It's All Coming Together: The Link Between Afrofuturist Artists
The Last Angel of History (1996) combines documentary and science fiction to create a film that intertwines itself deeply with Afrofuturism in both aesthetic and content. Coated in out-of-this-world hues of oranges and blues, the film’s creator, John Akomfrah, overstimulates us with flashes of African diaspora iconography, moodily lit interviews with prominent Black cultural figures, and music. Filled with a mishmash of jazz, funk, blues, synthesizers — the list goes on — this music does not sit quietly in the background to set a mood. It takes a leading role in pointing to an undeniable linkage between Black creative expression and space.
In order to relay the alienation experienced by Black communities, Black musicians and science fiction novelist have gravitated to, well, the Milky Way. The nuances of associating traumatic displacements of Black people in the world by writing about, performing as, and even becoming— in the case of Sun Ra — actual extraterrestrials, is a profound analogy. However, and most interestingly, this idea seems to be innate to these creators. Without contact, pioneers of the genre settle on this narrative. Which beckons the question: How is this possible?
Though funkmaster George Clinton and his Mothership Connection express themselves in a completely different way from the experimental jazz of Sun Ra, and both tellings are in stark contrast to alternative, electronic reggae blends of Lee “Scratch” Perry; the thematic connection is uncanny. Perhaps it is the undeniable ‘othering’ Black people have, and continue, to experience. Perhaps there is in fact a divine, genetic linkage — as suggested by Akomfrah in this documentary. Or maybe even societal shifts that sparked these musicians’ desire to explore something beyond our planet. Whatever the cosmic conditioning, Afrofuturism, and all those that practice its many facets, have cultivated worlds that empower, experiment, innovate and inspire generations to come.
I really life your statement about how the music does not sit quietly in the background. It's almost uncomfortable and distracting. Like the Laura Marks article said, it argues with you by making you want to dance.
ReplyDeleteI hadn't thought about the use of color in the film, but I think the contrast created by the vivid blues and oranges creates further contrast and represents the clash between the archival footage used in the film and the futuristic aesthetics.
ReplyDelete