Sankofa (1993) directed by Haile Gerima
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Aqua Utopia|海の底で記憶を紡ぐ
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Sankofa (1993) directed by Haile Gerima

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TamaGucci, film, photo- isaak daguilh
commissioned collage art I accomplished for R.LUM.R’s EP release flyer. His new project “After Image” is nw available for listening on all musical platforms; spotify plugging him heavy so go there to receive his testimony. Thanks for believing in my spirit!
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machell andré
Portrait de mariées jumelles, 1998 by Hassan Traore

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Sun and Shade, 1952, photographed by Roy DeCarava #inspired
Nina Simone - Ain’t Got No, I Got Life
South Carolina community members ripped a confederate flag from a KKK member’s hand. Then proceeded to set it on fire.
‘Youngin’ a short film by kya lou in collaboration with Freshly Faded Barber Shop.
Navigating the woes posed against the fruit of Black life in America can be a difficult task. Such navigation is weary and often interrupts the mundane activities we must engage ourselves in for success in work and school. Black college students, in particular, are presented with a unique disadvantage at PWI’s that the majority of their counterparts do not have to face. As a means to navigate such troubles; many Black college students engage in afro-futuristic travel as a means to develop spaces that rid the stresses caused by racist events within their campus and global communities.
In addition to creating their individual spaces, collective and communal spaces are developed with the same purpose of ridding the stress imposed by racism. For example, in protests initiated by Black/African/Afrikan student unions and organizations across the country anthems are developed to create roadmaps with varying destinations. Some roadmaps include the lyrics of rap Kendrick Lamar’s ‘Alright’ all while others include the sounds of Future’s Astronaut Status or Pluto Albums. Altogether, the music provides transportation for students to keep on keepin’ on.
Music allows Black students to access varying forms of freedom that can exist solely for the individual that creates the space. Often, that space comes into fruition through headphones. Or even takes the form of an acapella performed in social and political circles on campus. I find it important to acknowledge how music is ingrained in our everyday experiences and how it encourages travel away from the negative impacts of our society and share global culture.

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Supa Dupa Fly: Missy Elliott & Afro-Futurism
Sun Ra opened the lane for many Black artists to embrace Afrofuturism as a part of the context of their creative work. Among those artists is Missy Elliott, one of the world’s most notable rappers. Her fame is often associated with mega-producer Timbaland. Together, they have used Afrofuturism as a recurring theme in their projects.
In the music video for ‘Sock It 2 Me’ featuring Da Brat, Missy ascends on a mission through space to defeat the enemies that attack her and her counterparts. All while doing so, she breaks it down in funky dance numbers. Throughout the video, she takes the form of two characters. The primary role she assumes is a superhero. Her secondary role is in a dance crew that seems to cheer Missy on as she defeats the bad forces that seek to destroy what Missy knows as home.
The music video’s narrative depicts what a future designed by Black folk could look like. The entire music video cast appears to be of African descent. The society we have come to know in America will never be a landscape that respectfully considers Blackness the same way whiteness is considered. The blueprint for success and equality in America is rooted in systematic oppression. America’s backbone is ingrained with discrimination, injustice and the distribution of privileges to maintain hegemonic structures. With that being said, many Afro-Futurists have concluded that space is the place where we can truly be free. However, the inhabitants of the planet where Missy takes stage, are impacted by negative forces that seek to destroy them. The characters that follow Missy and attack her counterparts represent the oppressive forces people of Afrikan descent are presented with today. In the end of the video, Missy Elliott flees the planet and into space. Her next destination is unknown. But, I interpret her overall message to encourage Black people to explore their own methods of escape in order to survive.
Bruce Davidson: East 100th Street, New York City (1966)

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Grace Jones, 1975
photographed by Antonio Lopez
Available through The Dot Project
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