Afrofuturism and Afro Punk

The ideas and practices related to afrofuturism have existed for most of the 20th century, especially in the north American African diaspora community. After Mark Dery coined the word "afrofuturism" in 1993, Alondra Nelson as a member of an online forum, along with other participants, began to explore the initial terrain and intellectual underpinnings of the concept noting that "AfroFuturism has emerged as a term of convenience to describe analysis, criticism and cultural production that addresses the intersections between race and technology." Afrofuturism 2.0: The Rise of Astroblackness represents a transition from previous ideas related to afrofuturism that were formed in the late 20th century around issues of the digital divide, music and literature. Afrofuturism 2.0 expands and broadens the discussion around the concept to include religion, architecture, communications, visual art, philosophy and reflects its current growth as an emerging global Pan African creative phenomenon.

2014 Locus Awards Finalist, Nonfiction Category In this hip, accessible primer to the music, literature, and art of Afrofuturism, author Ytasha Womack introduces readers to the burgeoning community of artists creating Afrofuturist works, the innovators from the past, and the wide range of subjects they explore. From the sci-fi literature of Samuel Delany, Octavia Butler, and N. K. Jemisin to the musical cosmos of Sun Ra, George Clinton, and the Black Eyed Peas' will.i.am, to the visual and multimedia artists inspired by African Dogon myths and Egyptian deities, the book's topics range from the "alien" experience of blacks in America to the "wake up" cry that peppers sci-fi literature, sermons, and activism. With a twofold aim to entertain and enlighten, Afrofuturists strive to break down racial, ethnic, and social limitations to empower and free individuals to be themselves.

This book interrogates the meeting point between Afrofuturism and Black Sound Studies. Whereas Afrofuturism is often understood primarily in relation to science fiction and speculative fiction, it can also be examined from a sonic perspective. The sounds of Afrofuturism are deeply embedded in the speculative - demonstrated in mythmaking - in frameworks for songs and compositions, in the personas of the artists, and in how the sounds are produced. In highlighting the place of music within the lived experiences of African Americans, the author analyses how the perspectives of Black Sound Studies complement and overlap with the discussion of sonic Afrofuturism. Focusing upon blackness, technology, and sound, this unique text offers key insights in how music partakes in imagining and constructing the future. This innovative volume will appeal to students and scholars of sound studies, musicology and African American studies.

Isiah Lavender's Afrofuturism Rising explores afrofuturism as a narrative practice that enables users to articulate the interconnection between science, technology, and race across centuries. Afrofuturism Rising extends existing scholarly conversations about who creates and what is created via science fiction. Through a trans-historical rereading of texts by these authors as science fiction, Lavender highlights the ways black experience in America has always been an experience of spatial and temporal dislocation akin to science fiction.

When many think of comic books the first thing that comes to mind are caped crusaders and spandex-wearing super-heroes. Perhaps, inevitably, these images are of white men (and more rarely, women). It was not until the 1970s that African American superheroes such as Luke Cage, Blade, and others emerged. But as this exciting new collection reveals, these superhero comics are only one small component in a wealth of representations of black characters within comic strips, comic books, and graphic novels over the past century. The Blacker the Ink is the first book to explore not only the diverse range of black characters in comics, but also the multitude of ways that black artists, writers, and publishers have made a mark on the industry. Though it does not shy away from examining the legacy of racial stereotypes in comics and racial biases in the industry, The Blacker the Ink also offers inspiring stories of trailblazing African American artists and writers.

Note especially, the essay "WHAT DOES# BLACKGIRLMAGIC LOOK LIKE? : The Aesthetics Of Black Women's Afropunk Citizenship."by Marlo D. David p. 147.
Hashtag or trademark, personal or collective expression, #BlackGirlMagic is an articulation of the resolve of Black women and girls to triumph in the face of structural oppressions. The online life of #BlackGirlMagic insists on the visibility of Black women and girls as aspirational figures. But while the notion of Black girl magic spreads in cyberspace, the question remains: how is Black girl magic experienced offline?

A catalog of visual artworks-on-paper, this collection is the work of a creative duo that makes up the collaborative entity, Black Kirby. Their art celebrates the groundbreaking work of legendary comic creator Jack Kirby and functions as a highly syncretic mytho-poetic framework by appropriating Kirby's bold forms and revolutionary ideas combined with themes centered on AfroFuturism, social justice, Black history, media criticism, science fiction, magical realism, and the utilization of Hip Hop culture as a methodology for creating visual expression. In a sense, Black Kirby appropriates the gallery as a conceptual crossroads to examine identity as a socialized concept, and to show the commonalities between Black comics creators and Jewish comics creators and how both utilize the medium of comics as space of resistance.

Cool is the definitive and dynamic visual history of youth style culture movements. Cool unearths and memorializes more than 100 global youth subcultures spanning more than a century. The book is a type of manual of street styles--from Flappers, to Swing Kids, to Goths, to Afro Punk, to Normcore--that have influenced and helped shaped the zeitgeist, music, fashion, media, and modern cultural history all over the world.

Traces the rise of black participation in cyberspace, particularly during the early years of the Internet. The author challenges the problematic historical view of black people as quintessential information-age outsiders or poster children for the digital divide by uncovering their early technolust and repositioning them as eager technology adopters and consumers, and thus as co-constituent elements in the information technology revolution. Offers case studies that include lessons learned from early adoption of the Internet by the Association of Nigerians Living Abroad and their Niajanet virtual community, the grassroots organizing efforts that led to the Million Woman March, the migration of several historical black presses online, and an interventionist critique of race in contemporary video games.

"Flame Wars," the verbal firefights that take place between disembodied combatants on electronic bulletin boards, remind us that our interaction with the world is increasingly mediated by computers. Yet, there is more to fringe computer culture than cyberspace. Within these pages, readers will encounter flame warriors; new age mutant ninja hackers; technopagans for whom the computer is an occult engine. Here, too, is Lady El, an African American cleaning woman reincarnated as an all-powerful cyborg; the teleoperated weaponry and amok robots of the mechanical performance art group, Survival Research Laboratories; Contributors. Anne Balsamo, Gareth Branwyn, Scott Bukatman, Pat Cadigan, Gary Chapman, Erik Davis, Manuel De Landa, Mark Dery, Julian Dibbell, Marc Laidlaw, Mark Pauline, Peter Schwenger, Vivian Sobchack, Claudia Springer

Note especially, "Performing Media: Of Afropunks and other anarchic signifiers of contrary negritude" by Greg Tate.
In From Bourgeois to Boojie: Black Middle-Class Performances, editor Vershawn Ashanti Young and assistant editor Bridget Harris Tsemo collect a diverse assortment of pieces that examine the generational shift in the perception of the black middle class, from the serious moniker of "bourgeois" to the more playful, sardonic "boojie." Including such senior cultural workers as Amiri Baraka and Houston Baker, as well as younger scholars like Damion Waymer and Candice Jenkins, this significant collection contains essays, poems, visual art, and short stories that examine the complex web of representations that define the contemporary black middle class. Young opens the book with a critical introduction that looks at the articulation of class and race as a mode of performing U.S. citizenship. In four thematic parts-Performing Responsibility, Performing Womanhood, Performing Media, and Performing Sexuality-contributors explore different aspects of middle-class blackness.

Sun Ra said he came from Saturn. Known on earth for his inventive music and extravagant stage shows, he pioneered free-form improvisation in an ensemble setting with the devoted band he called the "Arkestra." Sun Ra took jazz from the inner city to outer space, infusing traditional swing with far-out harmonies, rhythms, and sounds. Described as the father of Afrofuturism, Sun Ra created "space music" as a means of building a better future for American blacks here on earth. A Pure Solar World: Sun Ra and the Birth of Afrofuturism offers a spirited introduction to the life and work of this legendary but underappreciated musician, composer, and poet. Paul Youngquist explores and assesses Sun Ra's wide-ranging creative output--music, public preaching, graphic design, film and stage performance, and poetry--and connects his diverse undertakings to the culture and politics of his times, including the space race, the rise of technocracy, the civil rights movement, and even space-age bachelor-pad music. By thoroughly examining the astro-black mythology that Sun Ra espoused, Youngquist masterfully demonstrates that he offered both a holistic response to a planet desperately in need of new visions and vibrations and a new kind of political activism that used popular culture to advance social change. In a nation obsessed with space and confused about race, Sun Ra aimed not just at assimilation for the socially disfranchised but even more at a wholesale transformation of American society and a more creative, egalitarian world.