Afrofuturism: It’s Origins and Impact on Pop Culture

By: Alexis Hayes

Science fiction is a genre commonly used to explore the many possibilities of technological advancement and scientific discoveries that could (and probably would) take us. It also allows us to critique our present in a creative manner. Imagining how humans might react if we ever encounter extraterrestrial life (like in the many versions of War of the Worlds and Arrival) may give us introspection on how our culture perceives and treats folks we deem as “other.” Narratives surrounding cyborgs and androids (Ghost in the Shell and Blade Runner) prompt us to explore questions on what it means to be human. As an amateur writer who recently became interested in sci-fi, I was excited to come across writers who not only touched on those themes but depicted them through a Black perspective. This is referred to as Afrofuturism.

What is Afrofuturism? Well, let’s find out!  American cultural critic Mark Dery coined the term Afrofuturism in his 1994 essay titled, “Black to the Future”. In his essay, Dery discussed the absence of Blacks in science fiction through his interviews with Samuel L. Delany, Greg Tate, and Tricia Rose. He noted how themes present in Black science fiction reflected the writers’ concerns due to their race. The art form itself, however, initially emerged in the 1950s as a response to feelings of alienation from the dominant White American society, which actively barred them from participating in it. In addition, the movement was also an attempt to form a sense of identity and imagine a future for themselves created by themselves.

There were many early pioneers in this subgenre that influenced generations to come. Herman Poole Blount, known widely as Sun Ra, was a jazz musician known for his unique instrumentation. His unique musical style led him to be the first in his genre to implement electronic instruments like synthesizers, electric pianos, and celeste. He also composed a combination of swing to freestyle jazz. He wrote poetry involving space travel and even gave himself the persona of an alien from Saturn. These elements can be seen in his song “Space is the Place”.  

Writers such as Samuel L. Delany and Octavia Butler both touched on social and class hierarchy themes. The first book I read from her was Kindred. It centered around a young Black woman named Dana who spontaneously (and involuntarily) traveled back in time during the Antebellum period and saved a drowning white boy. Much to her horror, she learned that this accident-prone boy is her ancestor and that she must continue to time travel and make sure he lived long enough to give birth to her great, great grandmother. This story was my least favorite of hers due to its vivid depictions of slavery. However, it can be seen as a critique of the common “magical negro” trope that seems very prevalent even in modern storytelling. Instead of telling the narrative through the white boy’s perspective, Butler inverts the magical negro trope by focusing on Dana and gives her own backstory outside of the white character. It also allows the audience to empathize with her.

Afrofuturism aesthetics can even be found in many contemporary artists’ works, from musicians like Janelle Monae and Solange, to writers like Nnedi Okorafor and Rivers Solomon. Now, with the Internet, people from all over the world can share and enjoy science fiction stories, music, and other artistic projects from people who were (and in some cases, still are) usually overlooked or alienated.