AFRO FUTURE IS NOW

During a panel discussion on Art and Social Justice on June 15, 2016, hosted by the Stella Adler Studio of Acting in New York, Toni Morrison, in her inimitable voice, delivered these compelling words:

"I want to remind us all that art is dangerous. I want to remind you of the history of artists who have been murdered, slaughtered, imprisoned, chopped up, refused entrance. The history of art, whether in music or writing or what have you, has always been bloody, because dictators and people in office, and people who want to control and deceive, know exactly who will disturb their plans. And those people are artists."

Morrison’s statement echoes a stark and urgent truth: that art has never existed in isolation, nor has it been immune to the forces that seek to control society through oppression and misinformation. Just as artists throughout history have been persecuted for challenging the status quo, Morrison's reminder calls attention to the perennial risks artists face when they dare to speak truth to power. The cultural and creative expressions we cherish have always been met with resistance, often violently, by those who stand to lose control of the narrative.

Her words take on even more resonance when viewed alongside the prophetic vision of Octavia Butler in Parable of the Sower, which foretold a future where the forces of exploitation, corruption, and authoritarianism continue to tighten their grip. Morrison must have felt a similar awareness, an understanding that the attacks on art, culture, and truth would not only persist but escalate. Indeed, the political and cultural landscape today seems to confirm that these fears were not unfounded.

Octavia Butler by John Jennings

To understand the importance of future-forward thinking, we must consider that futures are made. The big question is who gets to make the future. This question was pondered in a recent Guardian article, brought to my attention by John Jennings, a professor, author, graphic novelist, curator, Harvard Fellow, New York Times Bestseller, 2018 Eisner Winner, and all-around champion of Black culture. As the co-editor of the 2016 Eisner Award-winning collection The Blacker the Ink: Constructions of Black Identity in Comics and Sequential Art (Rutgers) and co-founder/organizer of The Schomburg Center's Black Comic Book Festival in Harlem, co-founder of MLK NorCal’s Black Comix Arts Festival in San Francisco and also SOL-CON: The Brown and Black Comix Expo at the Ohio State University, Jennings is steeped in Black imagination.

On May 1st, John Jennings will be hosted by the University of Washington Office of Public Lectures for a talk at Town Hall Seattle. The topic of his talk is "Afro Futures Now," and while we talk a lot about the concept of Afrofuturism, I asked, and John agreed, to answer a few questions from ARTE NOIR in advance of his visit, and give us a brief preview of the content of his May 1st talk.

What is the definition of Afrofuturism?

JENNINGS: An Afrocentric artistic theory and storytelling practice that uses speculative and fantastic narratives to reimagine the past, interrogate the present and design a future where people of the African Diaspora thrive in accordance with their own agency.

If someone is totally new to the concept, what would you suggest as a good way to enter? Books? Movies? Television? And what nuances should be considered?

JENNINGS: Great entry points would be the film Black Panther directed by Ryan Coogler. This Marvel film does a great job of showing Afrofuturism as an aesthetic and a way of seeing the world with Black people at the center of the narrative. I would not only recommend the works of Octavia E. Butler but also the book by Ytasha Womack called Afrofuturism: The World of Black Sci-Fi Fantasy and Culture. The art exhibition catalog of the fantastic show that was at The Smithsonian’s National Museum of African American History and Culture called Afrofuturism: A History of Black Futures is an amazing book. I would also check out the new all-Black-produced animated series Iyanu on the Cartoon Network and the short story collections Dark Matter (edited by Sheree Rene Thomas) and Mothership: Tales from Afrofuturism and Beyond (edited by Bill Campbell and Ed Hall). The Black Panther comics from Marvel Comics are very Afrofuturist, and so is the character I created called Ghost Light, who can be found in the book Silver Surfer: Ghost Light. 

The nuances would be, first of all, that Black people and our agency are at the center of the story. Spirituality is fused with traditional ideas around technology. Community is usually put before the individual and the communal ideas move forward together. Reconciliation and aspects of Black triumph and joy are central to these stories. Finally, Black women are central to these narratives as a necessary component and not relegated to the sidelines as 'damsels in distress.' 

What primary concepts related to Afrofuturism will be included in your UW presentation? 

JENNINGS: Two primary concepts I want to get across are the concept I coined called “Sankofarration,” which is a portmanteau of the Akan theory “sankofa,” which means “go back and get it,” and the idea of narration. This, I feel, is central to a lot of Afrofuturist stories and art. Going back to history and re-presenting it to future generations. That being said, the preservation of that history is now more vital than ever. So, I will strongly present a resistance strategy that involves each of us creating and becoming what I call Living Radical Arkives. Our history is under attack, which means our futures are under attack. We must respond accordingly and make sure our work survives and thrives for future generations. 

Register for John's Lecture HERE

Toni Morrison laid bare the indispensable and often perilous role of art in the preservation and transmission of history, identity, and truth. Jennings punctuates the dire urgency of now.

Despite the ever-present danger and suppression of truth, art remains a vital, subversive, and transformative force. The artist’s voice is a weapon in the struggle for justice, the enduring reminder that the truth will not be silenced. Art has always served as a vehicle through which the oppressed, the marginalized, and the unheard have spoken truth into power, and it will continue to do so, regardless of the attempts to stifle it.

In this era, where misinformation and revisionist history are rampant, Morrison’s call to recognize the danger and power of art could not be more urgent. It is a reminder to stand in solidarity with artists and to safeguard the spaces and freedoms that allow creativity, truth, and resistance to flourish. The fight to protect the freedom of art is, ultimately, a fight to protect the very freedom to think, speak, and live authentically. John Jennings is one of many Black creatives available to us to provide information and inspiration.

At ARTE NOIR, we take very seriously our role in supporting the ability for Black artists to bravely create and share their creative voices. We are dedicated to fostering an environment where Black artists can thrive and express themselves freely. Safe and welcoming space and a strong sense of belonging is requisite for sustaining creative communities. Providing a platform for artistic expression, creating a supportive community for artists and patrons alike, and encouraging dialogue and understanding through art are all parts of our mission that take center prominence in an even more critical way at this moment in history.

It is our hope that our readers and patrons will continue to be supportive of our mission and the artists we serve. Together, we can create and sustain a vibrant and inclusive artistic community and continue to divert attention and power away from suppression and turn our eyes toward the possibilities.

Vivian Phillips, Founder + Board President