Diaspora and the Digital Age: A Brief History of Afrofuturism
“How can we reimagine a future in which we thrive as Black and Brown people, in which our bodies are rendered spaces of regeneration and potential and connection and community?”
– Shamel Pitts
Throughout his work, American choreographer and performer Shamel Pitts explores the idea of Black futures alongside the arts collective TRIBE, which he founded in 2019.
TRIBE works across mediums to create a platform for artists of color, both local and international, and draws inspiration from the Afrofuturism movement. Ultimately, they aim to humanize Black and Brown bodies and share “the colorfulness within Blackness that allows us to be multiplicitous.”
On March 14 & 15 UMS will present BLACK HOLE: Trilogy and Triathlon. Performed by TRIBE and choreographed by Pitts, three Black dancers share the stage in a narrative of unity, vigor and unrelenting advancement.
Ahead of the performance, take a deeper look at the rich history of Afrofuturism which inspired it.
Arts collective TRIBE performing BLACK HOLE: Trilogy and Triathlon
The term “Afrofuturism” was first coined by American cultural critic Mark Dery in his 1994 essay Black to the Future. The idea was then elaborated upon, most notably by writers Alondra Nelson, who led early conversations on the topic and Ytasha L. Womack, author of Afrofuturism: The World of Black Sci-Fi and Fantasy Culture.
“Afrofuturism is a way of looking at the future and alternate realities through a Black cultural lens. Black cultural lens means the people of the African continent in addition to the Diaspora, the Americas, Europe, etc. It is an artistic aesthetic, but also a kind of method of self-liberation or self-healing. It can be part of critical race theory and in other respects it’s an epistemology as well. It intersects the imagination, technology, Black culture, liberation, and mysticism.”
– Ytasha L. Womack
The cultural aesthetic was brought prominently into the mainstream in 2018 with Marvel’s Black Panther, which depicted an African nation far more technologically advanced than the rest of the world, providing a glimpse into an alternate reality unaffected by colonialism.
While the term ‘Afrofuturism’ wasn’t used until the ’90s, the culture of imagining and expressing alternate Black futures already abounded throughout the 1900’s. This label was applied after the fact to many artists and works that fit its themes.
Science fiction author and MacArthur Fellow Octavia E. Butler
Afrofuturism owes much of its foundation to seminal science fiction author Octavia E. Butler, who is sometimes called the “Mother of Afrofuturism.” Butler saw that the genre lacked representation of her lived experiences—so she wrote herself into it.
“I never bought into my invisibility or non-existence as a Black person. As a female and as an African American, I wrote myself into the world. I wrote myself into the present, the future, and the past.”
– Octavia E. Butler
In her work, Butler critiqued social hierarchies and explored themes of power, identity, and inequality. Her writing often featured Black protagonists who face racial and gender-based discrimination, yet also she depicted egalitarian futures unaffected by racism.
In particular, her 1993 novel Parable of the Sower explores a post-apocalyptic world dealing with climate disaster and societal collapse. Its protagonist Lauren Olamina, a Black teenager, must navigate this reality as she strives to establish a new home and community that aligns with her beliefs.
Sun Ra in his 1974 movie Space Is the Place
Though it’s most often associated with science fiction, Afrofuturism is an aesthetic that transcends genres and can be found in all artistic mediums.
One of the pioneers of Afrofuturism in music was jazz composer and synthesizer player Sun Ra who led the band, the Sun Ra Arkestra. He combined his avant-garde music with a mystical persona and outfits inspired by ancient Egypt and the Space Age. His 1974 movie Space Is the Place, depicts himself and the Arkestra preparing to settle on a new planet and start a new afro-centric civilization.
’70s artists like George Clinton and Earth, Wind and Fire, were also considered innovators of the aesthetic through their albums, lyrics, and bold performance attire. The 1975 outer space-themed album Mothership Connection by George Clinton’s band Parliament is an especially poignant example with lyrics that reference spiritual and protest songs.
Solange Knowles performing on Saturday Night Live
Contemporary Afrofuturism continues to build on the same aesthetic that came before while further reacting to the current world climate. Artists such as Solange, Missy Elliott, and Janelle Monáe have created poignant commentaries on police brutality, displacement, heritage and racist rhetoric. Many also use the aesthetic to explore intersecting identities like gender and sexuality.
In particular, Monáe is acknowledged as one of the foremost artists embracing Afrofuturist themes in music. Their albums Metropolis: The Chase Suite, The ArchAndroid, and The Electric Lady tell the story of their alter-ego Cindi Mayweather, an android on the run who becomes a messianic figure, liberating citizens from the control of a secret society.
Shamel Pitts and TRIBE continue to build on the rich legacy of Afrofuturism with BLACK HOLE: Trilogy and Triathlon.
The piece explores the transformative potential of the Black body. Within an evocative soundscape featuring samples from Sun Ra, Nina Simone, and more, the dancers embark on an hour-long, journey in movement. Their tenacity and grace are emphasized by cinematic video projections and stark, monochromatic lights.
“When people encounter my work, I would love for them to experience the power of dance and collaboration, and proclaim the pleasure and liberation through and beyond our bodies”
– Shamel Pitts
We hope you can join us March 14-15 for performances of BLACK HOLE at the Power Center. You can also join a free discussion with Shamel Pitts and Neil Barclay, President & CEO of the Wright Museum at the Charles H. Wright Museum of African American History on March 12.
