CR The New Centennial Review Volume(2) · June 2003 – Kodwo Eshun. Further Considerations on Afrofuturism
Abstractish – Imagine a team of African archaeologists from the future—some silicon, some carbon, some wet, some dry—excavating a site, a museum from their past: a museum whose ruined documents and leaking discs are identifiable as belonging to our present, the early twenty-first century. Sifting patiently through the rubble, our archaeologists from the United States of Africa, the USAF, would be struck by how much Afrodiasporic subjectivity in the twentieth century constituted itself through the cultural project of recovery. In their Age of Total Recall, memory is never lost. Only the art of forgetting. Imagine them reconstructing the conceptual framework of our cultural moment from those fragments. What are the parameters of that moment, the edge of that framework? […] To conclude: Afrofuturism may be characterized as a program for recovering the histories of counter-futures created in a century hostile to Afrodiasporic projection and as a space within which the critical work of manufacturing tools capable of intervention within the current political dispensation may be undertaken. The manufacture, migration, and mutation of concepts and approaches within the fields of the theoretical and the fictional, the digital and the sonic, the visual and the architectural exemplifies the expanded field of Afrofuturism considered as a multimedia project distributed across the nodes, hubs, rings, and stars of the Black Atlantic. As a tool kit developed for and by Afrodiasporic intellectuals, the imperative to code, adopt, adapt, translate, misread, rework, and revision these concepts, under the conditions specified in this essay, is likely to persist in the decades to come.
“Power now deploys a mode the critic Mark Fisher () calls SF (science fiction) capital. SF capital is the synergy, the positive feedback between future-oriented media and capital. The alliance between cybernetic futurism and “New Economy” theories argues that information is a direct generator of economic value. Information about the future therefore circulates as an increasingly important commodity. It exists in mathematical formalizations such as computer simulations, economic projections, weather reports, futures trading, think-tank reports, consultancy papers—and through informal descriptions such as sciencefiction cinema, science-fiction novels, sonic fictions, religious prophecy, and venture capital. Bridging the two are formal-informal hybrids, such as the global scenarios of the professional market futurist.”
Et nyt begreb, jeg ikke er stødt på før. I det hele taget er den her artikel lidt abstrakt. Lidt teoretisk. Og samtidig et stykke fiktion noget af vejen.
Heldigvis er der også konkrete eksempler. Kunstnere: Georges Adeagbo, Meshac Gaba.
Nogen siger, at fremtiden er grum for afrikanere. Og udtalelser af den slags kan gå i opfyldelse. Afrofuturisme er et forsøg på at sige noget andet.
Flere navne: Sun Ra. The Last Angel of History. Juan Atkins, Derrick May. Osv.
Science Fiction Studies, Vol. 37, No. 1 (March 2010), pp. 107-109 – Review: Feminism, Afrofuturism, and the Redefinition of Science Fiction. Reviewed Work: Afro-Future Females: Black Writers Chart Science Fiction’s Newest New-Wave Trajectory by Marleen Barr – Review by: Ritch Calvin
Bogen indeholder både essays og fiktion.
Er sf af sorte “i virkeligheden” fantasy? Hvem definerer virkeligheden?
De 3 vigtige essays, gratis:
Scenario 2, 2018, Afrofuturisme, Barbara Hilton
Afrofuturism is on the rise. It is both a genre and a way of thinking that blends Afro-culture, science fiction, magical realism, technology, and traditional African mysticism. It takes many forms, and tells many different stories, but one common feature is that Afrofuturists fight for equality and black people’s right to a place in the future. This issue’s main feature takes a closer look at the cultural movement and its frontline fighters.
Bladet findes både på dansk og engelsk. Jeg har læst artiklen på dansk. 🇩🇰🇩🇰🇩🇰
Diverse fakta + interview med ca. 3 eksperter.
- Ytasha Womack, manuskriptforfatter, forfatter, afrofuturist.
- Osborne Macharia, fotograf.
- Niels Dalgaard, ph.d i nordisk litteratur, ekspert i science fiction, forfatter og redaktør på det danske science fiction-tidsskrift Proxima. 👍🏻👍🏻👍🏻
SFRA Review, vol. 327, Winter 2019, pp. 48-51. – “Afrofuturism’s Specter: Alternate History, Racial Capitalism, and Nisi Shawl’s Everfair.” Sean Guynes
Everfair is about the creation of a multi-racial, intergenerational, queerfriendly, disability-championing, anti-colonial state in Central Africa, in and around the land formerly known as the Belgian Congo, and which is today in our world occupied by the Democratic Republic of the Congo, Rwanda, and Burundi. The novel spans the years 1889 to 1919, telling the story of the initial impetus behind the creation of Everfair by the British socialist Fabian society, together with a black American orator and former slave (modeled on George Washington Williams), and some money from a black missionary society, all the way up to the integration of indigenous tribal governments into the new state, and the decolonial revolution that the socialists, Christians, and indigenous Africans of Everfair lead against King Leopold of Belgium, with the novel ending shortly after WWI and a series of treaties that ratify Everfair’s existence in the international legal sphere.
“I want to […] suggest that Afrofuturism, particularly in the American black diaspora, is at its core a response to formations of racial capitalism.”
“Shawl’s novel charts the birth of a utopian Afrofuturist project by asking not “what could be, in the future, if” but instead “what if” the most devastating genocide in modern African history had become the cause for anti-colonial struggle and decolonization half-a-century early.”