"Priority is commitment to oppressed.
Will fall or rise depending on our success or failure to address their needs, to accommodate their aspirations
Specifically we must get them houses & put an end to informal settlement; end unemployment, school crisis, lack of medical facilities.”
- from Nelson Mandela’s personal, political notes, 1993
This Thursday join the Studio Museum for a panel discussion featuring Naima J. Keith and Zoe Whitley, co-curators of “The Shadows Took Shape,” Alondra Nelson, Professor of Sociology and Gender Studies at Columbia University and Paul D. Miller as they discuss the scope of how Afrofuturism is understood today, from the novels of Samuel Delany and Nalo Hopkinson and Sun Ra’s film “Space is the Place” (1974) to blogs such as The AfroFuturist Affair and the stylings of recording artist Janelle Monáe.
In 1998, Alondra Nelson created afrofuturism.net, the pioneering LISTSERV dedicated to facilitating discussions around theories of Afrofuturism, its aesthetic qualities and the politics therein. Soon after, she invited Paul D. Miller aka DJ Spooky, That Subliminal Kid as the first guest moderator. In 2002, she was commissioned to edit an issue of Social Text dedicated to Afrofuturism, igniting an academic interest in science-fiction and fantasy literature and art of the African Diaspora.
Get your tickets today! http://bit.ly/17ElHas
Image: John Akomfrah, Memory Room 451 (video stills), 1997
(Source: studiomuseum.org, via ladyfresh)
The Yarl’s Wood Women’s Movement for Justice
on being detained for profit + named “illegals”
THE FUTURE WEIRD: Supra-Planetary Sovereigns
This November, the Future Weird returns loaded with the retro tropes of science fiction to pay tribute to space-age prophets, musicians and messiahs.
We start with John Akomfrah’s THE LAST ANGEL OF HISTORY, in which Black sci-fi becomes a futuristic Pan-African venture. In Akomfrah’s telling, early techno-centric experiments give way to messianic characters who swap dominating narratives of science and progress for cosmic philosophies.
This month we bring together interviews and testimonies of magnetic creative leaders who promise transcendence for their followers, and achieve intergalactic travel through prayer as well as funk. Photos, tape-recorded testimonies, and home videos from South African church services mix with Akomfrah’s all-star cast of American musicians, charismatic space captains and Star Trek heroines to consider belief, art, truth telling, and forms of authority.
When: THURSDAY NOVEMBER 14th @ 8PM & TUESDAY NOVEMBER 26th @ 8PM
Where: Spectacle Theater, 124 S. 3rd Street, Brooklyn, NY, 11211
The Future Weird is a screening series exploring contemporary film from the global south – with an African bias. Our title, “the future weird”, is inspired by The State’s ongoing documentation of non-western futurisms: thestate.ae/
5 HOURS LEFT TO SUPPORT filmmaker Nikyatu Jusu’s debut feature “Free The Town” set in Freetown, Sierra Leona
"Told through the perspectives of three characters, I am exploring what I have perceived to be three primary influences on the continent’s identity: at the base, and seemingly the least influential is Binta, the native, a Sierra Leonean with very little input into how her country is perceived externally. In the middle is Michael, an African American who returns to Africa and experiences the African Middle Class: moderately influential in re-defining Africa. Finally, Amy, the white outsider representative of the colonial gaze that often focuses solely on stereotypical imagery of suffering and primitivism within the “dark continent” [but] "I don’t want this to be a stereotypical meditative African social issue film" read more
INDIEGOGO | FACEBOOK
M.I.A. rejecting the Christian binary and looking to Hindu goddesses for the multi-faceted ways a woman can exist reminds me of Carrie Mae Weems’ “Not Manet’s Type" and the accompanying text I knew, not from memory, but from hope, that there were other models by which to live