In my youth, I grew up with women. My mother, grandmother, and the majority of my teachers were women. In particular, a number of them were poor, some openly and others not LGBTQ and/or people of color. Yet I, for a long time, took no part in wanting to think about it. For me, I had internalized a sense of want in masculinity because for so long, being blue was pushed upon me. However, I would argue that I have improved from that stage of hypermasculinity and Audre Lorde’s “Learning from the 60s” and Janelle Monae’s album Dirty Monae remind me why us boys have a lot to learn from as Monae puts it the “pussy riot”. Continue reading “Oh Lorde, Us Men Gotta Be More Pynk”
It can be understand that human beings by all means are social creatures. In fact isolation, particularly extreme cases, it has shown to cause debilitating affects. As such, it makes sense we form communities to face precarious situations and the excerpt of Octavia E. Butler’s Parable of the Sower and short story “Non-Zero Possibilities” connect back to this concept of: community and belief. Furthermore its connection to community and belief are important aspects to afrofuturism.
Continue reading “It is Better to Be Loved than Feared: A Not So Tale on Machavalliean’s Concept of Community and Belief”
Whether it is Toni Morrison’s Song of Solomon or the impact of black preachers, black culture is based on “cut and repetition”. Snead notes that black culture is based in the process of “cutting” or stopping, going back, and continuing with the process; the process could describe music, spoken word, or figures within black culture. Black culture is “circular” whereas European culture “accumulates” (67). Yet both are flawed, black culture is doomed to “always suffer in a society” where it is based in material progress. European culture will continue to realize its limitations because “repetition has been suppressed in favor of fulfillment” (71). Therefore in the context of race relations, having solely either will result in each struggling against each other.
Continue reading “The Forces We Bring-Kazon Robinson”
In the depth of my past and the repetition of everyone within my sphere, music is core to our character. For my mother, she sings passionately in her room to Whitney Houston. My younger brother is dreaming of Chance the Rapper and the rapper’s next big single. My grandmother, in her frustration to call me, sings out her familiar negro spirituals; a reminder of the bad times but the good times to come. All of that juxtaposes with not only what Snead discusses but our general discussion in class: the perception of wrong and right.
Continue reading “Keep to the Rhythm-Kazon Robinson”
When I first gauged the reading, it was certainly confusing. The formatting of the text, usage of complex diction, and unending verses, make the content itself difficult. However, that difficulty makes the reading and its message on Afrofuturism more palpable. Continue reading “Response to Libretto for the Republic of Liberia”
Moonlight was a phenomena, Get Out was a tragedy, and Black Panther was mystical. In the case of all these films, I always was left with a feeling that black culture was inherently being put into opposition. In context to Black Panther, the whole film embraces the beauty that is the African diaspora and ties it to concepts of afrofuturism. When I looked at both James Snead’s work and Hagel’s eurocentric perspective on black people, establishes that blackness is in contrast to Western and western based communities. Continue reading “BKS 188- Afrofuturism-Week 1 Reflection”