“Afrofuturism — What is its Sound?” is a 2-day event curated by Dr. Julian Chambliss, professor of English, Michigan State University and ZORA! Festival National Planner. This conference is inspired by Zora Neale Hurston’s legacy of valuing the voices and sounds of black culture and will marry elements of futurism or science fiction to the oral tradition and music technology evident in black history and culture.
To view the full conference program, click here
Explore Afrofuturism in podcast interviews and webinars featuring Dr. Julian Chambliss and last year’s keynote speakers by visiting the ZORA! Festival Academic Conference 2020-2021 Afrofuturism Syllabus. Housed in UCF Library’s STARS repository, this open-access syllabus is part of a new 1-credit History/Africana Studies course, “Afrofuturism and the Hurston Legacy,” developed by Dr. Scot French, Associate Professor of History at UCF and chair of the ZORA! Festival Academic Committee.
The current intellectual activism linked to Afrofuturism is a challenge to our established notion of knowledge production and dissemination. There exists this dynamic — Contemporary scholars engage in this work, a complex process of recovery that recognizes the legacy of black knowledge within black culture and can be found by examining everyday practice and discovery; which considers how a framework centered on African Diaspora practice offers new ways to understand science, aesthetic, philosophy and gender is taking place. Inherent to Afrofuturism’s critique of the colonial power structure that defines modernity is a recognition of how black thought and action have been demonized and marginalized. In the U.S. context, this knowledge persists within black communal spaces but often lies outside white-controlled institutions. Current scholarly production seeks to remedy this inequity.
Thus, scholars such as Dr. Kinitra Brooks, who champions a consideration of rootwork or traditional medicinal practice commons within the black community, challenges us to understand that the definition of “knowledge” has been and continues to be shaped by antiblack belief. Her work seeks to bring the conjure woman into the canonical conversation and in doing so validates black folk practice. These efforts weave an inclusive narrative that recognizes the ways seminal figures such as W.E.B. Dubois and Zora Neale Hurston might be understood as part of a “black speculative” tradition dedicated to freedom and rejecting the tenets of “white” modernity. In this way, we can see how those past actors concerned with arts and letters are analogous to contemporary figures such as curator Ingrid LaFleur, who engages in a political art practice that seeks to celebrate and invigorate Detroit using an Afrofuturism platform concerned with art and practice or artists such as John Jennings whose aesthetic vision centers African American cultural experience through critical design practice.
Dynamic and evolving, Afrofuturism as theory and practice can and will continue to grow. It describes both a mode of knowledge production and corresponding practice that seeks to set a new inclusive standard for understanding society.
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