Skip to main content

Afrofuturism

 

My first point of contact with the genre of Afrofuturism was without knowing listening to Janelle Monáe’s album “Dirty Computer” in 2018. This album truly traveled with me as one of the only few “pop”-like albums through those last years. After the guest lecture by Erik Steinskog, I definitely noticed the influences of former Afrofuturistic artists.

            Steinskog described that Afrofuturism kind of intersections science-fiction as well as cultural studies. In addition, he explains that science-fiction is actually more so about the present than the future as science-fiction tries to tell us something about the present through the lens of the future. Hence, Afrofuturism drawn from the terminology tells us in particular something about black people in the present by giving hope of a better future. Skeinskog additionally clarified how the imagery of typical science-fiction stories is basically what has happened with black people in slavery: “Aliens” kidnapped black people and brought them to a “foreign planet.” The slavery experiences are basically real-life science fiction and the science fiction utopia showcases the reality after slavery. For me, a rather privileged white cis-woman, this imagery is wild but by listening to Monàe’s album again and now knowing to what to pay attention to, I feel like, I begin to understand some parts of this genre. The multilayered aesthetic of Afrofuturism manages to critize not only historical but also nowadays dilemmas of Black people and Indigenous People of Color (BIPoC) on a truly unique way. Looking only shortly into only a few facets of this topic, I am stunned. This music is addressed and also needs an audience in order to function how supposed to and like in other topics regarding racism I, as a white scholar, need to listen to those affected by racism and question my own. I can be an alley by helping to shed light onto those who are “experts” in this field (racism) and learn from them. The genre of Afrofuturism addresses the experiences of the black community like no other.

 

Comments

Popular posts from this blog

William Basinski – The Disintegration Loops III

  The Disintegration Loops is a quartet of albums published in 2002 and 2003 by American avant-garde composer William Basinski. The pieces are made up of tape loop recordings that were played over time, with noise and crackles rising as the tape deteriorated. Basinski noticed this effect when attempting to convert his older recordings to digital format. The completion of the recordings coincided with the September 11, 2001 events, which Basinski witnessed and adds a deeper meaning to the composition. The composition is fascinating in many ways and makes the listener lose track of time. The tape loop recording had a very calming effect on me and put me in a trance-like state when I listened to it in its entirety. The tape loop is really soothing, so much so that I didn't even notice the loss of quality when I first listened to it. It makes you forget about time and allows you to really get into the piece capturing the calmness it exudes. You forget or don't really notice how i...

Pierre Schaeffer - Étude pathétique

  Pierre Schaefer begins the piece with sounds produced by drums and similar percussion instruments. One hears the sound of an object spinning and then coming to a stop. I assume it is a circular object, like a cymbal or hi-hat of a drum kit, that spins until it comes to a stop. Sounds of a locomotive follow, continuing with a mixture of drums and spinning objects as well as voices. There are slight parallels here with another piece by Schaeffer, "etude aux chemins de fer," in which he has the musical piece consist of sounds of trains and locomotives. I also recognize an accordion and a violin playing rapidly, accompanied by human sounds that are not really decipherable. By combining all these background sounds and using human voices, Schaeffer creates an exciting atmosphere while listening to the piece, and the listener's auditory senses are constantly challenged to decipher all the details of the sounds. At times one could be reminded of a scene from a scary movie, at l...

Pauline Oliveros – The Goddard in the Dan Harpole Cistern

  After watching Dan Harpole's film of Goddard in the Cistern, one is struck by how creepy the location appears and feels. In the light, you can just make out a lengthy ladder leading down into a concrete-walled area. It's absolutely dark, with only the top hatch and a small lamp providing lighting. This sequence accounts for a significant portion of the plot. Three persons are seen climbing up and down the ladder, which might be regarded the music piece's official start. Additionally, while the name "Dan Harpole Cistern" suggests a vast space, it appears to be a homemade video. A hum and other vocal noises travel across the room, bouncing off the walls. The women's voices generate a hum that contributes to the room's unique feel. The beautiful singing is interrupted by metal fragments falling on the floor. One would ask how much thought went into the sounds, given that the majority of them appear to be chosen at random. The emphasis is not on making sound...