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Afro-Futurism: The Movement
This guides leads to resources for researching the music genre of Afro-futurism in literature, music and film.
Afrofuturism 2. 0 by Reynaldo Anderson (Editor); Lonny Avi Brooks (Contribution by); David DeIuliis (Contribution by); Jeff Lohr (Contribution by); Esther Jones (Contribution by); Qiana Whitted (Contribution by); Charles E. Jones (Editor); Tiffany E. Barber (Contribution by); Nettrice Gaskins (Contribution by); Ricardo Guthrie (Contribution by); Grace Gipson (Contribution by); Ken McLeod (Contribution by); tobias c. van Veen (Contribution by); Andrew Rollins (Contribution by)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.
Afrofuturism and Black Sound Studies by Erik SteinskogThis 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.