] The series was also described as an "afropunk sci-fi series". [57] In an April 2021 interview with Den of Geek, Idris Elba he said the series is "mainly the brainchild" of his wife, who he described as a "super geek when it comes to anime." [58] Russell Contreras, in Axios, noted that Afrofuturism is growing in popularity, even as some worry it will be co-opted, and black writers announced in 2021, "Afrofuturist projects around gaming and virtual reality". [59]

In February 2021, the Center for Afrofuturist Studies, located at Public Space One in Iowa City, celebrated its fifth anniversary, flourishing as a black artist space, and occupied by four artists (Antoine Williams, Donté Hayes, Deborah Goffe, and André M. Zachery), embodying Afrofuturism, flexibly defining the term, as envisioning black people in the future and how that "connects with science and technology and new discoveries" and how parts of black history shape "the future, community, self-determination, [and] working towards a goal" according to the center's coordinator, Dellyssa Edinboro. [60]

In February 2023, Megan Jordan of Rolling Stone argued that the series My Dad the Bounty Hunter is an "Afrofuturist marvel" which tells a futuristic and relatable story that "center[s] Black characters while expanding the audience’s imagination", provides thoughts of what the world could be "in true Black sci-fi fashion", and normalizes "Black heroism for future generations". [61] The series premiered the same month. It was later renewed for a second season, as stated in May 2023. [62]

Literature and comics

The creation of the term Afrofuturism, in the 1990s, was often primarily used to categorize "speculative fiction that treats African-American themes and addresses African-American concerns in the context of 20th-century technoculture," [63] but was soon expanded to include artistic, scientific, and spiritual practices throughout the African diaspora. Contemporary practice retroactively identifies and documents historical instances of Afrofuturist practice and integrates them into the canon. For example, the Dark Matter anthologies edited by Sheree Thomas feature contemporary black science fiction, discuss Ralph Ellison's Invisible Man in her introduction, "Looking for the Invisible", and also include older works by W. E. B. Du Bois, Charles W. Chesnutt, and George S. Schuyler. [64]

Lisa Yazsek argues that Ralph Ellison's 1952 novel, Invisible Man, should be thought of as a predecessor to Afrofuturist literature. Yaszek believes that Ellison does not offer any other futures so that the next generation of authors can. [65]

N.K. Jemisin speaking before a meeting of the New York Review of Science Fiction Readings in May 2011

A number of contemporary science fiction and speculative fiction authors have also been characterized as Afrofuturist or as employing Afrofuturist themes by one person or another. Nancy Farmer won a Newbery Honor for her afrofuturist young adult novel The Ear, the Eye, and the Arm. [66] Steven Barnes has been called an Afrofuturist author for his alternate-history novels Lion's Blood and Zulu Heart. [35] N.K. Jemisin, Nalo Hopkinson, and Colson Whitehead have also been referred to as Afrofuturist authors. [67] Butler inspired a movement with vision amongst the black speculative fiction writers. [68] Octavia Butler's novels are often associated with Afrofuturism; [69] this association has been somewhat controversial, since Butler incorporates multi-ethnic and multi-species communities that insist on "hybridity beyond the point of discomfort". [70] However, the fourth book of the science fiction Patternist series, Wild Seed, particularly fits ideas of Afrofuturist thematic concerns, as the narrative of two immortal Africans Doro and Anyanwu features science fiction technologies and an alternate anti-colonialist history of seventeenth century America. [71] [72] At the most straightforward sci-fi stories (likewise alluded to in this book as Sci-Fi and SF) is a social classification worried about parts of futurism, envisioned advances as well as between planetarism. Those focuses or direction take into consideration a wide scope of enunciations and theories regarding the dystopian or utopian parts of future (or potentially elective) lives or real factors, including, in numerous examples, contact with outsider others. [72] In other words, good fiction writing should not be judged by a person's color or race. [73]

Tim Fielder's 2021 graphic novel Infinitum: An Afrofuturist Tale features the partially historical narrative of an immortal African king. [74]

In February 2021, the New York Times reported that in the coming year, fans would see a number of graphic novels and comics with Afrofuturist themes, including some devoted to the fictional gene, and "reissues of Afrofuturist titles from comic-book houses like DC and Dark Horse." [74] This includes the new novels After the Rain, Hardears, Black Star, and Infinitum, the latter by Tim Fielder, a new installment of N.K. Jemisin's Far Sector, The Black Panther by Ta-Nehisi Coates and many other re-issued comics like E.X.O., along with an upcoming animated series named Iwájú. Around the same time, Kenyan artist Kevo Abbra, inspired by Afrofuturism in the 1990s, was interviewed, explaining how artistic expression has developed over time and his current artistic style. [75] The first issue of the new Black Panther series was released on 16 February. [76]

Art

Museum and gallery exhibitions

Photo of King Britt from album in November 2017

As a part of the MOMA's PS1 festival, King Britt curated Moondance: A Night in the Afro Future in 2014. From noon to six p.m. on 13 April, people could attend Moondance and listen to lectures, live music or watch dance performances in celebration of Afrofuturism in contemporary culture. [77] Schomburg Center for Research in Black Culture held a seminal group show of Visual Afrofuturists focusing on unambiguous science fiction and fantasy based art. [78] The show, titled 'Unveiling Visions: The Alchemy of the Black Imagination' ran from 1 October 2015 – 16 January 2016. The closing night coincided with the Schomburg Black Comic Book Day. Unveiling Visions was curated by artist John Jennings (co-founder of artist duo, Black Kirby w/Professor Stacey Robinson) and Afrofuturist Scholar, Reynaldo Anderson (founder of The Black Speculative Arts Movement). [79] The show featured artists such as Tony Puryear, Sheeba Maya, Mshindo Kuumba, Eric Wilkerson, Manzel Bowman, Grey Williamson, Tim Fielder, Stacey Robinson, and Shawn Alleyne. Unveiling Visions liner notes state: "exhibition includes artifacts from the Schomburg collections that are connected to Afrofuturism, black speculative imagination and Diasporan cultural production. Offering a fresh perspective on the power of speculative imagination and the struggle for various freedoms of expression in popular culture, Unveiling Visions showcases illustrations and other graphics that highlight those popularly found in science fiction, magical realism and fantasy. Items on display include film posters, comics, T-shirts, magazines, CD covers, playbills, religious literature, and more." [80]

In April 2016, Niama Safia Sandy curated an exhibit entitled "Black Magic: AfroPasts / Afrofutures" at the Corridor Gallery in Brooklyn, New York. [81] The multidisciplinary art exhibit looks at the relationship between magical realism and afrofuturism through the black diaspora. [82] In a description of the collection, Sandy stated: "There's a lot of looking back and looking forward happening in this work... [and there's a lot of] celebrating those journeys whether they are intentional or forced journeys." [83]

The exhibition Afro-Tech and the Future of Re-Invention ran from 21 October 2017 until 22 April 2018 [84] at Dortmunder U in Dortmund, Germany and looked at "speculative visions of the future and current developments in the field of digital technology by artists and inventors from Africa and the African diaspora...." [85]

These Afrofuturist artists used their art as revolution in that they saw its purpose as inspiring black people to imagine new possibilities and futures. [86]

"Black Metropolis: 30 Years of Afrofuturism, Comics, Music, Animation, Decapitated Chickens, Heroes, Villains and Negroes" was a one-man show focusing on the career of cartoonist and visual afrofuturist, Tim Fielder. [87] The show, designed to travel over multiple gallery spaces, opened at New York Gallatin Galleries from 23 to 30 May 2016. Curated by Boston Fielder, the exhibit featured both published and unpublished work ranging from independent comics art for alternative magazine, Between C & D and mainstream comics work done for Marvel Comics. Black Metropolis was revived at The Hammonds House Museum in Atlanta, Georgia for the museum's 30th Anniversary, from 12 October–25 November 2018. [88]

Afrofuturism Art coincides with Afrofuturism Literature occasionally, such as in science fiction comic books. Just as Afrofuturism explores possibilities, so do the art in Afrofuturism comic books. For example, Black Panther, the movie and comic book is a form of Afrofuturism Literature. [89]

In 2021, the Metropolitan Museum of Art opened Before Yesterday We Could Fly: An Afrofuturist Period Room, an art exhibition engaging themes of Afrofuturism in a "period room" format of installation, envisioning the past, present, and future home of someone who lived in Seneca Village, a largely African American settlement destroyed to make way for the construction of Central Park in the mid-1800s. [90]

In 2022, the Hayward Gallery organised an exhibition of 11 contemporary artists from the African diaspora, who draw on science fiction, myth and Afrofuturism to question our knowledge of the world, curated by Ekow Eshun. Some of the artists included in the exhibition were Nick Cave, Rashad Newsome, Kara Walker, Hew Locke, Wangechi Mutu, Lina Iris Viktor and Ellen Gallagher. [91] [92]

Starting on March 24, 2023, and lasting a year, the NMAAHC opened an exhibit titled Afrofuturism: A History of Black Futures. [93] The museum also released an accompanying book called with the same name. [94]

Themes

Feminism

Jared Richardson's Attack of the Boogeywoman: Visualizing Black Women's Grotesquerie in Afrofuturism [95] assesses how the aesthetic functions as a space for black women to engage with the intersection of topics such as race, gender, and sexuality. The representation and treatment of black female bodies is deconstructed by Afrofuturist contemporaries and amplified to alien and gruesome dimensions by artists such as Wangechi Mutu and Shoshanna Weinberger.

Beyoncé's 2016 short film Lemonade included feminist afrofuturism in its concept. The film featured music duo Ibeyi, artist Laolu Senbanjo, actresses Amandla Stenberg, Quvenzhané Wallis, and Zendaya, as well as YouTube singing stars Chloe x Halle, ballet dancer Michaela DePrince, and 2015 Sports Illustrated Sportsperson of the Year Serena Williams, [96] and the sophisticated womanist poetry of Somali-British writer  Warsan Shire. [97] The mothers of Trayvon Martin (Sybrina Fulton), Michael Brown (Lesley McFadden), Eric Garner (Gwen Carr) are featured holding pictures of their deceased sons in homage to the importance of their lives. [98]

The grotesque

In D. Scot Miller's Afro-Surreal Manifesto, [99] Afro-Surrealism is juxtaposed with European surrealism, with European surrealism being empirical. It is consistent with Trey Ellis' essay, "The New Black Aesthetic" [100] in that the art seeks to disturb. Afro-Futuristic art samples from old art pieces updating them with current images. This technique calls to the forefront those past images and the sentiments, memories, or ideas around them and combines them with new images in a way that those of the current generation can still identify. Afro-Futuristic artists seek to propose a deviant beauty, a beauty in which disembodiment is both inhumane, yet distinct; Afro-Futuristic artists speculate on the future, where Afro-Surrealism is about the present.

Alienation

Afrofuturism takes representations of the lived realities of black people in the past and present, and reexamines the narratives to attempt to build new truths outside of the dominant cultural narrative. By analyzing the ways in which alienation has occurred, Afrofuturism works to connect the African diaspora with its histories and knowledge of racialized bodies. Space and aliens function as key products of the science fiction elements; black people are envisioned to have been the first aliens by way of the Middle Passage. Their alien status connotes being in a foreign land with no history, but as also being disconnected from the past via the traditions of slavery where slaves were made to renounce their ties to Africa in service of their slave master. [101]

Fons Americanus, Tate Modern, February 2020

Kodwo Eshun locates the first alienation within the context of the Middle Passage. He writes that Afrofuturist texts work to reimagine slavery and alienation by using "extraterritoriality as a hyperbolic trope to explore the historical terms, the everyday implications of forcibly imposed dislocation, and the constitution of Black Atlantic subjectivities". This location of dystopian futures and present realities places science fiction and novels built around dystopian societies directly in the tradition of black realities. [102]

Water

In many different Afrofuturist works, water and black women are symbolically linked [103] in their connection to both the erasure and emergence of black life. These meanings, while seemingly contradictory, actually play off and inform each other. Examples of Afrofuturist work dealing with the theme of water include the 2009 Kenyan film Pumzi, various songs in Beyonce's Lemonade, the work of Detroit Techno group Drexciya, [44] and Kara Walker's 2019 sculpture Fons Americanus. [104]

Reclamation

Afrofuturism has to do with reclaiming those identities or perspectives that have been lost. When Mark Dery coined the term, he saw Afrofuturism as giving rise to "a troubling antinomy: Can a community whose past has been deliberately rubbed out, and whose energies have subsequently been consumed by the search for legible traces of its history, imagine possible futures?" [105] Furthermore, Afrofuturism is not restricted to any single medium; there are Afrofuturist novels and musical works. But whatever the medium, Afrofuturism involves reclaiming some type of agency over one's story, a story that has been told, throughout much of history, by official culture in the name of white power. It is for this reason that Dery says, "African-American culture is Afrofuturist at its heart." [106]

In film

In film, Afrofuturism is the incorporation of black people's history and culture in science fiction film and related genres. The Guardian's Ashley Clark said the term Afrofuturism has "an amorphous nature" but that Afrofuturist films are "united by one key theme: the centring of the international black experience in alternate and imagined realities, whether fiction or documentary; past or present; science fiction or straight drama". [107] The New York Times's Glenn Kenny said, "Afrofuturism is more prominent in music and the graphic arts than it is in cinema, but there are movies out there that illuminate the notion in different ways." [108]

With the release of Marvel's Black Panther in 2018, Afrofuturism was ushered into the cultural spotlight across the world cinematic stage. In North America alone, it made history as the third highest-grossing film in history, reviving mainstream interest in Afrofuturism. [109] It defied stereotypes of Africa as disease- and war-stricken and fueled feelings of black pride in viewers. [110]

Difference from Africanfuturism

In 2019, Nnedi Okorafor, a Nigerian-American writer of fantasy and science fiction, began strongly rejecting the term "afrofuturism" as a label for her work and coined the terms " Africanfuturism" and " Africanjujuism" to describe her works and works like hers. In October 2019, she published an essay titled "Defining Africanfuturism" that defines both terms in detail. [111] In that essay, she defined 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 (and centered on) "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. She differentiated this from Afrofuturism, which she said "positioned African American themes and concerns" at the center of its definition. She also described Africanjujuism as a subcategory of fantasy that "acknowledges the seamless blend of true existing African spiritualities and cosmologies with the imaginative." [111]

In August 2020, Hope Wabuke, a writer and assistant professor at the University of Nebraska-Lincoln of English and creative writing, noted that Afrofuturism, coined by Mark Dery, a white critic, in 1993, treats African-American themes and concerns in the "context of twentieth-century technoculture", which was later expanded by Alondra Nelson, arguing that Dery's conception of blackness began in 1619 and "is marked solely by the ensuing 400 years of violation by whiteness" that he portrayed as "potentially irreparable". [112] Critical of this definition, saying it lacks the qualities of the "Black American diasporic imagination" and ability to conceive of "Blackness outside of the Black American diaspora" or independent from whiteness, Wabuke further explains how Africanfuturism is more specific and rids itself of the "othering of the white gaze and the de facto colonial Western mindset", free from what she calls the "white Western gaze" and saying this is the main difference "between Afrofuturism and Africanfuturism". She adds that, in her view, Africanfuturism has a different outlook and perspective than "mainstream Western and American science fiction and fantasy" and even Afrofuturism which is "married to the white Western gaze". Wabuke goes on to explain Africanfuturist and Africanjujuist themes in Okorafor's Who Fears Death and Zahrah the Windseeker, Akwaeke Emezi's Pet, and Buchi Emecheta's The Rape of Shavi. [112]

In February 2021, Aigner Loren Wilson of Tor.com explained the difficulty of finding books in the subgenre because many institutions "treat Africanfuturism and Afrofuturism like the same thing" even though the distinction between them is plain. She said that Africanfuturism is "centered in and about Africa and their people" while Afrofuturism is a sci-fi subcategory which is about "Black people within the diaspora", often including stories of those outside Africa, including in "colonized Western societies". [113] Wilson further outlined a list of stories and books from the genre, highlighting Africanfuturism: An Anthology (edited by Wole Talabi), Namwali Serpell's The Old Drift, Nnedi Okorafor's Lagoon, Nicky Drayden's The Prey of Gods, Oghenechovwen Donald Ekpeki's Ife-Iyoku, the Tale of Imadeyunuagbon, and Tochi Onyebuchi's War Girls. Another reviewer called Okorafor's Lagoon, which "recounts the story of the arrival of aliens in Nigeria", as an Africanfuturist work which requires a reader who is "actively engaged in co-creating the alternative future that the novel is constructing", meaning that the reader becomes part of the "creative conversation". [114]

Gary K. Wolfe reviewed Africanfuturism: An Anthology, which was edited by Wole Talabi, in February 2021. [115] He credits Nnedi Okorafor for coining "Africanfuturism", noting its describes "more Africa-centered SF", although saying he is not sure whether her term "Africanjujuism", a parallel term for fantasy, will catch on. While saying that both are useful, he says that he does not like how they have to "do with the root, not the prefix", with "futurism" only describing a bit of science fiction and fantasy. He still calls the book a "solid anthology", saying it challenges the idea of viewing African science fiction as monolithic. Stories in the book include "Egoli" by T. L. Huchu, "Yat Madit" by Dilman Dila, "Behind Our Irises" by Tlotlo Tsamaase, "Fort Kwame" by Derek Lubangakene, "Rainmaker" by Mazi Nwonwu, "Fruit of the Calabash" by Rafeeat Aliyu, "Lekki Lekki" by Mame Bougouma Diene, and "Sunrise" by Nnedi Okorafor. [115]

Financial Times writer David Pilling wrote that Africancentrism "draws on the past, both real and imagined, to depict a liberated version of the future" which is planted in the African, rather than African-American, experience. He also notes criticism of Black Panther from some like Patrick Gathara, who says its depiction of Africa "differs little from the colonial view", [116] and that one of Okorafor's books, Binti, is being "adapted for television by Hulu", arguing that its success is part of a wave of Africanfuturism. [117]

See also

References

  1. ^ a b Yaszek, Lisa (November 2006). "Afrofuturism, science fiction, and the history of the future". Socialism and Democracy. 20 (3): 41–60. doi: 10.1080/08854300600950236. S2CID  20605379. Archived from the original on 26 June 2011.
  2. ^ "Afrofuturism is the sh*t: a brief History and five books to get you started". afropunk.com. 26 October 2017.
  3. ^ a b Dery, Mark (1993). "Black to the Future: Interviews with Samuel R. Delany, Greg Tate, and Tricia Rose". The South Atlantic Quarterly. Durham, North Carolina: Duke University Press: 736. OCLC  30482743.
  4. ^ Rambsy II, Howard (14 April 2012). "A Notebook on Afrofuturism". Cultural Front. Retrieved 26 March 2014.
  5. ^ Womack, Ytasha. Afrofuturism : The World of Black Sci-Fi and Fantasy Culture. 1st edition, Independent Publishers Group, 2013, p. 9.
  6. ^ Womack, Ytasha. Afrofuturism : The World of Black Sci-Fi and Fantasy Culture. 1st edition, Independent Publishers Group, 2013.
  7. ^ Wise, Kathy (4 February 2021). "Anti-Racist Pedagogy in Art: A UNT Speaker Series Provides a Vision for the Future". D Magazine. Archived from the original on 5 February 2021. Retrieved 5 February 2021.
  8. ^ Moyer, Shelby Rowe (9 February 2021). "The Freedom of Afrofuturism". 425 Magazine. Archived from the original on 9 February 2021. Retrieved 10 February 2021.
  9. ^ Afrovisualism (22 April 2019). "Exploring Afrofuturism in Music and Visual Art". Medium. Retrieved 8 February 2024.
  10. ^ "Calls for Papers". Callaloo. 26 (3): 932–934. 2003. doi: 10.1353/cal.2003.0081.
  11. ^ Thrasher, Steven W. (7 December 2015). "Afrofuturism: reimagining science and the future from a black perspective". The Guardian.
  12. ^ Reese, Aaron (30 June 2015). "The Journey to Wakanda: Afrofuturism and Black Panther". ComicsAlliance. Retrieved 14 July 2017.
  13. ^ "The Afrofuturism of Robert Springett and Herbie Hancock". Retrieved 16 February 2022.
  14. ^ van Veen, Tobias C. (2013). "Vessels of Transfer: Allegories of Afrofuturism in Jeff Mills and Janelle Monáe". Dancecult. 5 (2): 7–41. doi: 10.12801/1947-5403.2013.05.02.02.
  15. ^ Jones, Josh (12 October 2020). "How Science Fiction Formed Jimi Hendrix". OpenCulture.com.
  16. ^ McAlpine, Fraser (2 March 2018). "8 afrofuturist classics everyone needs to hear". bbc.co.uk. BBC Music.
  17. ^ "Jimi Hendrix's Unexpected Influences". Polyphonic. Archived from the original on 12 December 2021 – via youtube.com.
  18. ^ Castaneda, Ramsey. "Proto-Afrofuturism and Musical Prophesies of Herbie Hancock's Mwandishi Ensemble". Retrieved 16 February 2022.
  19. ^ "Afro-Diasporic Imagery in Herbie Hancock's Discography". Afrovisualism. 13 April 2019. Retrieved 16 February 2022.
  20. ^ Aceves, Rusty (8 July 2019). "We Travel The Spaceways - Afrofuturism In Music". Retrieved 16 February 2022.
  21. ^ "An Alternate Canon of Afrofuturist Classics". Red Bull Music Academy. 11 July 2019. Retrieved 16 February 2022.
  22. ^ Francis, Sherese (21 February 2012). "…An Album By Its Cover: Herbie Hancock". Futuristically Ancient. Retrieved 16 February 2022.
  23. ^ Buchwald, Dagmar (2012). "Black Sun Underground: The Music of AlieNation". In Berressem, Hanjo; Bucher, Michael; Schwagmeier, Uwe (eds.). Between Science and Fiction: The Hollow Earth as Concept and Conceit. LIT Verlag Munster. p. 109. ISBN  978-3-643-90228-3.
  24. ^ a b Reddell, Trace (2013). "Ethnoforgery and Outsider Afrofuturism". Dancecult. 5 (2). Griffith University ePress: 89–90. doi: 10.12801/1947-5403.2013.05.02.05.
  25. ^ Loudermilk, A. (3 October 2016). "Forever Out There: 25 Contributors to the Space Disco Era 1976–1986". PopMatters.com. Archived from the original on 23 October 2016. Retrieved 23 October 2016.
  26. ^ Fitzpatrick, Rob (14 May 2014). "The 101 strangest records on Spotify: Warp 9 – It's A Beat Wave". The Guardian. Archived from the original on 21 December 2016. Retrieved 13 December 2016.
  27. ^ Williams, Ben (2001). "Black Secret Technology: Detroit Techno and the Information Age". In Nelson; et al. (eds.). Technicolor: Race, Technology, and Everyday Life. NYU Press. pp.  154–176. ISBN  9780814736043.
  28. ^ a b c d La Ferla, Ruth (12 December 2016). "Afrofuturism: The Next Generation". The New York Times. ISSN  0362-4331. Archived from the original on 20 May 2017. Retrieved 2 January 2017.
  29. ^ Jackson, Panama (16 February 2021). "28 Days of Album Cover Blackness With VSB, Day 16: Outkast's Aquemini (1998)". The Root. Archived from the original on 16 February 2021. Retrieved 16 February 2021.
  30. ^ Dery, Mark (1994). "Black to the Future: Interviews with Samuel R. Delany, Greg Tate, and Tricia Rose" (PDF). Flame Wars: The Discourse of Cyberculture. Durham, North Carolina: Duke University Press: 180. Archived (PDF) from the original on 10 March 2016. Retrieved 5 March 2016.
  31. ^ Nelson, Alondra (2010). "Afrofuturism" (Interview) – via YouTube.
  32. ^ Nelson, Alondra (2002). "Introduction". Social Text. 20 (2): 1–15. doi: 10.1215/01642472-20-2_71-1. S2CID  143327773.
  33. ^ Bailey, Julius (2014). The Cultural Impact of Kanye West. Palgrave Macmillan. p. 29. ISBN  978-1-137-39581-8.
  34. ^ Capers, I. Bennett (8 February 2019). "Afrofuturism, Critical Race Theory, and Policing in the Year 2044". New York University Law Review. 94: 101. SSRN  3331295. Archived from the original on 16 June 2020. Retrieved 13 February 2021.
  35. ^ a b Frank, Priscilla (25 April 2016). "Your Brief And Far-Out Guide To Afrofuturism". HuffPost. Archived from the original on 15 March 2017. Retrieved 14 March 2017.
  36. ^ Bakare, Lanre (24 July 2014). "Afrofuturism takes flight: from Sun Ra to Janelle Monáe". The Guardian. ISSN  0261-3077. Archived from the original on 15 March 2017. Retrieved 8 November 2020.
  37. ^ Dollar, Steve (5 September 2017). "With 'Kuso,' Flying Lotus Fuses Punk Rock Filmmaking Sensibility in Directorial Debut". NBCnews.com. NBC News. Archived from the original on 9 November 2020. Retrieved 8 November 2020.
  38. ^ janellemonae (10 October 2013), Janelle Monáe – PrimeTime ft. Miguel [Official Video], archived from the original on 12 December 2021, retrieved 5 March 2016 – via YouTube
  39. ^ Monáe, Janelle (3 October 2008). "Janelle Monae - Many Moons [Official Short Film]". Archived from the original on 10 June 2009. Retrieved 21 April 2018 – via YouTube.
  40. ^ Gonzales, Michael A. (1 October 2013). "[BLACK ALT] What Is Afrofuturism?". Ebony. Archived from the original on 3 March 2014. Retrieved 14 February 2014.
  41. ^ Calveri, John (2 September 2010). "Janelle Monáe: A New Pioneer of Afrofuturism". The Quietus. Retrieved 16 March 2014.
  42. ^ Barrow, Jerry L. (14 April 2009). "Janelle Monae's Top 5 Sci-Fi Movies of All Time". The Urban Daily: Beats, Buzz, & Lifestyle. Archived from the original on 31 October 2013. Retrieved 19 March 2014.
  43. ^ "Monae, Janelle: THE MEMORY LIBRARIAN." Kirkus Reviews, 1 Mar. 2022, p. NA. Gale Literature Resource Center, link.gale.com/apps/doc/A695027068/LitRC?u=asuniv&sid=summon&xid=824b840e. Accessed 25 Feb. 2024.
  44. ^ a b Womack, Ytasha (2013). Afrofuturism: The World of Black Sci-Fi and Fantasy Culture. Chicago Review Press. p. 70. ISBN  9781613747995. Archived from the original on 25 July 2020. Retrieved 17 October 2016 – via Google Books.
  45. ^ "(( The Dark Side Trilogy )) Book One : Discovery – by William Hayashi". thedarksidetrilogy.com. Archived from the original on 28 November 2020. Retrieved 5 March 2016.
  46. ^ Hayashi, William (4 December 2009). Discovery: Volume 1 of the Darkside Trilogy. Xlibris. ISBN  978-1441586940.
  47. ^ Hazel, Tempestt (28 May 2012). "Black to the Future Series: An Interview with Krista Franklin". The Chicago Arts Archive: A Sixty Inches from Center Project. Archived from the original on 13 December 2013. Retrieved 19 March 2014.
  48. ^ "Shala.'s Solar Art". shalasolarart.com. Archived from the original on 3 November 2018. Retrieved 17 May 2018.
  49. ^ "Chicago Became an Outdoor Art Museum This Year". Chicago. Archived from the original on 11 May 2018. Retrieved 17 May 2018.
  50. ^ "Budding New Orleans artists recently found big display for work". NOLA.com. Archived from the original on 1 January 2018. Retrieved 18 March 2017.
  51. ^ Hirsh, Jennie (22 May 2014). "Demetrius Oliver". Art in America. Archived from the original on 18 March 2017. Retrieved 18 March 2017.
  52. ^ "Afrofuturist Artist Cyrus Kabiru Preserves the Memory of 'Black Mamba' Bikes on the Wane in Kenya". OkayAfrica.com. 19 July 2016. Archived from the original on 23 July 2017. Retrieved 18 March 2017.
  53. ^ Seibel, Brendan. "Kenyan Sci-Fi Short Pumzi Hits Sundance With Dystopia". Wired.com. Archived from the original on 19 March 2017. Retrieved 18 March 2017.
  54. ^ Ryzik, Melena (23 February 2018). "The Afrofuturistic Designs of 'Black Panther'". The New York Times. ISSN  0362-4331. Archived from the original on 5 November 2020. Retrieved 28 October 2020.
  55. ^ Patches, Matt (2 February 2021). "Idris Elba's Afrofuturist animated series coming to Crunchyroll". Polygon. Archived from the original on 3 February 2021. Retrieved 3 February 2021.
  56. ^ Turner, Ashley (8 February 2021). "Idris Elba and Wife Sabrina Are Debuting a New Afro-Futuristic Anime Via Streaming Service Crunchyroll: 'We're Both Fans of the Genre'". Atlanta Black Star. Archived from the original on 8 February 2021. Retrieved 9 February 2021.
  57. ^ May, Callum (18 June 2021). "Crunchyroll Originals Have Been A Disaster". Anime News Network. Archived from the original on 18 June 2021. Retrieved 18 June 2021.
  58. ^ Elba, Idris (21 April 2021). "The Suicide Squad: How Idris Elba Brings Bloodsport to Life". Den of Geek (Interview). Interviewed by Stephanie Williams. Archived from the original on 2 May 2021. Retrieved 30 August 2023.
  59. ^ Contreras, Russell (14 February 2021). "Afrofuturism: The rise of Black science fiction and fantasy". Axios.com. Archived from the original on 16 February 2021. Retrieved 16 February 2021.
  60. ^ Hartel, Mary (14 February 2021). "Center for Afrofuturist Studies strives to uplift Black voices across various platforms". The Daily Iowan. Archived from the original on 17 February 2021. Retrieved 16 February 2021.
  61. ^ Jordan, Megan (14 February 2023). "Netflix's 'My Dad the Bounty Hunter' Is an Afrofuturist Marvel". Rolling Stone. Archived from the original on 16 February 2023. Retrieved 16 February 2023.
  62. ^ Keteyi, Oluthando (30 May 2023). "Thando Thabethe joins the voice-over cast of season 2 of 'My Dad The Bounty Hunter'". IOL. Archived from the original on 3 June 2023. Retrieved 9 July 2023.
  63. ^ Bould, Mark. "The Ships Landed Long Ago: Afrofuturism and Black SF." Science Fiction Studies 34.2 (July 2007): 177–186. JSTOR  4241520
  64. ^ Thomas, Sheree, ed. (2000). Dark Matter: A Century of Speculative Fiction from the African Diaspora. Warner Aspect. ISBN  0446525839.
  65. ^ Yaszek, Lisa (2005). "An Afrofuturist Reading of Ralph Ellison's Invisible Man" (PDF). Rethinking History. 9 (2–3): 297–313. doi: 10.1080/13642520500149202. S2CID  19585117. Archived (PDF) from the original on 4 August 2016. Retrieved 2 April 2017.
  66. ^ Rosenberg, Alyssa (17 October 2017). "Excited for 'Black Panther'? We've got four months to brush up on Afrofuturism". The Washington Post. Retrieved 9 April 2019.
  67. ^ Alspach, Ardi (22 July 2016). "Defining the Genre: 7 Novels of Afrofuturism". barnesandnoble.com. Archived from the original on 15 March 2017.
  68. ^ Octavia's brood : science fiction stories from social justice movements. Imarisha, Walidah, Brown, Adrienne M., Thomas, Sheree R., Institute for Anarchist Studies. Oakland, CA. 23 March 2015. ISBN  978-1-84935-210-9. OCLC  934626436.{{ cite book}}: CS1 maint: location missing publisher ( link) CS1 maint: others ( link)
  69. ^ Sinker, Mark. "Loving the Alien." The Wire 96 (February 1992): 30–32.
  70. ^ Kilgore, De Witt Douglas and Ranu Samantrai. "A Memorial to Octavia E. Butler." Science Fiction Studies 37.3 (November 2010): 353–361. JSTOR  25746438.
  71. ^ Canavan, Gerry. " Bred to Be Superhuman: Comic Books and Afrofuturism in Octavia Butler's Patternist Series Archived 11 December 2015 at the Wayback Machine." Paradoxa 25 (2013): 253–287.
  72. ^ a b Hayward, Philip, ed. (18 May 2004). Off the Planet. John Libbey Publishing. doi: 10.2307/j.ctt2005s0z. ISBN  978-0-86196-938-8. Archived from the original on 14 February 2021. Retrieved 12 November 2020.
  73. ^ Fikes, Robert Jr. (Autumn 2001). "How Major Book Review Editors Stereotype Black Authors". The Journal of Blacks in Higher Education (33): 110–113. doi: 10.2307/2678936. JSTOR  2678936.
  74. ^ a b Ito, Robert (7 February 2021). "Beyond 'Black Panther': Afrofuturism Is Booming in Comics". The New York Times. Archived from the original on 7 February 2021. Retrieved 9 February 2021.
  75. ^ "Spotlight: Kevo Abbra's 'Kibera Ghost Rider' Is Afrofuturism Personified". OkayAfrica. 10 February 2021. Archived from the original on 11 February 2021. Retrieved 11 February 2021.
  76. ^ Stone, Sam (16 February 2021). "King in Black - Black Panther #1 Has Wakanda Go to War". CBR. Archived from the original on 16 February 2021. Retrieved 16 February 2021.
  77. ^ "King Britt presents MOONDANCE, A Night in the AfroFuture". Archived from the original on 1 October 2018. Retrieved 25 April 2017.
  78. ^ Unveiling visions nypl.org Archived 29 October 2018 at the Wayback Machine
  79. ^ "Black Speculative Arts Movement". Black Speculative Arts Movement. Archived from the original on 29 October 2018. Retrieved 20 February 2019.
  80. ^ "Unveiling Visions: The Alchemy of the Black Imagination. October 1st, 2015 - January 16th, 2016, Schomburg Center for Research in Black Culture". The New York Public Library. 2019. Archived from the original on 29 October 2018. Retrieved 20 February 2019.
  81. ^ "Black Magic: Afrofropasts / Afrofutures Exhibition". Archived from the original on 26 April 2017. Retrieved 25 April 2017.
  82. ^ "Black Magic & Afrofuturism From The Diaspora Take Center Stage in Brooklyn Exhibition". 28 April 2016. Archived from the original on 26 April 2017. Retrieved 25 April 2017.
  83. ^ Frank, Priscilla (25 April 2016). "Your Brief And Far-Out Guide To Afrofuturism". HuffPost. Archived from the original on 15 March 2017. Retrieved 14 March 2017.
  84. ^ "Afro-Tech Exhibition". Archived from the original on 17 March 2018. Retrieved 20 March 2018.
  85. ^ "Afro-Tech Exhibition Brochure" (PDF). Archived (PDF) from the original on 9 May 2018. Retrieved 20 March 2018.
  86. ^ Wofford, Tobias (2 November 2017). "Afrofutures: Africa and the Aesthetics of Black Revolution". Third Text. 31 (5–6): 633–649. doi: 10.1080/09528822.2018.1431472. S2CID  219623263.
  87. ^ "Tim Fielder: Black Metropolis". Gallatin Galleries. 4 May 2016. Archived from the original on 29 October 2018. Retrieved 20 February 2019.
  88. ^ "Exhibitions". Hammonds House Museum. Archived from the original on 29 October 2018. Retrieved 20 February 2019.
  89. ^ Guillaume, Kristine (4 September 2020). "The Books Briefing: Imagining Black Futures". The Atlantic. Archived from the original on 27 November 2020. Retrieved 19 November 2020.
  90. ^ Tillet, Salamishah (17 November 2021). "Afrofuturist Room at the Met Redresses a Racial Trauma". The New York Times. ISSN  0362-4331. Retrieved 1 February 2022.
  91. ^ "In the Black Fantastic review – reaching for tomorrow's art world". the Guardian. 28 June 2022. Retrieved 19 January 2023.
  92. ^ Jansen, Charlotte (4 August 2022). "Stepping Into the Expansive Worlds of Black Imagination". The New York Times. ISSN  0362-4331. Retrieved 19 January 2023.
  93. ^ "Afrofuturism". National Museum of African American History and Culture. Retrieved 22 May 2023.
  94. ^ More • •, Maggie (24 March 2023). "African American History Museum Opens 'Afrofuturism: A History of Black Futures' Exhibit". NBC4 Washington. Retrieved 22 May 2023.
  95. ^ Richardson, Jared (2012). "Attack of the Boogeywoman: Visualizing Black Women's Grotesquerie in Afrofuturism". Art Papers Magazine. 36 (6). Archived from the original on 12 December 2015. Retrieved 13 March 2017.
  96. ^ Price, S. L. (14 December 2015). "Serena Williams is SI's Sportsperson of the Year". www.si.com. Archived from the original on 11 December 2017. Retrieved 25 April 2016.
  97. ^ Leaf, Aaron (23 April 2016). "Ibeyi, Laolu Senbanjo, Warsan Shire Featured in Beyoncé's 'Lemonade'". Okay Africa. Archived from the original on 25 April 2016. Retrieved 23 April 2016.
  98. ^ "Trayvon Martin, Michael Brown, and Eric Garner's Mothers Appear in Beyoncé's 'Lemonade' Video". Essence.com. 24 April 2016. Archived from the original on 25 April 2016. Retrieved 25 April 2016.
  99. ^ Miller, D. Scot. "Afrosurreal Manifesto". D. Scot Miller. Archived from the original on 21 August 2013. Retrieved 13 February 2024.
  100. ^ Ellis, Trey (1989). "The New Black Aesthetic". Callaloo (38): 233–243. doi: 10.2307/2931157. JSTOR  2931157.
  101. ^ Mayer, Ruth (2000). "'Africa As an Alien Future': The Middle Passage, Afrofuturism, and Postcolonial Waterworlds". Amerikastudien / American Studies. 45 (4): 558. JSTOR  41157608.
  102. ^ Eshun, Kodwo (2003). "Further Considerations of Afrofuturism". CR: The New Centennial Review. 3 (2): 287–302. doi: 10.1353/ncr.2003.0021. S2CID  13646543.
  103. ^ "Afrofuturism Imagines: Water Wars". girlsinfilm.net. Archived from the original on 21 July 2020. Retrieved 21 July 2020.
  104. ^ Tate. "Kara Walker's Fons Americanus – Look Closer". Tate. Archived from the original on 25 July 2020. Retrieved 21 July 2020.
  105. ^ Dery, Mark (1994). "Black to the Future: Interviews with Samuel R. Delany, Greg Tate, and Tricia Rose". In Dery, Marc (ed.). The Flame Wars: Discourse of Cyberculture (PDF). Durham, North Carolina: Duke University. p. 180. ISBN  978-0-8223-1540-7. Archived (PDF) from the original on 11 December 2020. Retrieved 5 February 2021.
  106. ^ Dery, Mark (1 February 2016). "Black to the Future: Afrofuturism 1.0". Fabrikzeitung. Archived from the original on 13 February 2021. Retrieved 5 February 2021. Black to the Future originally appeared, in somewhat different form, in The South Atlantic Quarterly, 92:4, fall 1993; this version may have been published first in November 2002 Archived 13 June 2014 at the Wayback Machine.
  107. ^ Clark, Ashley (2 April 2015). "Afrofuturism on film: five of the best". The Guardian. Archived from the original on 10 August 2020. Retrieved 17 January 2018.
  108. ^ Kenny, Glenn (13 March 2018). "Exploring Afrofuturism in Film, Where Sci-Fi and Mythology Blur". The New York Times. Archived from the original on 9 November 2020. Retrieved 13 March 2018.
  109. ^ "It's Not Just 'Black Panther.' Afrofuturism Is Having a Moment". Time. Retrieved 23 December 2021.
  110. ^ Myron T. Strong and K. Sean Chaplin (17 June 2019). "Afrofuturism and Black Panther". Contexts. Retrieved 23 December 2021.
  111. ^ a b Okorafor, Nnedi (11 October 2019). "Africanfuturism Defined". needing.blogspot.com. Archived from the original on 11 February 2021. Retrieved 11 February 2021.
  112. ^ a b Wabuke, Hope (27 August 2020). "Afrofuturism, Africanfuturism, and the Language of Black Speculative Literature". LA Review of Books. Archived from the original on 29 August 2020. Retrieved 25 February 2021.
  113. ^ Wilson, Aigner Loren (10 February 2021). "Your Guide to Africanfuturist Science Fiction". Tor.com. Archived from the original on 11 February 2021. Retrieved 11 February 2021.
  114. ^ Ncube, Gibson (14 February 2021). "Aliens in Lagos: sci-fi novel Lagoon offers a bold new future". The Conversation. Archived from the original on 16 February 2021. Retrieved 16 February 2021.
  115. ^ a b Wolfe, Gary K. (16 February 2021). "Gary K. Wolfe Reviews Africanfuturism: An Anthology, Edited by Wole Talabi". Locus Magazine. Archived from the original on 15 February 2021. Retrieved 16 February 2021.
  116. ^ "Opinion | 'Black Panther' offers a regressive, neocolonial vision of Africa". Washington Post. ISSN  0190-8286. Retrieved 20 February 2023.
  117. ^ Pilling, David (16 February 2021). "Africanfuturism is partly an attempt to grapple with the past". Financial Times. Archived from the original on 25 February 2021. Retrieved 25 February 2021.

Further reading

Academic

Other

External links