My introduction to the term, Afrofuturism was in a March 11, 2015 posting by Jessica Bland for the Guardian in the Technology/Political Science section. It was written on the occasion of a then upcoming FutureFest event,
This is unapologetically connected to FutureFest, the festival Nesta (where I work) is holding this weekend in London Bridge. These thoughts represent the ideas that piqued my interest while curating talks and exhibits based on the thought experiment of a future African city-superpower. George Clinton, Spoek Mathambo, Tegan Bristow and Fabian-Carlos Guhl (from Ampion Venture Bus) will be speaking during the weekend. Thomas Aquilina is displaying photographs from his trip and the architects of the Lagos 2060 project will take part in a debate on whether their fiction can lead to a different kind of future.
In anticipation of the March 2015 FutureFest event, Bland had written a roundup piece about “New sounds from South Africa and Nigeria’s urban science fiction [that] could change the future of technology and the city.” Here are some excerpts from her piece (Note: Links have been removed),
Strong stories or visions of the future stick around. The 1920s sci-fi fantasy of a jetpack commute still pops up in discussions about the future of technology, not to mention as an option on the Citymapper travel app. By co-opting or creating new visions of the future, it seems possible to influence the development of new products and services – from consumer tech to urban infrastructure. A new generation of African artists is taking over the mantle of Afrofuturist arts from a US-centred crowd. They could bring a welcome change to how technology is developed in the region, as well as a challenge to the dominance of imported plans for urban development.
Last Thursday’s London gig from Fantasma was sweaty and boisterous. It was also very different from the remix of Joy Division’s She’s Lost Control that brought front man Spoek Mathambo to the attention of a global audience a couple of years ago. Fantasma is a group of South African musicians with different backgrounds. Guitarist Bhekisenzo Cele started the gig with three of his own songs, introducing the traditional Zulu maskandi music that they went on to mix with shangaan electro, hiphop, punk, electronica and everything in between.
The gig had a buzz about it. But the performance was from a new collective trying things out; it wasn’t as genre-smashing as expected. And expectations ride high for Spoek. In 2011, he titled a collection from his back catalogue ‘Beyond Afrofuturism’. He took on, at least in name, a whole Afro-American cultural movement: embodied by musicians like Sun Ra, George Clinton and Drexciya. A previous post on this blog by Chardine Taylor-Stone describes the roots of Afrofuturism in science fiction that centres on space travel and human enhancement. But she goes on to say: “Afrofuturism also goes beyond spaceships, androids and aliens, and encompasses African mythology and cosmology with an aim to connect those from across the Black Diaspora to their forgotten African ancestry.” Spoek shares what he calls a cultural lineage with this movement. But he is not Afro-American. He also shares a cultural lineage with the sounds of South African musicians he grew up listening to.
Other forms of art are taking an increasingly activist role in the future of technology. Lydia Nicholas’s description of the relationship between Douglas Adam’s fictional Hitchhiker’s Guide and the real life development of the iPad shows how science fiction can effortlessly influence the development of new technology.
The science fiction collection Lagos 2060 is a more purposeful intervention. Published in 2013, it speculates about what it will be like to live in Lagos 100 years after Nigeria gained independence from the UK. It was born out of a creative writing workshop initiated by DADA books in Lagos. Foundation director of DADA, Ayodele Arigbabu, described the collection and other similar video and visual art work (in an email): “Far more than aesthetic indulgence, these renditions are a calibration of the changes deemed necessary in today’s political, technical and cultural infrastructure.”
Bland also explores a history of this movement,
Gaston Berger was the Senegalese founder of the academic journal Prospectiv in 1957. To many, he was the first futurist, or at least one of the first people to describe themselves as one. He founded promotes the practice of playing out the human consequences of today’s action. This is about avoiding a fatalistic approach to the future: about being proactive and provoking change, as much as anticipating it.
Berger’s early work spawned a generation, and then another and another, of professional futurists. They work in different ways and different places. Some are in government, enticing and frightening politicians with the prospect of a different transport system, healthcare sector or national security regime. Some are consultants to large companies, offering advice on the way that trends like 3D printing or flying robots will change their sector. An article from 1996 does a good job of summarising the principles of this movement: don’t act like an ostrich and ignore the future by putting your head in the sand; don’t act like a fireman and just respond to threats to your future; and don’t focus just on insurance against for the future.
Bland has written an interesting and sprawling piece, which in some way reflects the subject. Africa is a huge and sprawling continent.
Slate, a US online magazine, is hosting along with New America and Arizona State University a Future Tense event on Afrofuturism but this seems to be quite US-centric. From the Future Tense Afrofuturism event webpage on the Slate website (Note: Links have been removed),
Future Tense is hosting a conversation about Afrofuturism in New York City on December 3rd, 2015 from 6:30-8:30 p.m.
Afrofuturism emphasizes the intersection of black cultures with questions of imagination, liberation, and technology. Rooted in works like those of science fiction author Octavia Butler, avant-garde jazz legend Sun Ra, and George Clinton, Afrofuturism explores concepts of race, space and time in order to ask the existential question posed by critic Mark Dery: “Can a community whose past has been deliberately erased imagine possible futures?”
Will the alternative futures and realities Afrofuturism describes transform and reshape the concept of black identity? Join Future Tense for a discussion on Afrofuturism and its unique vantage on the challenges faced by black Americans and others throughout the African diaspora.
During the event, enjoy an Afrofuturist inspired drink from 67 Orange Street. Follow the discussion online using #Afrofuturism and by following @NewAmericaNYC and @FutureTenseNow.
Click here to RSVP. Space is limited so register now!
Principal Investigator, School for the Future of Innovation in Society, Arizona State University
Author, Afrofuturism: The World of Black Sci-Fi and Fantasy Culture and Post Black: How A New Generation is Redefining African American Identity
DJ and Artist
Designer and Creative Director, Ikire Jones
Staff writer, Slate
It seems we have one word, Afrofuturism, and two definitions. One where Africa is referenced and one where African-American experience is referenced.
For anyone curious about Nesta, where Jessica Bland works and the Future Fest host (from its Wikipedia entry),
Nesta (formerly NESTA, National Endowment for Science, Technology and the Arts) is an independent charity that works to increase the innovation capacity of the UK.
The organisation acts through a combination of practical programmes, investment, policy and research, and the formation of partnerships to promote innovation across a broad range of sectors.
That’s it for now.