Arts + Culture

Black Magic & Afrofuturism From The Diaspora Take Center Stage In Brooklyn Exhibition

'Black Magic: AfroPasts/AfroFutures' is on view at Corridor Gallery in Brooklyn.

Digital edit of 2manysiblings by Underdog. Original image credit: @Ichyulu
For Brooklyn-based curator and anthropologist Niama Safia Sandy, afrofuturism isn’t just some abstract concept. “It’s what we live every day,” she tells me at the opening of Lauryn Hill’s Diaspora Calling! art exhibition. “It’s not so much an interest as it is life.”

Sandy is the curator of Brooklyn’s newest spotlight on magical realism and afrofuturism in the Black Diaspora. The multi-disciplinary group show, a curatorial debut for Sandy, features photography, video installations, paintings and collages that explore “magical blackness” through the past and future of the Black Diaspora.

“The show looks at this idea of magical realism as well as afrofuturism combined across the Black diaspora,” the curator tells Okayafrica. “What are the things that connect us? What is the iconography that connects us? And how does that look visually? What does that sound like? What does that feel like?”

The exhibition also marks a debut for our own Okayafrica family, Underdog. The DC-based DJ and graphic artist is showcasing his art in the flesh for the very first time.

Underdog at the opening of Black Magic: AfroPasts/AfroFutures. Photo: Ginny Suss.
Also taking part in the show is Atlanta-based painter and photographer Arnold Butler, Brooklyn-based photographer Delphine Fawundu, Haitian-American painter Charles Jean-Pierre, poet and performance artist Roger Bonair-Agard, Haitian-born mixed media artist Soraya Jean Louis-McElroy and ODDKinCREATE.

Black Magic: AfroPasts/AfroFutures is on view at Corridor Gallery (334 Grand Street, Brooklyn, NY) now through May 22, 2016. Find out more details on the exhibition here and read Sandy’s full curatorial statement below:

Magical realism is not merely a literary genre, but instead a very real actuality for we – the black and brown people of this earth. We smuggle the spiritual into every waking moment just as Afro-Futurism smuggles the intellectual and the axé (after Paul Carter Harrison and Sandra Jackson-Dumont) – the beauty and the power of our multitudinous voices – into the every day. Imagine scenes of lush color flooded by the light of the sun – in Bridgetown, in Brooklyn, in Brixton, in Bamako. Intersections of the past, present and future grounded in the magic that was already in the soil, in the air, passed on by our ancestors through breath, bonds, blood, ritual well after we came across the Atlantic all of these many times. We carry it with us wheresoever we go - this abundant color, rhythm, swagger, this ambulatory cosmology. Who and what we are now is a combination of Ley lines and the mixtures of all the noises and the gods we carry in our blood from the Americas, West Africa and India and whatever other watersheds we came from. Because of this, we see and hear magic in everything across water, space and time. Through the work of selected visual artists, Black Magic: AfroPasts/AfroFutures explores magical blackness through the lens of days gone by and imaginings of what is yet to come across the Diaspora.

Delphine Fawundu, SHE REMEMBERS the TURNER PLANTATION, South Hampton, VA #9
Delphine Fawundu, Mende Woman on the Nat Turner Plantation, South Hampton, VA #8
Arnold Butler, Infatuation Is Not Enough
Charles Jean-Pierre, Liberte Egalite Fraternite II
OddKinCreate, Think Ahead
Niama Safia Sandy and Charles Jean-Pierre at the opening of Black Magic: AfroPasts/AfroFutures. Photo: Ginny Suss
Charles Jean-Pierre at the opening of Black Magic: AfroPasts/AfroFutures. Photo: Antoinette Isama
Delphine Fawundu, Mende Woman Sees The Turner Plantation, South Hampton, Virginia. #3. Photo: Antoinette Isama
Photo: courtesy of Natsai Audrey Chieza

100 Women: Natsai Audrey Chieza is Changing the World One Petri Dish at a Time

Her interdisciplinary approach to biology and fashion has sparked conversation about the future of sustainability and pollution in textile manufacturing.

The bold jewel tones of OkayAfrica 100 Women honoree Natsai Audrey Chieza's silk scarves aren't the product of hazardous chemicals or silkscreen printing. Instead, they are the product of bacteria. Specifically coelicolor, a strain of bacteria found in soil that happens to excellently synthesize organic chemical compounds. Working in the trade for six years, the Zimbabwean materials designer quickly came to understand why the textile industry is one of the most polluting industries in the world. Knowing that the most harm occurs during the process of dyeing fabrics, she decided to take action.

Chieza has worked with leading brands such as Microsoft, Nissan, and Unilever to usher in a new approach to science and design. Through her creative R&D; studio Faber Futures, the design innovator uses the process of creating with bacteria to assist in moving mankind away from our fossil fuel dependency. As the biopigment expert put it [last year during her TED talk "Fashion has a pollution problem—can biology fix it?"], in the future we must make sure that we are not "mirroring the destructive legacies of the oil age."

Her interdisciplinary approach to biology and fashion has sparked spirited conversation about the future of sustainability and pollution in textiles. Here, Chieza expounds on her start, the pros and cons of creating something new and the urgency of change.

The following has been edited for length and clarity

Akinyi Ochieng for OkayAfrica: STEM and the arts are often conceptualized as separate worlds. However, in your career, you've managed to find the overlap. How did you, a materials designer, end up dabbling in biotechnology?

Natsai Audrey Chieza: I've always really wanted to work within the creative field. I used to work in architecture where I really enjoyed my education in a systems approach to designs and designing for multiple contexts. But I wanted to explore a different side of the design world, so I began exploring the skill and context of material flows, and how technology and futures fits within this framework of how we design.

For my own work and my practice, not having a scientific background made me try things based on what I understood about materials and what I understood about the interactions in which those materials existed in society. I'm interested in a political lens, an economic lens, and how textiles perform in reality. That's not necessarily the approach that a scientist would have taken. Now that's not to say that science isn't important—it's vital. But innovation can occur in that intersection.

Did you go into this thinking, "Oh, I'll figure it out. There must be a path to make this work"?

To be honest, when I started off, the field was not defined. I think I found something really interesting, which was about how biology was becoming a realm of design, and I just explored that as best as I knew how as a designer and non-scientist. It just so happened that around me there was a context that was imagined but enabled me six years later to say, "That's the industry where this work belongs" and stakeholders who give me a space to further my work in a creative and experimental. The path was never anything clear at all. I learned as I grew.

There's a phrase that is often repeated today: "You can't be what you can't see." But you have really created a niche for yourself. What are the benefits of entering an emerging space?

I think what's amazing is not having anyone or anything telling you that what you think is impossible. If you're carving a new territory then you must trust in your instinct and vision to effectively push where the work can be and where it exists. You're not asking permission to do anything. Of course the flip side of that is you have to bring people with you, and so part of you being able to do the work is convincing people that your vision has legitimacy and it's worth exploring, worth taking a risk to look outside of that box.

It's often quite challenging to figure out how to find the strength to push something that hasn't been done before. There's no precedent or rulebook to my work, but sometimes it's really nice to have a rulebook. [Laughs] However, I think it's made me a person who doesn't see challenges as obstacles that are in the way, but more as problems that can be solved. And I think that's the good thing.

Much of your work is about biopigments. What color excites you?

It's not really the colors that excite me. It's color as a cultural context that really fascinates me. I'm really interested in if a microbe is almost like this living factory that produces this pigment, and the technology can be shared and deployed with people as to how you work with it across the world, then what are the cultural interventions that can happen in South Africa versus in Argentina versus in the United Kingdom, based on this common microbe. I think that's always been what interests me the most, the context in which our materials exist. I think a really good example is indigo, and how from Japan to West Africa, indigo is just this really, really rich material, and the process and the craftsmanship that goes into it. I'm interested to see how the future ecology of making arises in response to biotechnologies across the world.

Where do you see yourself and your work evolving in the near or long term?

I'm sort of going through that growth moment where you've been working toward something and then you've arrived at that and you're like, "Right, what's next?" I think I'm fundamentally somebody that wants to use design as a discursive tool to understand how our technologies proliferate. My focus is really on the imagined life sciences and how they're going to become very much a part of all of our lived experiences, and particularly in the context of really urgent changes that are happening from a local level to a global level. From global warming and climate change to resource scarcity across regions, our response to what I think being able to design with living systems, can afford us in the future. So my work really is about understanding how to engage stakeholders across different sectors to grow a consensus around how we're going to leverage these sorts of technologies so that they can be technologies for good. That's really where this is going.

This article appears as part of OkayAfrica's 100 Women 2018—a project highlighting the impactful work done by African women across the globe. Throughout March, we will be publishing a series of profiles, videos, interviews and feature stories on these inspirational women.

Click here to see the entire list of 2018 honorees.

Maia & The Big Sky LP cover.

Start Your Week Off Right With This Soulful Kenyan Collaboration

Maia & the Big Sky connect with Blinky Bill for "Pawa."

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Maia's recently tapped into the vinyl revival wave as her 11-song Maia & the Big Sky LP is reportedly the first Kenyan album released on vinyl since the 1970s.

The Nairobi-based artist is now sharing the new music video for "Pawa," the album's leading track, which we're premiering here today. Directed by Chris King, the beautiful new clip sees Maia & the Big Sky taking over the TV airwaves and minds of all of those watching, freeing them from the "power" that controls them.

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Photo: Mídia NINJA

The Assassination of Marielle Franco and the Dawn of Brazil's New Civil Rights Movement

Marielle Franco was one of a new generation of black activists trying to overturn Brazil's entrenched and violent racism

The violence in Rio de Janeiro right now is akin to a war zone, with per capita death tolls resembling those from Afghanistan and Syria. Two weeks ago I traveled there for business and stayed in the relatively safe and trendy neighborhood of Santa Teresa. Each night of my stay, was abruptly awaken by long streams of gunshots and also fireworks from the nearby favela of Falett. The fireworks—as I learned from my local friends—were not a result of any celebration, rather a signal that either drugs, guns, or the police have arrived. This is the norm for many of the 763 favelas in Rio which houses nearly 25 percent of the city's population.

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