20 Facts About Afrofuturism

Afrofuturism is a cultural aesthetic, and philosophy of science and history that explores the intersection of the African diaspora culture with science and technology.

Afrofuturism's 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.

Afrofuturism was a label 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.

Afrofuturism 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.

Afrofuturism's record covers were a very important element in this aesthetic, involving artists such as Robert Springett, Victor Moscoso and Nobuyuki Nakanishi.

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Contemporary Afrofuturism has been noted to be concerned with metaphysical areas such as "cosmogony, cosmology, and speculative philosophy.

Today, Afrofuturism has been portrayed in popular movies like the feature film Black Panther.

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.

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.

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.

Afrofuturism 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".

Afrofuturism has to do with reclaiming those identities or perspectives that have been lost.

In film, Afrofuturism is the incorporation of black people's history and culture in science fiction film and related genres.

The Guardians 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".

The New York Timess 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.

Afrofuturism's differentiated this from Afrofuturism, which she said "positioned African American themes and concerns" at the center of its definition.

Afrofuturism's described Africanjujuism as a subcategory of fantasy that "acknowledges the seamless blend of true existing African spiritualities and cosmologies with the imaginative.

Afrofuturism's 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.

Afrofuturism still calls the book a "solid anthology", saying it challenges the idea of viewing African science fiction as monolithic.