Honours Mid Year Report July 2024
Nnamdi Ekeledo-Smith
Thesis Argument:
Afrofuturism serves as a critical space for the re-presentation of African culture, challenging traditional Western narratives by offering a dynamic platform where African diasporic identities can be reimagined and reasserted. Drawing on Stuart Hall's distinction between (re)presentation and Representation, Afrofuturism navigates the tension between how African cultures have been historically depicted (Representation) and how these cultures can reclaim and transform their narratives through creative expression (re-presentation). By merging speculative fiction, technology, and African cultural elements, Afrofuturism not only critiques the limitations and biases of the Western gaze but also facilitates a new space for self-determined, critical reflections on identity, history, and futurity. This re-presentation within Afrofuturism subverts the Western gaze, offering alternative visions of Blackness that resist the reductive and often stereotypical portrayals prevalent in mainstream media, thus contributing to a broader discourse on cultural sovereignty and the decolonization of the imagination.
Project Report:
My honours year has been a profound journey of self-reflection, challenging me to critically engage with and question the parameters and purpose of Afrofuturism. This journey has included researching, critiquing, and evolving my own artistic practice in relation to the movement. However, I often find myself uncomfortable fully aligning with Afrofuturism as a "movement" or "genre." My work revolves around a search for identity, driven by an inherent urge to create mythical and futuristic scenes that reflect my cultural shaping and experiences—often visually represented through scenes of community or isolation. This exploration of identity, particularly Black identity, is deeply rooted in my institutional experiences, most notably my time in Year 12 of high school.
During my final year of high school, I encountered significant institutional discrimination, marginalisation, and racial microaggressions from senior staff members. This culminated in a particularly impactful incident where I was forced to cut my hair because it was deemed "messy" and "conspicuous," despite it being within the school's hair policy. As one of the few African students at the school, I turned to visual language as my primary outlet for expression. My art became a means of confronting and processing the racialized experiences that marked my high school years.
This early encounter with institutional critique has significantly shaped my art practice. My visual language frequently explores and question’s Black identity, with a particular focus on mythology, history, hair, tradition, futures, and duality. The work I create is not only an attempt to confront the questions that have troubled me but also a contribution to a broader conversation on identity. This critical reflection on my mixed-race experience, which began in high school, has continued to evolve through my honour’s year, as I delve into key conversations around identity that emerge from the Afro-diasporic community within the context of Afrofuturism.
Ultimately, my high school experience set the course for my ongoing critical engagement with institutional critique. The journey I went through in Year 12, exploring art and expression through figures like Jean-Michel Basquiat, Malcolm X, Sidney Nolan, and Frida Kahlo, laid the foundation for my current practice. It positioned me within a space where I am constantly questioning the role of race in my experience and identity, as well as the broader implications of these reflections in my work.
Highschool Folio:
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Stuart Hall's concept of Representation vs. (re)presentation offers a critical framework for understanding how African culture and Black identity can be reclaimed and reimagined. Hall argues that traditional representations of Blackness have often been shaped by Western perceptions, perpetuating stereotypes and limiting the scope of African and diasporic identities. In contrast, (re)presentation allows for a reimagining of these identities, enabling the construction of new, more empowering narratives. This theoretical lens is crucial in understanding the work of Octavia Butler, particularly in her novel *Parable of the Sower*. Butler's narrative weaves past experiences into future worlds, creating a rich tapestry that challenges linear perceptions of time and identity. Through this warping of time, Butler not only critiques the present but also re-presents the future as a space where Black identity can be reimagined and empowered.
Paul Gilroy's concept of the Black Atlantic further complicates these ideas by highlighting the transnational and transcultural exchanges that shape Black identity. Gilroy's work underscores the fluidity of Black culture, particularly in the context of English versus American Afrofuturism. While American Afrofuturism often emphasises the reclamation of African roots and the creation of a distinctly Black future, English Afrofuturism tends to focus on the hybridity and intersectionality of Black identity within a postcolonial context. This distinction is vital in understanding how Afrofuturism operates differently across the Atlantic, offering multiple avenues for re-presenting Blackness.
These figures have not only influenced my artistic practice but have also activated and created room for more critical African and Black conversations worldwide. By engaging with Hall, Butler, and Gilroy, I have been able to explore the complexities of identity, time, and culture in my work, contributing to a broader discourse that challenges traditional representations and opens up new possibilities for (re)presentation. This engagement has allowed me to position my practice within a global conversation that seeks to reimagine and reclaim Black identity in all its complexity.
Octavia E. Butler and Ytasha L. Womack stand as pivotal figures in the landscape of Afrofuturism, each contributing uniquely to its development and its relevance in contemporary discourse. Butler, through her profound and haunting narratives, particularly in the "Earthseed" series, masterfully intertwines time, memory, and identity, crafting worlds where past traumas echo into future possibilities. In "Parable of the Sower," Butler explores the complexities of economic and racial representation in a post-apocalyptic world, challenging the very fabric of societal constructs. Her exploration of these themes resonates deeply with my artistic practice, where the tension between representation and (re)presentation becomes a focal point, allowing me to re-imagine the future of Afro-diasporic life through a lens shaped by both historical realities and speculative possibilities.
Conversely, Ytasha L. Womack's contributions to Afrofuturism, particularly through her seminal work "Afrofuturism: The World of Black Sci-Fi and Fantasy Culture," offer a critical re-contextualization of Afrofuturism in the 21st century. Womack's scholarship provides a new sense of authenticity and comfort in the critical discourse surrounding African American efforts to reclaim and redefine Afrofuturism, particularly challenging the notion that the movement began only when Mark Dery coined the term. Her emphasis on the intersections of technology, culture, spirituality, and re-imagination aligns seamlessly with my artistic goals, influencing my practice to engage with these themes and explore new futures for the African diaspora.
The convergence of Butler's narrative depth and Womack's critical re-contextualization has profoundly impacted my work. The themes of identity, imagination, and future possibilities in their works inspire me to create art that not only reflects on my own experience as a mixed-race individual but also contributes to broader critical reflections and dialogues within the diaspora. Through their influence, my work aims to re-present and challenge stereotypes, creating spaces for positive dialogue and critical reflection on the complexities of black identity.
Butler and Womack's contributions have been instrumental in shaping my artistic journey. Their work not only influences my practice but also fosters broader conversations about the role of Afrofuturism in re-presenting African culture and challenging the Western gaze, paving the way for more critical and nuanced discussions on black identity and futurism across the globe.
I have embarked on a critical exploration of Afrofuturism, delving into its parameters and purpose in ways that have profoundly influenced my artistic practice. This journey has been shaped by key figures such as Octavia E. Butler, whose speculative narratives in works like Parable of the Sower intertwine past traumas with future possibilities, and Ytasha L. Womack, whose theoretical insights on Afrofuturism emphasize the revival of power and autonomy for the African diaspora. Stuart Hall's distinction between representation and re-presentation has been particularly pivotal in my understanding, guiding me to consider how Afrofuturism offers a re-presentation of African culture that challenges and redefines the Western gaze. Despite this rich theoretical framework, I have struggled to position myself fully within the Afrofuturist movement. My work often diverges from traditional Afrofuturist themes, which frequently focus on futuristic elements and speculative technology. Instead, I find myself gravitating towards symbols of community and identity, such as the Fist, Comb, Eyes, Roots, and the Black body, as I navigate a personal journey of identity formation.
This journey has involved a deep dive into the parameters and purpose of Afrofuturism, challenging me to critically engage with its concepts and question how they resonate—or sometimes, fail to resonate—within my own practice. Influential figures like Octavia Butler, Ytasha L. Womack, and Stuart Hall have shaped my understanding of Afrofuturism and its potential to re-present African culture and challenge the Western gaze. Through this exploration, I have grappled with the tension between representation and re-presentation, as articulated by Stuart Hall, and the revival of power and autonomy that Womack identifies as central to Afrofuturism.
However, positioning myself within the Afrofuturist movement has been a struggle. My work does not neatly align with traditional Afrofuturist themes, which often emphasize futuristic elements, technology, and speculative fiction. Instead, my practice has increasingly focused on symbols of identity and community, such as the Fist, Comb, Eyes, Roots, and the Black body. These symbols, which I will explore in greater detail later in this essay, serve as a means of expressing my ongoing search for identity and my feelings of disconnect from the community. This divergence from traditional Afrofuturism reflects a broader challenge I have encountered in my research: the lack of conversation around Afrofuturism within Australia. Instead, much of the discourse here is centred around Indigenous futurisms, leaving a gap in the discussion of Afro-diasporic futures in this context.
Despite these challenges, my exploration of Afrofuturism has been deeply enriching. It has forced me to confront the complexities of my own identity as a mixed-race artist and to consider how my work can contribute to broader conversations about the re-presentation of Black culture. By engaging with the ideas of Butler, Womack, and Hall, I have begun to carve out a space for my practice that honours the spirit of Afrofuturism while also addressing the unique cultural dynamics of being an Afro-diasporic artist in Australia. This process has not only influenced my artistic journey but has also positioned me within the broader discourse of institutional critique, as I seek to challenge and reframe the narratives that have traditionally marginalized Black voices in both art and society.
· Hair (Afros, Dreadlocks, and Other Iconic Hairstyles): In my practice, hair functions as a powerful symbol of identity and resistance, embodying the cultural significance and historical resilience of Black communities. However, to me Afros, dreadlocks, and other iconic hairstyles are not merely aesthetic choices; they are deeply rooted in a legacy of defiance against or within colonial beauty standards and represent a reclamation of Black African diasporic identity. Within the context of Afrofuturism, these hairstyles symbolise the fusion of tradition and future, where African diasporic identity is not only preserved but also celebrated in futuristic narratives, challenging the Western gaze and re-presenting African culture with autonomy and pride. The hair is especially deep-rooted in me as I was forced to cut it all off in year 12 and have since not cut my hair. (except for the occasional fade and lineup)
· The Black Power Fist: The Black Power Fist is a potent symbol of resistance, unity, and empowerment within the African diaspora. In my work, it represents the ongoing struggle for racial justice and the affirmation of Black identity. This symbol aligns with the principles of Afrofuturism, as it evokes a sense of empowerment that transcends temporal boundaries—rooted in historical struggles but pointing towards a future where Black autonomy and power are fully realised. The Fist becomes a visual metaphor for the defiance against oppressive structures and the reimagining of a future where Black lives are valued and celebrated. to me, the comb symbolises the balance between pride and power of Afro-diasporic identity.
· The Afro Comb: The Afro Comb, with its deep cultural and historical roots, serves as a symbol of pride and resistance within my practice. It represents the intertwining of identity, heritage, and the collective memory of the African diaspora. As a tool, it is both functional and emblematic, often used to shape and maintain iconic hairstyles that resist Western constraints such as the hat. In Afrofuturism, the Afro Comb is a symbol of the re-presentation of African culture, connecting the past with the future and highlighting the continuity and evolution of Black identity through time.
· Eyes: Eyes in my practice symbolise perception, awareness, and the ability to see beyond the surface as well as to be observed with human emotion. They represent the critical gaze through which African diasporic individuals view themselves and the world, challenging the distortions of the Western gaze. In the context of Afrofuturism, eyes serve as a metaphor for vision—both the act of seeing and the capacity to envision new futures. They embody the critical consciousness that is necessary for the re-presentation of African culture, allowing for a nuanced exploration of identity that transcends traditional boundaries.
· Roots: Roots are a powerful metaphor in my work, representing both the literal and figurative connections to ancestry, heritage, and the land. They symbolize the deep ties that African diasporic individuals maintain with their cultural origins, even as they navigate new identities in the diaspora. In Afrofuturism, roots are emblematic of the connection between past and future, grounding futuristic narratives in the richness of African history and culture. They serve as a reminder that the future cannot be fully imagined without acknowledging and honouring the past.
· African Diasporic Ancient Symbolism: The use of African diasporic ancient symbolism in my practice reflects a commitment to preserving and reinterpreting cultural knowledge and spiritual beliefs that have been passed down through generations. These symbols serve as visual metaphors for the resilience and continuity of African traditions within the diaspora. In Afrofuturism, they are re-presented in ways that challenge Western narratives, offering alternative visions of the future that are deeply rooted in African cosmologies. By incorporating these symbols, my work contributes to a broader conversation about the role of tradition and spirituality in shaping new futures for the African diaspora.
I am yet to be able to conclude on the direction of my practice and research paper other than its exploration into Representation and Representation through the context of Afro-diasporic Afrofuturism as the methodological framework.
