Afrofuturism

A brief history of Afrofuturism

Afrofuturism is a genre of music that has developed in the United States, primarily in the mid-to-late 20th century. It is characterized by a focus on the African-American experience in science fiction, fantasy, and other futuristic settings.

The origins of Afrofuturism can be traced back to the African diaspora and the ways in which African people have historically imagined their futures. In many African cultures, for example, storytelling and myths have long been used to make sense of the world and to imagine what may come.

In the 20th century, this tradition was reinterpreted by African-American artists who were often marginalized in American society. One of the earliest examples of Afrofuturism in music is Sun Ra, a jazz musician who was born in Alabama in 1914. Though he started his career playing more traditional jazz, Ra soon began incorporating elements of science fiction and space travel into his work. He claimed to have come from Saturn and wore elaborate costumes and makeup on stage.

Another important figure in the development of Afrofuturism was George Clinton, the founder of the funk band Parliament-Funkadelic. Starting in the 1970s, Clinton began incorporating science fiction themes into his music, including on the album “Mothership Connection,” which features songs about an alien spaceship that comes to Earth to bring funk to the masses.

As the genre developed, it expanded to include hip-hop artists like OutKast and Janelle Monae. OutKast’s album “ATLiens” explores themes of alienation and isolation in modern society, while Monae’s “Metropolis” series of concept albums tells the story of a futuristic city divided by class and race.

One key aspect of Afrofuturism is its focus on reclaiming and reimaging black identity. Many Afrofuturist musicians draw on African traditions and mythology in their work, while others use science fiction to explore issues of race and racism.

The 21st century has seen a resurgence of interest in Afrofuturism, with musicians like Solange and Blood Orange incorporating the genre into their work. The increasing popularity of Afrofuturist music has also led to a greater focus on the genre in other areas, including literature and film.

Notable Afrofuturism artists

Octavia Butler: A highly acclaimed science fiction writer, Octavia Butler is considered one of the founding mothers of Afrofuturism. Her novels explore themes of power, identity, and social justice, often depicting alternative realities and speculative futures.

Sun Ra: A jazz musician and composer, Sun Ra’s work was heavily influenced by science fiction and mythology. He created vivid performance art pieces that blended music, dance, and costume to present a cosmic worldview.

Nnedi Okorafor: A Nigerian-American science fiction writer, Nnedi Okorafor is known for her award-winning novels and short stories that explore African cultures and identities in futuristic settings. She also writes for Marvel Comics, contributing to the development of Afrofuturistic characters.

Janelle Monáe: A singer and songwriter known for her eclectic musical style and theatrical performances, Janelle Monáe incorporates themes of science fiction, technology, and Afrofuturism in her music videos and albums.

John Akomfrah: A British filmmaker and artist, John Akomfrah’s work often involves exploring the experiences of African diasporic communities, using science fiction imagery and themes to depict complex emotional narratives.

Wangechi Mutu: A Kenyan visual artist, Wangechi Mutu creates mixed media collages that address issues of gender, race, colonization, and identity. Her work often incorporates futuristic elements and surreal landscapes.

Samuel R. Delany: A science fiction author, literary critic, and professor, Samuel R. Delany’s writing explores issues of race, sexuality, and identity in speculative fiction. His work often subverts dominant narratives by centering marginal voices and experiences.

Jim Chuchu: A Kenyan filmmaker, musician, and multimedia artist, Jim Chuchu creates experimental films and art installations that explore African histories and identities, often using elements of Afrofuturism to imagine alternative realities.

Betye Saar: An American mixed media artist, Betye Saar incorporates found objects and images into her work to address themes of identity, spirituality, and power. Her work often features surreal imagery that blends mythological and futuristic elements.

Wanuri Kahiu: A Kenyan film director, Wanuri Kahiu’s work often explores themes of identity, sexuality, and social justice, using science fiction and Afrofuturistic imagery to critique oppressive power structures and envision radical new futures.

25 Afrofuturism records you should hear

1. Sun Ra – Space is the Place
2. Parliament – Mothership Connection
3. Janelle Monae – The Electric Lady
4. Shabazz Palaces – Lese Majesty
5. Flying Lotus – You’re Dead!
6. George Clinton – Computer Games
7. Outkast – ATLiens
8. Drexciya – Neptune’s Lair
9. Fela Kuti – Zombie
10. Grace Jones – Nightclubbing
11. Erykah Badu – New Amerykah Part Two (Return of the Ankh)
12. Public Enemy – Fear of a Black Planet
13. The Roots – Things Fall Apart
14. D’Angelo – Voodoo
15. DJ Spooky – Rhythm Science
16. The Last Poets – This is Madness
17. Jlin – Black Origami
18. Kelis – Flesh Tone
19. King Britt – The Blacktronica Experiment
20. Solange – A Seat at the Table
21. Thundercat – Drunk
22. Underground Resistance – Interstellar Fugitives
23. Gil Scott-Heron – The Revolution Will Not Be Televised
24. Afrika Bambaataa and Soulsonic Force – Planet Rock
25. Lee Scratch Perry – Blackboard Jungle Dub

Afrofuturism and the charts

One of the most notable records in the Afrofuturism genre is “To Pimp a Butterfly” by Kendrick Lamar. Released in 2015, the album debuted at number one on the US Billboard 200 chart and sold over a million copies in its first week. The album was hailed as a masterpiece and was praised for its political and social commentary, as well as its fusion of jazz, funk, and hip-hop. “To Pimp a Butterfly” tackled themes of racism, poverty, and police brutality, and was a powerful statement from Lamar on the state of the world.

Another record that has had a massive impact in the Afrofuturism genre is “Black Panther: The Album” by Kendrick Lamar and various other artists. The album was released in 2018 as the soundtrack to the Marvel movie, Black Panther. The album debuted at number one on the US Billboard 200 chart and garnered critical acclaim for its blend of contemporary and traditional African sounds. The album featured collaborations with African artists such as Sjava, Yugen Blakrok, and Babes Wodumo, and was a celebration of African culture and heritage.

Janelle Monae is another artist who has made significant contributions to the Afrofuturism genre. Her album, “Dirty Computer,” was released in 2018 and was a critical and commercial success. The album debuted at number six on the US Billboard 200 chart and was hailed as a groundbreaking work that fused elements of funk, R&B, and pop. The album tackled themes of identity, sexuality, and gender, and was praised for its political and social commentary.

Other notable records in the Afrofuturism genre include “A Seat at the Table” by Solange, “Atrocity Exhibition” by Danny Brown, and “The ArchAndroid” by Janelle Monae. These albums were all critical and commercial successes and showcased the breadth and depth of the Afrofuturism genre.

What people have said about Afrofuturism

One of the earliest books on Afrofuturism is Mark Dery’s 1994 essay “Black to the Future: Afrofuturism 1.0.” Dery coined the term “Afrofuturism” to describe the work of artists like Sun Ra, George Clinton, and Octavia Butler, who envisioned a futuristic world that celebrated Blackness. Dery wrote, “Afrofuturism addresses themes and concerns of the African diaspora through technoculture and science fiction, encompassing a range of media and artists with a shared interest in envisioning Black futures that stem from Afrodiasporic experiences.”

Ytasha Womack’s 2013 book Afrofuturism: The World of Black Sci-Fi and Fantasy Culture builds on Dery’s work, exploring the ways that Afrofuturism has influenced music, film, fashion, and literature. Womack defines Afrofuturism as “an intersection of imagination, technology, and the future, rooted in histories of African diasporic resistance.” She argues that Afrofuturism is a “toolkit” that can be used for social change, empowering marginalized communities to reimagine their futures.

In 2015, John Jennings and Reynaldo Anderson edited the anthology Afrofuturism 2.0: The Rise of Astro-Blackness, which features essays, comics, and art by Black creators. The book showcases the diversity of Afrofuturism, with contributions from scholars, activists, musicians, and visual artists. In the introduction, Jennings and Anderson write, “This volume seeks to expand upon and highlight the vast amount of work being produced by Afrofuturists in order to offer a speculative glimpse into the future(s) of Black creative expression.”

In 2018, Nisi Shawl and Bill Campbell edited the anthology New Suns: Original Speculative Fiction by People of Color, which features stories by 18 authors who explore themes of identity, power, and resistance. Shawl writes in the introduction, “The imagination is a potent tool for revolution. Speculative fiction, with its capacity for what-ifs, is especially valuable as a theatre for envisioning resistance.” New Suns demonstrates the diversity of voices within Afrofuturism and highlights the importance of centering marginalized perspectives.

Notable quotes from Afrofuturist creators include Sun Ra, who once said, “I live in the future because that’s where my mind is.” Octavia Butler, one of the most prominent Afrofuturist writers, said, “The only lasting truth is change. God is change.” Musician Janelle Monáe, who has incorporated Afrofuturist themes into her work, has said, “I believe that people deserve representation, deserve multi-dimensional representations. And Afrofuturism allows you to do that. You can create worlds where marginalized folks can exist and have agency and be important.”

Afrofuturism in context

The social context of Afrofuturism can trace its roots to the era of slavery, when people of African descent resisted their oppression through spiritual practices. These practices became an important source of cultural and political empowerment for the black community. Later, during the Civil Rights Movement, writers, artists, and activists began using science fiction and fantasy as vehicles for expressing their vision of a more just and equitable society. Books like Octavia Butler’s Parable of the Sower, This Perfect Day by Ira Levin, and the Black Panther comics introduced new visions of a future where African Americans were fully realized protagonists. This literature and art became a countercultural way for Black Americans to reimagine their present and future circumstances.

The technological context of Afrofuturism is closely linked to a broader trend in speculative fiction, where the technological advances of modern life are analyzed under a science fiction lens. Like other science fiction writers, Afrofuturist artists have been fascinated by technology as a positive force promoting social change and the evolution of humanity. This fascination with technology is often seen as a way to transform our world, making it more equitable and just. Afrofuturism is also characterized by an exploration of the darker aspects of technology – specifically how technology has been used to oppress, and control people of color, as well as the potential for dependence and dehumanization. Novels such as Alondra Nelson’s Future Texts: Subversive Performance and Feminist Bodies have been instrumental in opening up conversations on the intricacy of the African American experience with science and technology.

Afrofuturism has born significant impact on the cultural context of production. Notably, the genre’s interest in uniting the skills of artists, musicians, and writers has played a vital role in shaping the cultural production of the African-American community. The desire to create an innovative space that consistently challenged the traditional cultural narratives has inspired writers such as Nnedi Okorafor, Tananarive-Due, and Alyssa Cole. The music industry has also been vital in disseminating Afrofuturistic themes, incorporating the genre into popular genres like soul, jazz, and hip hop. The cosmic jazz of Sun Ra, the hip-hop of Public Enemy and OutKast, and the ‘70s funk of Parliament-Funkadelic are examples of Afrofuturistic music. Afrofuturism has become a doorway for artists who seek to transmute the experiences of Black individuals in the present, envisioning black lives that are not confined by the physical and social limitations of the present context.

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