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But, Afrofuturism does not just create technologically advanced futures where Black people reign it looks at the past and exposes how Black people have been written out and erased from scientific history. Black people feel comfortable, now more than before, to participate in events like cosplay and festivals and own comic book stores. Once an identity that had to be hidden and enjoyed in private, but today, the Blerds and Black geeks need not fear, for their interests are now cool. Womack also talks about the rise of the Black Geek and the Blerd (Black Nerd). Womack isn’t the only person who wished to see herself represented in sci-fi films and television programs. The experience filled her fourth grade heart with joy and pride however she notes that “the absence of such imagery wasn’t lost on me” ( Womack 2013: 5).
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Womack opens her book by talking a time she was Princess Leia for Halloween. In her book, Afrofuturism: The World of Black Sci-Fi and Fantasy Culture, Ytasha L. Du Bois, Ralph Ellison, and Octavia Butler.Though there are many definitions of Afrofuturism, they all have themes of reclamation, black liberation, and revisioning of the past and predictions of the future through a black cultural lens in common.
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Lastly, Adriano Elia describes Afrofuturism as “a transdisciplinary cultural movement based upon the unusual connection between the marginality of allegedly “primitive” people of the African diaspora and “modern” technology and science fiction.” ( Elia 2014: 83) In his article, “The Languages of Afrofuturism,” Elia considers the different languages of Afrofuturism through the art of Basquiat, music of Sun Ra, and literature of W. Instead, it is a larger aesthetic mode that encompasses a diverse range of artists working in different genres and media who are united by their shared interest in projecting black futures derived from Afrodiasporic experiences.” ( Yaszek 2006) Other definitions of Afrofuturism come from Ytasha Womack, in which she defines Afrofuturism as “ an intersection of imagination, technology, the future, and liberation.” ( Womack 2013: 9). The term ‘Afrofuturism’ was coined in 1990s by, cultural critic, Mark Dery in his edited collection Flame Wars: The Discourse of Cyberculture. Dery uses the term Afrofuturism to define “speculative fiction that treats African-American themes and addresses African-American concerns in the context of 20th century technoculture - and more generally, African-American signification that appropriates images of technology and a prosthetically enhanced future.” ( Dery 1994: 136) Lisa Yaszek interprets Dery’s definition in two-parts: “as the first part of Dery’s definition suggests, Afrofuturism is closely related to science fiction as an aesthetic genre…However, as Dery argues in the second half of his definition, Afrofuturism is not only a subgenre of science fiction. Commodification, Diffusion, and Defusion.
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