Afrofuturism often critiques existing power structures and imagines alternative realities. Read the following article and write a half page response analyzing how an Afrofuturist accomplishes this (many artist are mentioned in the article or you can choose one you know).- choose any of the artist mentioned The science fiction novels of Octavia Butler used Afrofuturist aspectsthroughout the latter half of the 20th century. A prolific figure working in aspace inhabited primarily by white authors, she prominently featured blackwomen as protagonists and set her plots against a background ofheightened technology and magical realism. Director Ava DuVernayannounced in August that she, along with writer-director Victoria Mahoneyand producer Charles D. King, would be adapting Butler's 1987 book"Dawn" for television. The story centers on a black woman who joins forceswith aliens to resurrect the human race centuries after a nuclear war.DuVernay's film adaptation of the science-fiction book "A Wrinkle in Time"is due next month, starring people of color in the lead and multiplesupporting roles. She also directed a futuristic music video for Jay-Z's"Family Feud," released in late December, which takes place in the year2444, working back to 2050. It envisions a world led by women of color andfeatures a grown Blue Ivy Carter, who guides a group of women in rewritingthe Constitution.The aesthetic has also been linked to Erykah Badu, Rihanna, Missy Elliott,Solange Knowles and Beyoncé's "Lemonade," with its "phalanx of women inethereal white dresses that simultaneously conjure ancient and space-agesocieties," as a New York Times essay put it.These projects typically present black creatives' visions of a revolutionaryfuture. Coogler's "Black Panther" film, on the other hand, exhibitsAfrofuturist ideals while set in the present day. Wakanda remainsuntouched by Western civilization - it's a utopian nation in postcolonialAfrica, created entirely by non-white people. Wakanda embraces Africantraditions and scientific prowess in its designs and practices, and theexperiences of the hero, T'Challa, serve as a powerful contrast to those ofthe American villain, Killmonger."T'Challa represents... an African that hasn't been affected bycolonization," Coogler previously told The Washington Post. "So what wewanted to do was contrast that with a reflection of the diaspora. But thediaspora that's the most affected by it. And what you get with that is, youget African Americans. You get the African that's not only a product ofcolonization, but also a product of the worst form of colonization, which isslavery. It was about that clash." The long-awaited "Black Panther" will dominate the pop culture scene overthe next few weeks, and amid praise for the cast and Ryan Coogler's astutedirection, you're likely to hear one word quite often: Afrofuturism.The term, coined by cultural critic Mark Dery in his 1994 essay "Black tothe Future," refers to an aesthetic that infuses science fiction and fantasywith cultures of the African diaspora. It shakes up our preconceived notionsof history and race by envisioning an often utopic future shaped by blacktechnological innovation. Elements of it predate the term, going as far backas the 1950s, appearing everywhere from visual art to novels to comic booksto music by the likes of George Clinton and the jazz musician Sun Ra.While the Marvel film shines as an example through its storyline anddesign, a slew of recent projects from Janelle Monáe, Ava DuVernay andothers have helped usher the term into mainstream culture.Monáe released a trailer on Friday for "Dirty Computer," a new album withan accompanying narrative film. The 30-second teaser, set to air ahead ofsome "Black Panther" showings, presents clips of a dystopian world set toguitar feedback and snapping fingers. Monáe's co-star Tessa Thompson isabducted by a man dressed in military gear. We cut to the two embracingon a beach. Seconds later, Monáe lies on an examination table whilesomeone strokes a mysterious tattoo on her arm."They drained us of our dirt, and all the things that made us special," shenarrates. "And then you were lost. Sleeping. And you didn't rememberanything at all."Monáe's work has exhibited Afrofuturist influences for years the Quietus,an online British magazine, proclaimed back in 2010 that she "brandishesthe acetylene torch for radical Afrofuturism." In her multi-album"Metropolis" saga, the singer's alter ego, Cindi Mayweather, is a messianicandroid who was sent back in time to lead a protest movement against anoppressive regime."[Cindi] helps me write and she helps me talk," Monáe told HuffPost in2013. "When I speak about science-fiction and the future and androids, I'mspeaking about the 'other." "Her words engage with questions Dery brought up in his essay: "Can acommunity whose past has been deliberately rubbed out, and whoseenergies have subsequently been consumed by the search for more legibletraces of its history, imagine possible futures? Furthermore, isn't the unreal.estate of the future already owned by the technocrats, futurologists,streamliners, and set designers - white to a man who have engineeredour collective fantasies?"

Question

Afrofuturism often critiques existing power structures and imagines alternative realities.  Read the following article and write a half page response analyzing how an Afrofuturist accomplishes this (many artist are mentioned in the article or you can choose one you know).- choose any of the artist mentioned The science fiction novels of Octavia Butler used Afrofuturist aspectsthroughout the latter half of the 20th century. A prolific figure working in aspace inhabited primarily by white authors, she prominently featured blackwomen as protagonists and set her plots against a background ofheightened technology and magical realism. Director Ava DuVernayannounced in August that she, along with writer-director Victoria Mahoneyand producer Charles D. King, would be adapting Butler's 1987 book&#34;Dawn&#34; for television. The story centers on a black woman who joins forceswith aliens to resurrect the human race centuries after a nuclear war.DuVernay's film adaptation of the science-fiction book &#34;A Wrinkle in Time&#34;is due next month, starring people of color in the lead and multiplesupporting roles. She also directed a futuristic music video for Jay-Z's&#34;Family Feud,&#34; released in late December, which takes place in the year2444, working back to 2050. It envisions a world led by women of color andfeatures a grown Blue Ivy Carter, who guides a group of women in rewritingthe Constitution.The aesthetic has also been linked to Erykah Badu, Rihanna, Missy Elliott,Solange Knowles and Beyoncé's &#34;Lemonade,&#34; with its &#34;phalanx of women inethereal white dresses that simultaneously conjure ancient and space-agesocieties,&#34; as a New York Times essay put it.These projects typically present black creatives' visions of a revolutionaryfuture. Coogler's &#34;Black Panther&#34; film, on the other hand, exhibitsAfrofuturist ideals while set in the present day. Wakanda remainsuntouched by Western civilization - it's a utopian nation in postcolonialAfrica, created entirely by non-white people. Wakanda embraces Africantraditions and scientific prowess in its designs and practices, and theexperiences of the hero, T'Challa, serve as a powerful contrast to those ofthe American villain, Killmonger.&#34;T'Challa represents... an African that hasn't been affected bycolonization,&#34; Coogler previously told The Washington Post. &#34;So what wewanted to do was contrast that with a reflection of the diaspora. But thediaspora that's the most affected by it. And what you get with that is, youget African Americans. You get the African that's not only a product ofcolonization, but also a product of the worst form of colonization, which isslavery. It was about that clash.&#34; The long-awaited &#34;Black Panther&#34; will dominate the pop culture scene overthe next few weeks, and amid praise for the cast and Ryan Coogler's astutedirection, you're likely to hear one word quite often: Afrofuturism.The term, coined by cultural critic Mark Dery in his 1994 essay &#34;Black tothe Future,&#34; refers to an aesthetic that infuses science fiction and fantasywith cultures of the African diaspora. It shakes up our preconceived notionsof history and race by envisioning an often utopic future shaped by blacktechnological innovation. Elements of it predate the term, going as far backas the 1950s, appearing everywhere from visual art to novels to comic booksto music by the likes of George Clinton and the jazz musician Sun Ra.While the Marvel film shines as an example through its storyline anddesign, a slew of recent projects from Janelle Monáe, Ava DuVernay andothers have helped usher the term into mainstream culture.Monáe released a trailer on Friday for &#34;Dirty Computer,&#34; a new album withan accompanying narrative film. The 30-second teaser, set to air ahead ofsome &#34;Black Panther&#34; showings, presents clips of a dystopian world set toguitar feedback and snapping fingers. Monáe's co-star Tessa Thompson isabducted by a man dressed in military gear. We cut to the two embracingon a beach. Seconds later, Monáe lies on an examination table whilesomeone strokes a mysterious tattoo on her arm.&#34;They drained us of our dirt, and all the things that made us special,&#34; shenarrates. &#34;And then you were lost. Sleeping. And you didn't rememberanything at all.&#34;Monáe's work has exhibited Afrofuturist influences for years the Quietus,an online British magazine, proclaimed back in 2010 that she &#34;brandishesthe acetylene torch for radical Afrofuturism.&#34; In her multi-album&#34;Metropolis&#34; saga, the singer's alter ego, Cindi Mayweather, is a messianicandroid who was sent back in time to lead a protest movement against anoppressive regime.&#34;[Cindi] helps me write and she helps me talk,&#34; Monáe told HuffPost in2013. &#34;When I speak about science-fiction and the future and androids, I'mspeaking about the 'other.&#34; &#34;Her words engage with questions Dery brought up in his essay: &#34;Can acommunity whose past has been deliberately rubbed out, and whoseenergies have subsequently been consumed by the search for more legibletraces of its history, imagine possible futures? Furthermore, isn't the unreal.estate of the future already owned by the technocrats, futurologists,streamliners, and set designers - white to a man who have engineeredour collective fantasies?&#34;

Accepted Answer

Afrofuturism is a form of expression of black identity, and freedom through art, agency, creative…