Afrofuturism and the Arts
We must dare to invent the future.” -Thomas Sankara, former President of Burkina Faso
In an age of volatile political circumstances and seemingly no change to the status quo, art and literary pieces centered around the idea of black individuals free from the effects of colonialism are rare but heartening.
Defined by Sam Fulwood III, Afrofuturism is “an emerging cultural concept that places an African aesthetic at the heart of past, present, and future human civilization.” Afrofuturist art, music and text have continued to evolve, branching into sub-genres after becoming widespread in the 1950’s with Sun Ra’s music. Artists such as Erykah Badu, Beyoncé, Janelle Monáe, and Missy Elliot explore different avenues of Afrofuturism in their music through the use of different creative devices. Beyoncé’s visual album Lemonade explores Afrofuturist feminism through its incorporation of culture, such as the Cavalli dress, gold jewelry, bare feet, as well as political discussion seen through multiple mothers of victims of shooting holding up their portraits, and black women from different generations coming together.
Janelle Monáe’s music has more of an emphasis on Afrofuturist cosmology. Similarly, movies such as “An Oversimplification of Her Beauty,” “Blade” and “Black Panther” fall into Afrofuturist territory. Shattering precedents as the first major superhero movie featuring an all black cast, Marvel’s “Black Panther,” broke box office records worldwide. The beauty of the movie (besides the marvelous plot) lies in its ability to create and explore a world that could have been, embodying Afrofuturistic concepts with the idea of an isolated Wakanda thriving in plain sight. Home to technology centuries ahead of the rest of the world, as well as a nearly infinite supply of the magical metal, vibranium, Wakanda is easily the most advanced society in the Marvel Universe, untouched by colonialism and spanning many diverse clans and cultures. The costumes, designed by Ruth E. Carter, synthesize designs from indigenous peoples across the continent. The Dora Milaje, an elite group of female warriors, wear red outfits inspired by the beading on the garments of the Maasai women of Kenya, and were designed to make “eight women look like 80,” according to Carter. The patterns on the outfits also follow the same geometric style as the Black Panther suit. Similarly, Nakia’s spy costumes were based on the Suri of Ethiopia, incorporating traditional shells, beads and leaves. Finally, Queen Ramonda’s cylindrical headdress was 3D printed and based on the traditional headdresses of married Zulu women.
Unapologetically celebrating an alternate future free of colonizing influences, the utopian society of Wakanda blends ancient African traditions with futuristic technology. The impact of the movie both breaks Hollywood stereotypes and is a huge win for representation.
by SHWETA KONDAPI