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In a world where existence itself is an act of resistance, Afrofuturism emerges as a vision for a future shaped by hope and the struggles of the African diaspora. More than an aesthetic, Afrofuturism represents revolutionary optimism—a reimagining of the future through a distinctly African lens, blending techno-culture with elements of science fiction. At its core, Black speculative thought anchors Afrofuturism, serving as both its foundation and its essence. Science fiction becomes a fitting vessel for Afrofuturism, reflecting the experiences of a diaspora denied its identity. The archetype of “the stranger in a strange land” mirrors the reality of those cut off from their histories, determined to forge a future of their own making. The cultural and artistic impact of Black Panther (2018) as an Afrofuturist milestone cannot be overstated. Directed by Ryan Coogler, the Marvel blockbuster became a global phenomenon, grossing over $1.3 billion and resonating deeply with audiences, particularly within the African and African diaspora communities. The film’s setting, Wakanda, represents a vision of uncolonized Africa: a technologically advanced, self-sustaining society rich in cultural heritage and innovation. While Black Panther stands as one of the most prominent modern examples, Afrofuturism is not confined to technocratic narratives. Pioneers like the Sun Ra Arkestra infused it into jazz, delivering theatrically adorned performances and groundbreaking compositions that redefined the genre. Other examples of afrofuturism in music includes Parliament Funkadelic and their Holy Mothership, Dr. Dre, and Janelle Monáe. There are countless examples of Afrofuturism in literature, with Tomi Adeyemi’s Children of Blood and Bone standing out as a powerful contribution. Adeyemi was inspired by the sacred and vivid depictions of African gods and goddesses and sought to create a story rooted in West African heritage while addressing contemporary issues like police brutality. In her author’s note, she writes: In  “But if this story affected you in any way, all I ask is that you don’t let it stop within the pages of this text. If you cried for Zulaikha and Salim, cry for innocent children like Jordan Edwards, Tamir Rice, and Aiyana Stanley-Jones. They were fifteen, twelve, and seven when they were shot and killed by police.” Earlier works also paved the way for the genre. Pauline Hopkins’ Of One Blood (1902) is a groundbreaking story that challenges the separation of races, often cited as one of the earliest examples of Black internationalism. Rivers Solomon’s An Unkindness of Ghosts explores structural racism aboard a generation ship where marginalized People of Color live under systemic oppression. Octavia E. Butler, a foundational figure in speculative fiction, used her works to address contemporary African-American issues through the lens of 20th-century technoculture. Ytasha Womack, author of Afrofuturism: The World of Black Sci-Fi and Fantasy Culture says  “In Afrofuturism, time is treated as nonlinear, so it becomes a healthy way to explore histories, futures, and resilience.” She also emphasizes the role of pop culture, like fiction and literature, work as a lens for understanding the past and the present, making Afrofuturism all the more essential in a fight for liberation and understanding. While Afrofuturism often imagines bold futures, retro Afrofuturism offers a powerful way to reimagine the past. By recreating histories through a liberatory lens, it transcends temporal boundaries. The Before Yesterday We Could Fly exhibit at the MET, for instance, envisions a preserved Seneca Village—a thriving African-American community that was erased—reclaiming what could have been to inspire what could still be. Speculative fiction within Afrofuturism is deeply interconnected with historical and cultural legacies. Harriet Tubman, often described as an Afrofuturist icon, envisioned a future of liberation for the oppressed and turned those dreams into transformative action. Afrofuturism challenges us to dream of freedom and liberation as the first steps toward creating lasting change. More than ever, this genre deserves to be uplifted, especially in spaces where its presence has been overlooked. Afrofuturism challenges us to think beyond boundaries—of time, place, and oppression—and centers Black voices in the creation of worlds that are just, imaginative, and free. In the fight for liberation, its stories remind us of the importance of dreaming boldly, especially in spaces where its presence is most needed. For the African diaspora, Afrofuturism is more than a genre; it is a blueprint for empowerment. Stay connected with Afrique Noire Magazine here on Instagram and join our fast growing community here on TikTok Images by Shem Obara Written by Abigail Tan

In this month’s episode of African Creative Stories, we had the pleasure of interviewing two incredible models: Jesujoba Isaac (AWE) from Nigeria and Lelam Nombewu from South Africa. They shared their experiences about the realities of being a model in Africa and offered insights on how the industry can improve. We hope you enjoy this episode as much as we did!     In conversation with the first model    What’s your name, and which country do you reside in?   My name is Jesujoba Isaac, AWE. I currently reside in Lagos, Nigeria where I work as a model and performance poet.     What’s your fondest memory as a model?     I now have quite a few memories; working with one of the best photographers in Lagos, walking the runway at Lagos Fashion Week and featuring on the GTCO Fashion Weekend campaign. It’s been such a ride, and a long time coming.     What improvements do you think the modeling industry in Africa needs?   I honestly feel that there have been too many rejections, even when a model practically meets the criteria for a shoot or fashion show. It’s too political, which makes it difficult for the new generation of models to thrive. From my personal experience, it’s a painful process fighting your way to the top. I don’t think there should be any boxes whatsoever—there’s room for everybody..   In conversation with the second model    What’s your name, and which country do you reside in?   My name is Lelam Nombewu, and I’m from Cape Town, South Africa, where I still reside.       What’s your fondest memory as a model? One of my fondest memories as a model was working with Michael Ludwig Studios. The experience was incredibly special to me because it wasn’t just about the work, it was about the lessons I learned from Michael.   Their patience, willingness to teach without criticism, and dedication to their craft were things that left a lasting impact on me. It taught me so much about the industry and, more importantly, about myself.       What improvements do you think the modeling industry in Africa needs?   When it comes to the African modeling industry, I believe there is a pressing need for greater diversity and representation. While there has been a growing focus on African beauty, a significant gap remains in representing the full spectrum of our continent’s diversity. From different cultures, body types, and skin tones, Africa has so much more to offer than what is typically portrayed in the media. People often hold a narrow view of what an African model should look like, but the reality is that we come from a rich variety of backgrounds, and this diversity deserves to be celebrated.   Furthermore, I believe Africa needs to invest more in talent development. We have incredible potential, but it often goes unrecognized due to a lack of platforms to showcase and nurture this talent. Many aspiring models struggle to access proper training, mentorship, and professional development opportunities. With more resources, workshops, and agencies dedicated to guiding and uplifting young talent, we could build a more professional and sustainable modeling industry.     Thank you for joining us on this episode ofAfrican Creative Stories. Stay connected with Afrique Noire Magazine here on Instagram and join our fast growing community here on TikTok