Afrocentricity in AfroFuturism: Toward Afrocentric Futurism
Aaron X. Smith (ed.), Molefi Kete Asante (contributor)
Published:
2023
Online ISBN:
9781496847881
Print ISBN:
9781496847836
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Afrocentricity in AfroFuturism: Toward Afrocentric Futurism
Molefi Kete Asante (contributor)
Chapter
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Kofi Kubatanna
Pages
131–148
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Published:
October 2023
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Kubatanna, Kofi, 'Message for the People Party: Hip-Hop and the Motherland in the Age of AfroFuturism', in Aaron X. Smith (ed.), Afrocentricity in AfroFuturism: Toward Afrocentric Futurism (
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Abstract
This chapter focuses on hip-hop art and culture, which is one of the most powerful mediums utilized to dispel the Western myths of Africa while internationalizing the diasporic experience. It presents an Africological approach totally encapsulated in Afrocentricity as a means to properly identify the importance of a specific utterance of hip-hop. Erudite individuals have analyzed the impact of what some call “unconscious,” “nonconscious,” and “commercial” rap with the hope of locating a coherent message, only to advocate for a bibliophilic redress of poetic prerogative. Gangsta rap is assigned placement in the mentioned categories. In the past, AfroFuturism was primarily regarded as a cultural mode of expression and philosophically as a form of aesthetics. What is less understood is how AfroFuturism is related to the cultural production of hip-hop music, that is, how AfroFuturism is linked to the hip-hop culture that emerged during the decline of urban inner-city cores in the latter half of the twentieth century and its digital transition in the twenty-first century, especially in visual culture. The chapter then considers hip-hop artists such as Nipsey Hussle and the poet Knowledge Reign Supreme Over Nearly Everyone, commonly called KRS-ONE.
Keywords: hip-hop art, hip-hop culture, diasporic experience, Afrocentricity, gangsta rap, AfroFuturism, hip-hop music, hip-hop artists, Nipsey Hussle, KRS-ONE
Subject
Race and Ethnicity
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