Afrofuturism: A History of Black Futures

“We have to talk about liberating minds as well as liberating society.” —
Angela Davis

In December, my husband and I went on our annual trip to Washington D.C., which typically features restaurant and museum hopping. One of our favorite stops to make is the National Museum of African American History and Culture (NMAAHC). The building itself stands out as a bronze and gold work of art surrounded by greenery and Greco-Roman architecture. The museum corona is “inspired by the three-tiered crowns used in Yoruban art from West Africa. Moreover, the building’s main entrance is a welcoming porch, which has architectural roots in Africa and throughout the African Diaspora, especially the American South and Caribbean” (National Museum of African American History and Culture, 2024).

The building is encased in an “ornamental bronze-colored metal lattice… that pays homage to the intricate ironwork crafted by enslaved African Americans in Louisiana, South Carolina, and elsewhere” (National Museum of African American History and Culture, 2024).

Afrofuturism: A History of Black Futures

From March 24th, 2023 to August 18th, 2024, the NMAAHC is featuring an exhibit called Afrofuturism: A History of Black Futures. At first, I did not know what to expect. I imagined a history of science fiction as it relates to Black History. I was half right, but the exhibit is so much deeper than that. It is a compilation of art, music, literature, and political history centered around futuristic and science fiction themes and aesthetics.

What is “Afrofuturism?”

Afrofuturism is a literature, music, art, and political movement that features works that utilize futuristic or science fiction themes with characteristics of Black history and culture (Oxford Learner’s Dictionary, 2024).

The term “Afrofuturism” was coined in 1993 by Mark Dery, an author and essayist who specializes in cyberculture. The ideas were “developed by scholars to explore how Black writers and artists utilized themes of technology, science fiction, fantasy, and heroism to envision stories and futures of Black liberation to convey an authentic, hopeful, and culturally expansive image of the Black experience” (NMAAHC, 2024).

Our Favorite Objects from the Exhibit

Thundercat’s Bass. “Reinturpreting the musical language of the electric bass, Stephen Bruner (b. 1984), aka Thundercat, is among the new generation of virtuoso instrumentalists blurring genres and imagining new sonic possibilities in music” (NMAAHC, 2024).

“Judgement Day”. Even though the 1953 science fiction story “Judgement Day” was the rare comic book allegory about discrimination, the reveal of astronaut Tarlton’s Black face in the last frame was considered highly controversial. When the story was set to be reprinted, the Comics Code Authority demanded the Black astronaut be drawn as a white man. Publisher William Gains (1922-1992) refused, and the issue was reprinted with its original design, fully carving an opening for the representation of Black stories and faces in the world of mainstream pop fiction” (NMAAHC, 2024).

This particular comic panel was exciting and emotional to me because I had no idea that such a revolutionary comic book existed in the 1950s. As much as I love vintage and antique art (with comics being no exception), it is often alienating seeing very few artifacts that reflect my heritage in a positive light.

Left: Hooded Justice Costume. “The 2019 television series Watchmen was an adaptation of the eponymously titled, groundbreaking comic book. Reimagined with Black characters and plot lines, the series begins with a retelling of the real-life events of the Tulsa Race Massacre of 1921, where a white mob destroyed the homes, businesses, and lives of the city’s Black residents. The Hooded Justice character is portrayed by a survivor of the riots who fights white supremacy as a superhero. Wearing a noose around his neck to symbolize his power over racial violence, the “unlynchable” Hooded Justice represents a clear vision of reimagined pasts and futures in Afrofuturistic-inspired art” (NMAAHC, 2024).

Right: Sister Night Costume: ” ‘People who wear masks are driven by trauma. They’re obsessed with justice because of some injustice they suffered, usually when they were kids. Ergo, the mask. It hides the pain.’ This dialogue from the Watchmen television series shapes the motivations of one of its central characters, the masked, Black anti-hero, Sister Night. Portrayed by actress Regina King, Sister Night is shaped by a legacy of Black trauma, born out of the aftermath of the Tulsa Race Massacre of 1921″ (NMAAHC, 2024).

Glinda the Good Witch’s Costume from The Wiz: This is the original Glinda costume from the 1975 The Wizard of Oz Broadway adaptation. It was worn by incredible singer Dee Dee Bridgewater. Director Geoffrey Holder designed the costumes, “which display a futuristic aesthetic in their construction” (NMAAHC, 2024).

Gypsy Sun Lyrics: This is where the lyrics for “Gypsy Sun” by Jimi Hendrix were written. It is incredible to see his thought process when writing this song.

The Mirror Casket: “Creating art to express a community’s collective anguish over the killing of unarmed, 18-year old Michael Brown Jr., The Mirror Casket sculpture was created by a collective of local St. Louis-based artists in 2014 and used as performance art during the protests. Echoing the casket of Emmett Till and other African Americans lost to violent means, the broken glass symbolizes the fractured state of our social condition and forces the viewer to gaze upon themselves within the confines of the casket and the prism of racism” (NMAAHC, 2024).

This piece hit home for my husband and I. Standing in front of this piece forced us to share in the pain and responsibility of doing better as individuals within our society. I lost my uncle to police gun violence, so I always feel a whirlwind of emotion every time tragedies occur within my community.

Black Panther Hero Costume: “Worn by actor Chadwick Boseman (1976-2020), this suit is made of 3-D printed flexible materials that blend a sleek design with traditional African patterns and motifs. Designed by Judianna Makovsky and created by Andy Park, this costume features a triangle motif that designer Ruth E. Carter calls ‘the sacred geometry of Africa.’ The costume is a futuristic homage to African art and culture. Infusing tradition with technology, the suit symbolizes the Afrofuturistic, visionary world of the Black Panther and his fictional homeland of Wakanda.”

I really struggled to get a decent shot of this costume, but the lighting was crazy dark. It is definitely worth seeing this costume in person. Rest in peace, Chadwick Boseman.

References

National Museum of African American History and Culture, (2024). Afrofuturism: A History of Black Futures. Retrieved from https://nmaahc.si.edu/explore/exhibitions/afrofuturism

Oxford Learner’s Dictionary, (2024). Afrofuturism. Retrieved from https://www.oxfordlearnersdictionaries.com/us/definition/english/afrofuturism