![]() Strait, the institution’s curator, was conceived even before the museum opened its doors in front of the White House in 2016. The semi-permanent exhibition, co-curated by Kevin M. But the Washington initiative goes one step further in the acceptance of Afrofuturist ideas: part of the Smithsonian, the NMAAHC occupies a prominent place on the National Mall, a symbolic battlefield for the discourse with which the United States tells its own history. This exhibit joins two others that are currently on view: one at the Metropolitan Museum of Art in New York, which is a permanent space that imagines a 19th-century room through the lens of an examination of present-day racism, and another in artist Lauren Halsey’s pharaonic-inspired monument, which is installed on the Central Park building’s roof. Past, present and future are cited right in the title of the exhibit Afrofuturism: A History of Black Futures, at the National Museum of African American History and Culture (NMAAHC) in Washington, D.C. The Merriam-Webster dictionary defines Afrofuturism as “a movement that uses the framework of science fiction and fantasy to reimagine the history of the African diaspora and to set forth a vision of a technically advanced and hopeful future for Black people.” Both served as the Trojan horse for introducing into mainstream cultural discourse a term that critic Mark Dery coined in 1994 from the fringes of academia. ![]() ![]() It is featured in museum programs across the country, inspires pop stars like Beyoncé and Janelle Monáe, encourages revisiting Black women science-fiction authors and even has its own blockbuster movie, the two installments of the fantasy Black Panther. A specter is haunting the United States, the specter of Afrofuturism. ![]()
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