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Tuesday, March 22, 2022

Russification

From Wikipedia, the free encyclopedia

"The Attack" (Hyökkäys), an 1899 oil painting by Edvard Isto, depicting the Russification of Finland as a double-headed eagle attacking the Finnish Maiden and tearing her law book

Russification (Russian: Русификация, romanizedRusifikatsiya), or Russianization, is a form of cultural assimilation in which non-Russians, whether involuntarily or voluntarily, give up their culture and language in favor of the Russian culture and the Russian language.

In a historical sense, the term refers to both official and unofficial policies of the Russian Empire and the Soviet Union with respect to their national constituents and to national minorities in Russia, aimed at Russian domination and hegemony.

The major areas of Russification are politics and culture. In politics, an element of Russification is assigning Russian nationals to leading administrative positions in national institutions. In culture, Russification primarily amounts to the domination of the Russian language in official business and the strong influence of the Russian language on national idioms. The shifts in demographics in favour of the ethnic Russian population are sometimes considered as a form of Russification as well.

Analytically, it is helpful to distinguish Russification, as a process of changing one's ethnic self-label or identity from a non-Russian ethnonym to Russian, from Russianization, the spread of the Russian language, culture, and people into non-Russian cultures and regions, distinct also from Sovietization or the imposition of institutional forms established by the Communist Party of the Soviet Union throughout the territory ruled by that party. In this sense, although Russification is usually conflated across Russification, Russianization, and Russian-led Sovietization, each can be considered a distinct process. Russianization and Sovietization, for example, did not automatically lead to Russification – change in language or self-identity of non-Russian peoples to being Russian. Thus, despite long exposure to the Russian language and culture, as well as to Sovietization, at the end of the Soviet era non-Russians were on the verge of becoming a majority of the population in the Soviet Union.

History

An early case of Russification took place in the 16th century in the conquered Khanate of Kazan (medieval Tatar state which occupied the territory of former Volga Bulgaria) and other Tatar areas. The main elements of this process were Christianization and implementation of the Russian language as the sole administrative language.

After the Russian defeat in the Crimean War in 1856 and the Polish rebellion of 1863, Tsar Alexander II increased Russification to reduce the threat of future rebellions. Russia was populated by many minority groups, and forcing them to accept the Russian culture was an attempt to prevent self-determination tendencies and separatism. In the 19th century, Russian settlers on traditional Kazakh land (misidentified as Kyrgyz at the time) drove many of the Kazakhs over the border to China.

Azerbaijan

Russian was introduced to the South Caucasus following its colonisation in the first half of the nineteenth century after Qajar Iran was forced to cede its Caucasian territories per the Treaty of Gulistan and Treaty of Turkmenchay in 1813 and 1828 respectively to Russia. By 1830 there were schools with Russian as the language of instruction in the cities of Shusha, Baku, Elisabethpol, and Shamakhi; later such schools were established in Quba, Ordubad, and Zagatala. Education in Russian was unpopular among ethnic Azeris until 1887, when Habib bey Mahmudbeyov and Sultan Majid Ganizadeh founded the first Russian-Azeri school in Baku. A secular school with instruction in both Russian and Azeri, its programs were designed to be consistent with cultural values and traditions of the Muslim population. Eventually 240 such schools for both boys and girls, including a women's college founded in 1901, were established prior to the "Sovietization" of the South Caucasus. The first Russian-Azeri reference library opened in 1894. In 1918, during the short period of the Azerbaijan's independence, the government declared Azeri the official language, but the use of Russian in government documents was permitted until all civil servants mastered the official language.

In the Soviet era, the large Russian population of Baku, the quality and prospects of education in Russian, increased access to Russian literature, and other factors contributed to the intensive Russification of the Baku's population. Its direct result by the mid-twentieth century was the formation of a supra-ethnic urban Baku subculture, uniting people of Russian, Azerbaijani, Armenian, Jewish, and other origins and whose special features were being cosmopolitan and Russian-speaking. The widespread use of Russian resulted in a phenomenon of 'Russian-speaking Azeris', i.e. an emergence of an urban community of Azerbaijani-born ethnic Azeris who considered Russian their native language. In 1970, 57,500 Azeris (1.3%) identified Russian as their native language.

Belarus

Russian and Soviet authorities conducted policies of Russification of Belarus from 1772 to 1991, interrupted by the Belarusization policy in the 1920s.

With the gaining to the power of pro-Russian authoritarian Alexander Lukashenko in 1994, the Russification policy was renewed.

Finland

The Russification of Finland (1899–1905, 1908–1917), sortokaudet ("times of oppression" in Finnish) was a governmental policy of the Russian Empire aimed at the termination of Finland's autonomy. Finnish opposition to Russification was one of the main factors that ultimately led to Finland's declaration of independence in 1917.

Latvia

On September 14, 1885, an ukaz was signed by Alexander III setting the mandatory use of Russian for Baltic governorate officials. In 1889, it was extended to apply to official proceedings of the Baltic municipal governments as well. By the beginning of 1890s, Russian was enforced as the language of instruction in Baltic governorate schools.

After Soviet re-occupation of Latvia in 1944, Russian became the language of State business, and Russian served as the language of inter-ethnic communication among the increasingly urbanized non-Russian ethnic groups, making cities major centres for the use of Russian language and made functional bilingualism in Russian a minimum necessity for the local population.

In an attempt to partially reverse the Soviet Russification policies and give the Latvian language more equal positions to Russian, the so-called Latvian national communist faction within the Communist Party of Latvia passed a bill in 1957 that made the knowledge of both Latvian and Russian obligatory for all Communist Party employees, government functionaries and service sector staff. The law included a 2-year deadline for gaining proficiency in both languages.

In 1958, as the two-year deadline for the bill was approaching, the Communist Party of the Soviet Union set out to enact an education reform, a component of which, the so-called Thesis 19, would give parents in all of the Soviet Republics, with the exception of Russian SSR, a choice for their children in public schools to study either the language of the republic's titular nation (in this case Latvian) or Russian, as well as one foreign language, in contrast, to the previous education system, where it was mandatory for school children to learn all three languages.

Due to strong opposition from the Latvian national communists and the Latvian public, Latvian SSR was only one of two of the 12 Soviet Republics that did not yield to the increasing pressure to adopt Thesis 19 and excluded its contents from their ratified statutes. This led to the eventual purge of the Latvian national communists from the Communist Party ranks between 1959 and 1962. A month after the removal of the Latvian National Communist leader Eduards Berklavs All-Union legislation was implemented in Latvia by Arvīds Pelše.

In an attempt to further widen the use of Russian and reverse the work of the national communists, a bilingual school system was established in Latvia, with parallel classes being taught in both Russian and Latvian. The number of such schools increased dramatically, including regions where the Russian population was minimal, and by July 1963 there were already 240 bilingual schools.

The effect of the reform was the gradual decline in the number of assigned hours for learning Latvian in Russian schools and the increase of hours allocated for learning Russian in Latvian schools. In 1964–1965 the total weekly average of Latvian language classes and Russian language and literature classes in Latvian schools across all grades was reported to be 38.5 and 72.5 hours respectively, in comparison with 79 hours being devoted to Russian language and 26 hours being devoted to Latvian language and literature in Russian schools. The reform has been attributed to the persistence of poor Latvian language knowledge among Russians living in Latvia and the increasing language gap between Latvians and Russians.

In 1972, the Letter of 17 Latvian communists, was smuggled outside the Latvian SSR and circulated in the Western world, accusing Communist Party of the Soviet Union of "Great Russian chauvinism" and "progressive Russification of all life in Latvia":

The first main task is to transfer from Russia, Belorussia, and the Ukraine as many Russians, Belorussians and Ukrainians as possible, and to resettle them permanently in Latvia (...) Now the republic already has a number of large enterprises where there are almost no Latvians among the workers, engineering-technical personnel, and directors (...); there are also those where most of the workers are Latvians, but none of the executives understands Latvian (...) About 65% of the doctors working in municipal health institutions do not speak Latvian (...) Demands of the newcomers to increase Russian-language radio and television broadcasts in the republic are being satisfied. At the present time one radio program and one television program is broadcast entirely in Russian, and the other program is mixed. Thus about two-thirds of the radio and television broadcasts in the republic are in Russian. (...) about half of the periodicals published in Latvia are in Russian anyway. Works of Latvian writers and school textbooks in Latvian cannot be published, because there is a lack of paper, but books written by Russian authors and school textbooks in Russian are published. (..) There are many collectives where Latvians have an absolute majority. Nevertheless, if there is a single Russian in the collective, he will demand that the meeting be conducted in Russian, and his demand will be satisfied. If this is not done, then the collective is accused of nationalism.

Lithuania and Poland

A Roman Catholic church being demolished by the order of authorities in Vilnius, 1877

In 19th century, the Russian Empire strove to replace the Ukrainian, Polish, Lithuanian, and Belarusian languages and dialects by Russian in those areas, which were annexed by the Russian Empire after the Partitions of Poland (1772–1795) and the Congress of Vienna (1815). Imperial Russia faced a crucial critical cultural situation by 1815:

Large sections of Russian society had come under foreign influence as a result of the Napoleonic wars and appeared open to change. As a consequence of absorbing so much Polish territory, by 1815 no less than 64 per cent of the nobility of the Romanov realm was of Polish descent, and since there more literate Poles than Russians, more people within it could read and write Polish than Russian. The third largest city, Vilnius, was entirely Polish in character and its university was the best in the Empire.

Russification in Congress Poland intensified after the November Uprising of 1831, and in particular after the January Uprising of 1863. In 1864, the Polish and Belarusian languages were banned in public places; in the 1880s, Polish was banned in schools, on school grounds and in the offices of Congress Poland. Research and teaching of the Polish language, of Polish history or of Catholicism were forbidden. Illiteracy rose as Poles refused to learn Russian. Students were beaten for resisting Russification. A Polish underground education network formed, including the famous Flying University. According to Russian estimates, by 1901 one-third of the inhabitants in the Congress Poland was involved in clandestine education based on Polish literature.

Starting in the 1840s, Russia considered introducing Cyrillic script for spelling the Polish language, with the first school books printed in the 1860s; the reform was eventually deemed unnecessary because of introduction of school education in the Russian language.

Two issues of the same Lithuanian popular prayer book on Lithuanian, Auksa altorius (Golden Altar). Under the Lithuanian press ban, the version on the left was illegal from 1865-1904 because it was printed in the Latin alphabet. The one on the right in Cyrillic was legal and paid for by the government.

A similar development took place in Lithuania. Its Governor General, Mikhail Muravyov (in office 1863–1865), prohibited the public use of spoken Polish and Lithuanian and closed Polish and Lithuanian schools; teachers from other parts of Russia who did not speak these languages were moved in to teach pupils. Muravyov also banned the use of Latin and Gothic scripts in publishing. He was reported as saying, "What the Russian bayonet didn't accomplish, the Russian school will." ("Что не додѣлалъ русскій штыкъ – додѣлаетъ русская школа.") This ban, lifted only in 1904, was disregarded by the Knygnešiai, the Lithuanian book smugglers, who brought Lithuanian publications printed in the Latin alphabet, the historic orthography of the Lithuanian language, from Lithuania Minor (part of East Prussia) and from the United States into the Lithuanian-speaking areas of Imperial Russia. The knygnešiai came to symbolise the resistance of Lithuanians against Russification.

The Russification campaign also promoted the Russian Orthodox faith over Catholicism. The measures used included closing down Catholic monasteries, officially banning the building of new churches and giving many of the old ones to the Russian Orthodox church, banning Catholic schools and establishing state schools which taught only the Orthodox religion, requiring Catholic priests to preach only officially approved sermons, requiring that Catholics who married members of the Orthodox church convert, requiring Catholic nobles to pay an additional tax in the amount of 10% of their profits, limiting the amount of land a Catholic peasant could own, and switching from the Gregorian calendar (used by Catholics) to the Julian one (used by members of the Orthodox church).

Most of the Orthodox Church property in the 19th century Congress Poland was acquired at the expense of the Catholic Church of both rites (Roman and Greek Catholic).

After the 1863 January Uprising, many manors and great chunks of land were confiscated from nobles of Polish and Lithuanian descent who were accused of helping the uprising; these properties were later given or sold to Russian nobles. Villages where supporters of the uprising lived were repopulated by ethnic Russians. Vilnius University, where the language of instruction had been Polish rather than Russian, closed in 1832. Lithuanians and Poles were banned from holding any public jobs (including professional positions, such as teachers and doctors) in Lithuania; this forced educated Lithuanians to move to other parts of the Russian Empire. The old legal code was dismantled and a new one based on the Russian code and written in the Russian language was enacted; Russian became the only administrative and juridical language in the area. Most of these actions ended at the beginning of the Russo-Japanese War of 1904–1905, but others took longer to be reversed; Vilnius University re-opened only after Russia had lost control of the city in 1919.

Bessarabia/Moldova

Bessarabia was annexed by the Russian Empire in 1812. In 1816 Bessarabia became an autonomous state, but only until 1828. In 1829, the use of the Romanian language was forbidden in the administration. In 1833, the use of the Romanian language was forbidden in churches. In 1842, teaching in Romanian was forbidden in secondary schools; it was forbidden in elementary schools in 1860.

The Russian authorities encouraged the migration of Moldovans to other provinces of the Russian Empire (especially in Kuban, Kazakhstan and Siberia), while foreign ethnic groups (especially Russians and Ukrainians, called in the 19th century "Little Russians") were encouraged to settle there. Though the 1817 census did not record ethnicity, Romanian authors have claimed that Bessarabia was populated at the time by 86% Moldovans, 6.5% Ukrainians, 1.5% Russians (Lipovans) and 6% other ethnic groups. 80 years later, in 1897, the ethnic structure was very different: only 56% Moldovans, but 11.7% Ukrainians, 18.9% Russians and 13.4% other ethnic groups. During 80 years, between 1817 and 1897, the share of the Moldovan population dropped by 30%.

After the Soviet occupation of Bessarabia in 1940, the Romanian population of Bessarabia was persecuted by Soviet authorities, especially in the years following the annexation, based mostly on social, educational, and political grounds; because of this, Russification laws were imposed again on the Romanian population. The Moldovan language promoted during the Interwar period by the Soviet authorities first in the Moldavian Autonomous Soviet Socialist Republic, and after 1940 taught in the Moldavian Soviet Socialist Republic, was actually the Romanian language but written with a version of the Cyrillic script derived from the Russian alphabet. Proponents of Cyrillic orthography argue that the Romanian language was historically written with the Cyrillic script, albeit a different version of it (see Moldovan alphabet and Romanian Cyrillic alphabet for a discussion of this controversy).

The cultural and linguistic effects of Russification manifest themselves in persistent identity questions. During the breakup of the Soviet Union, this led to separation of a large and industrialized portion of the country, becoming the de facto independent state of Transnistria, whose main official language is Russian.

Ukraine

The Valuev Circular of 1860, designed to eradicate the usage of Ukrainian language.

Russian and Soviet authorities conducted policies of Russification of Ukraine from 1709 to 1991, interrupted by the Korenizatsiya policy in the 1920s. Since Ukraine's independence, its government has implemented Ukrainization policies to decrease the use of Russian and favour Ukrainian.

A number of Ukrainian activists died by suicide in protest against Russification, including Vasyl Makukh in 1968 and Oleksa Hirnyk in 1978.

After the 2014 Russian Annexation of Crimea and establishment of unrecognized Russian-supported militants in eastern Ukraine, Russification was imposed on people in these areas.

Uralic-speaking peoples

Indigenous to large parts of western and central Russia are speakers of the Uralic languages, such as the Vepsians, Mordvins, Maris and Permians. Historically, the Russification of these peoples begins already with the original eastward expansion of the East Slavs. Written records of the oldest period are scarce, but toponymic evidence indicates that this expansion was accomplished at the expense of various Volga-Finnic peoples, who were gradually assimilated by Russians; beginning with the Merya and the Muroma in the early 2nd millennium CE.

The Russification of the Komi began in the 13th to 14th centuries but did not penetrate into the Komi heartlands until the 18th century. Komi-Russian bilingualism has become the norm over the 19th and has led to increasing Russian influence in the Komi language.

The enforced Russification of Russia's remaining indigenous minorities has intensified particularly during the Soviet era and continues unabated in the 21st century, especially in connection to urbanization and the dropping population replacement rates (particularly low among the more western groups). As a result, several of Russia's indigenous languages and cultures are currently considered endangered. E.g. between the 1989 and 2002 censuses, the assimilation numbers of the Mordvins have totalled over 100,000, a major loss for a people totalling less than one million in number. According to Vasily Pekteyev, director of the Mari National Theater in Yoshkar-Ola, Mari El, a policy of Russification in the republic that began in 2001 has resulted in the Mari language no longer being taught in schools and villages. By the 2010 Russian census, there were 204,000 native speakers of Mari, a drop from 254,000 in 2002.

Under the Soviet Union

After the 1917 revolution, authorities in the USSR decided to abolish the use of the Arabic alphabet in native languages in Soviet-controlled Central Asia, in the Caucasus, and in the Volga region (including Tatarstan). This detached the local Muslim populations from exposure to the language and writing system of the Quran. The new alphabet for these languages was based on the Latin alphabet and was also inspired by the Turkish alphabet. However, by the late 1930s, the policy had changed. In 1939–1940 the Soviets decided that a number of these languages (including Tatar, Kazakh, Uzbek, Turkmen, Tajik, Kyrgyz, Azerbaijani, and Bashkir) would henceforth use variations of the Cyrillic script. It was claimed that the switch was made "by the demands of the working class."

Early 1920s through mid-1930s: Indigenization

Stalin's Marxism and the National Question (1913) provided the basic framework for nationality policy in the Soviet Union. The early years of said policy, from the early 1920s to the mid-1930s, were guided by the policy of korenizatsiya ("indigenization"), during which the new Soviet regime sought to reverse the long-term effects of Russification on the non-Russian populations. As the regime was trying to establish its power and legitimacy throughout the former Russian empire, it went about constructing regional administrative units, recruiting non-Russians into leadership positions, and promoting non-Russian languages in government administration, the courts, the schools, and the mass media. The slogan then established was that local cultures should be "socialist in content but national in form." That is, these cultures should be transformed to conform with the Communist Party's socialist project for the Soviet society as a whole but have active participation and leadership by the indigenous nationalities and operate primarily in the local languages.

Early nationalities policy shared with later policy the object of assuring control by the Communist Party over all aspects of Soviet political, economic, and social life. The early Soviet policy of promoting what one scholar has described as "ethnic particularism" and another as "institutionalized multinationality", had a double goal. On the one hand, it had been an effort to counter Russian chauvinism by assuring a place for the non-Russian languages and cultures in the newly formed Soviet Union. On the other hand, it was a means to prevent the formation of alternative ethnically based political movements, including pan-Islamism and pan-Turkism. One way of accomplishing this was to promote what some regard as artificial distinctions between ethnic groups and languages rather than promoting amalgamation of these groups and a common set of languages based on Turkish or another regional language.

The Soviet nationalities policy from its early years sought to counter these two tendencies by assuring a modicum of cultural autonomy to non-Russian nationalities within a federal system or structure of government, though maintaining that the ruling Communist Party was monolithic, not federal. A process of "national-territorial delimitation" (ru:национально-территориальное размежевание) was undertaken to define the official territories of the non-Russian populations within the Soviet Union. The federal system conferred highest status to the titular nationalities of union republics, and lower status to titular nationalities of autonomous republics, autonomous provinces, and autonomous okrugs. In all, some 50 nationalities had a republic, province, or okrug of which they held nominal control in the federal system. Federalism and the provision of native-language education ultimately left as a legacy a large non-Russian public that was educated in the languages of their ethnic groups and that identified a particular homeland on the territory of the Soviet Union.

Late 1930s and wartime: Russian comes to the fore

By the late 1930s, however, there was a notable policy shift. Purges in some of the national regions, such as Ukraine, had occurred already in the early 1930s. Before the turnabout in Ukraine in 1933, a purge of Veli Ibrahimov and his leadership in the Crimean ASSR in 1929 for "national deviation" led to Russianization of government, education, and the media and to the creation of a special alphabet for Crimean Tatar to replace the Latin alphabet. Of the two dangers that Joseph Stalin had identified in 1923, now bourgeois nationalism (local nationalism) was said to be a greater threat than Great Russian chauvinism (great power chauvinism). In 1937, Faizullah Khojaev and Akmal Ikramov were removed as leaders of the Uzbek SSR and in 1938, during the third great Moscow show trial, convicted and subsequently put to death for alleged anti-Soviet nationalist activities.

After Stalin, a Russified Georgian, became the undisputed leader of the Soviet Union, the Russian language gained greater emphasis. In 1938, Russian became a required subject of study in every Soviet school, including those in which a non-Russian language was the principal medium of instruction for other subjects (e.g., mathematics, science, and social studies). In 1939, non-Russian languages that had been given Latin-based scripts in the late 1920s were given new scripts based on the Cyrillic script. One likely rationale for these decisions was the sense of impending war and that Russian was the language of command in the Red Army.

Before and during World War II, Joseph Stalin deported to Central Asia and Siberia several entire nationalities for their suspected collaboration with the German invaders: Volga Germans, Crimean Tatars, Chechens, Ingush, Balkars, Kalmyks, and others. Shortly after the war, he deported many Ukrainians, Balts and Estonians to Siberia as well.

After the war, the leading role of the Russian people in the Soviet family of nations and nationalities was promoted by Stalin and his successors. This shift was most clearly underscored by Communist Party General Secretary Stalin's Victory Day toast to the Russian people in May 1945:

I would like to raise a toast to the health of our Soviet people and, before all, the Russian people. I drink, before all, to the health of the Russian people, because in this war they earned general recognition as the leading force of the Soviet Union among all the nationalities of our country.

Naming the Russian nation the primus inter pares was a total turnabout from Stalin's declaration 20 years earlier (heralding the korenizatsiya policy) that "the first immediate task of our Party is vigorously to combat the survivals of Great-Russian chauvinism." Although the official literature on nationalities and languages in subsequent years continued to speak of there being 130 equal languages in the USSR, in practice a hierarchy was endorsed in which some nationalities and languages were given special roles or viewed as having different long-term futures.

Late 1950s to 1980s

1958–59 education reform: parents choose language of instruction

An analysis of textbook publishing found that education was offered for at least one year and for at least the first class (grade) in 67 languages between 1934 and 1980. However, the educational reforms undertaken after Nikita Khrushchev became First Secretary of the Communist Party in the late 1950s began a process of replacing non-Russian schools with Russian ones for the nationalities that had lower status in the federal system or whose populations were smaller or displayed widespread bilingualism already. Nominally, this process was guided by the principle of "voluntary parental choice." But other factors also came into play, including the size and formal political status of the group in the Soviet federal hierarchy and the prevailing level of bilingualism among parents. By the early 1970s schools in which non-Russian languages served as the principal medium of instruction operated in 45 languages, while seven more indigenous languages were taught as subjects of study for at least one class year. By 1980, instruction was offered in 35 non-Russian languages of the peoples of the USSR, just over half the number in the early 1930s.

Moreover, in most of these languages schooling was not offered for the complete 10-year curriculum. For example, within the RSFSR in 1958–59, full 10-year schooling in the native language was offered in only three languages: Russian, Tatar, and Bashkir. And some nationalities had minimal or no native-language schooling. By 1962–1963, among non-Russian nationalities that were indigenous to the RSFSR, whereas 27% of children in classes I-IV (primary school) studied in Russian-language schools, 53% of those in classes V-VIII (incomplete secondary school) studied in Russian-language schools, and 66% of those in classes IX-X studied in Russian-language schools. Although many non-Russian languages were still offered as a subject of study at a higher class level (in some cases through complete general secondary school – the 10th class), the pattern of using the Russian language as the main medium of instruction accelerated after Khrushchev's parental choice program got under way.

Pressure to convert the main medium of instruction to Russian was evidently higher in urban areas. For example, in 1961–62, reportedly only 6% of Tatar children living in urban areas attended schools in which Tatar was the main medium of instruction. Similarly in Dagestan in 1965, schools in which the indigenous language was the medium of instruction existed only in rural areas. The pattern was probably similar, if less extreme, in most of the non-Russian union republics, although in Belarus and Ukraine schooling in urban areas was highly Russianized.

Doctrine catches up with practice: rapprochement and fusion of nations

The promotion of federalism and of non-Russian languages had always been a strategic decision aimed at expanding and maintaining rule by the Communist Party. On the theoretical plane, however, the Communist Party's official doctrine was that eventually nationality differences and nationalities as such would disappear. In official party doctrine as it was reformulated in the Third Program of the Communist Party of the Soviet Union introduced by Nikita Khrushchev at the 22nd Party Congress in 1961, although the program stated that ethnic distinctions would eventually disappear and a single common language would be adopted by all nationalities in the Soviet Union, "the obliteration of national distinctions, and especially language distinctions, is a considerably more drawn-out process than the obliteration of class distinctions." At that time, however, Soviet nations and nationalities were undergoing a dual process of further flowering of their cultures and of rapprochement or drawing together (сближение – sblizhenie) into a stronger union. In his Report on the Program to the Congress, Khrushchev used even stronger language: that the process of further rapprochement (sblizhenie) and greater unity of nations would eventually lead to a merging or fusion (слияние – sliyanie) of nationalities.

Khrushchev's formula of rapprochement-fusing was moderated slightly, however, when Leonid Brezhnev replaced Khrushchev as General Secretary of the Communist Party in 1964 (a post he held until his death in 1982). Brezhnev asserted that rapprochement would lead ultimately to the complete "unity" of nationalities. "Unity" was an ambiguous term because it could imply either the maintenance of separate national identities but a higher stage of mutual attraction or similarity between nationalities, or the total disappearance of ethnic differences. In the political context of the time, "rapprochement-unity" was regarded as a softening of the pressure towards Russification that Khrushchev had promoted with his endorsement of sliyanie.

The 24th Party Congress in 1971, however, launched the idea that a new "Soviet people" was forming on the territory of the USSR, a community for which the common language – the language of the "Soviet people" – was the Russian language, consistent with the role that Russian was playing for the fraternal nations and nationalities in the territory already. This new community was labeled a people (народ – narod), not a nation (нация – natsiya), but in that context the Russian word narod ("people") implied an ethnic community, not just a civic or political community.

Thus, until the end of the Soviet era, a doctrinal rationalization had been provided for some of the practical policy steps that were taken in areas of education and the media. First of all, the transfer of many "national schools" (schools based on local languages) to Russian as a medium of instruction accelerated under Khrushchev in the late 1950s and continued into the 1980s.

Second, the new doctrine was used to justify the special place of the Russian language as the "language of inter-nationality communication" (язык межнационального общения) in the USSR. Use of the term "inter-nationality" (межнациональное) rather than the more conventional "international" (международное) focused on the special internal role of Russian language rather than on its role as a language of international discourse. That Russian was the most widely spoken language, and that Russians were the majority of the population of the country, were also cited in justification of the special place of the Russian language in government, education, and the media.

At the 27th CPSU Party Congress in 1986, presided over by Mikhail Gorbachev, the 4th Party Program reiterated the formulas of the previous program:

Characteristic of the national relations in our country are both the continued flourishing of the nations and nationalities and the fact that they are steadily and voluntarily drawing closer together on the basis of equality and fraternal cooperation. Neither artificial prodding nor holding back of the objective trends of development is admissible here. In the long term historical perspective, this development will lead to complete unity of the nations.... The equal right of all citizens of the USSR to use their native languages and the free development of these languages will be ensured in the future as well. At the same time learning the Russian language, which has been voluntarily accepted by the Soviet people as a medium of communication between different nationalities, besides the language of one's nationality, broadens one's access to the achievements of science and technology and of Soviet and world culture.

Linguistic and ethnic Russification

Some factors favoring Russification

Minsk, Belarus, 2011: old street sign in Belarusian language (right) replaced with new one in Russian language (left).
 
A remnant of linguistic Russification in Latvia – a Soviet bilingual (Latvian-Russian) street sign in Rēzekne in 2011

Progress in the spread of the Russian language as a second language and the gradual displacement of other languages was monitored in Soviet censuses. The Soviet censuses of 1926, 1937, 1939, and 1959, had included questions on "native language" (родной язык) as well as "nationality." The 1970, 1979, and 1989 censuses added to these questions one on "other language of the peoples of the USSR" that an individual could "use fluently" (свободно владеть). It is speculated that the explicit goal of the new question on the "second language" was to monitor the spread of Russian as the language of internationality communication.

Each of the official homelands within the Soviet Union was regarded as the only homeland of the titular nationality and its language, while the Russian language was regarded as the language for interethnic communication for the whole Soviet Union. Therefore, for most of the Soviet era, especially after the korenizatsiya (indigenization) policy ended in the 1930s, schools in which non-Russian Soviet languages would be taught were not generally available outside the respective ethnically based administrative units of these ethnicities. Some exceptions appeared to involve cases of historic rivalries or patterns of assimilation between neighboring non-Russian groups, such as between Tatars and Bashkirs in Russia or among major Central Asian nationalities. For example, even in the 1970s schooling was offered in at least seven languages in Uzbekistan: Russian, Uzbek, Tajik, Kazakh, Turkmen, Kyrgyz, and Karakalpak.

While formally all languages were equal, in almost all Soviet republics the Russian/local bilingualism was "asymmetric": the titular nation learned Russian, whereas immigrant Russians generally did not learn the local language.

In addition, many non-Russians who lived outside their respective administrative units tended to become Russified linguistically; that is, they not only learned Russian as a second language but they also adopted it as their home language or mother tongue – although some still retained their sense of ethnic identity or origins even after shifting their native language to Russian. This includes both the traditional communities (e.g., Lithuanians in the northwestern Belarus (see Eastern Vilnius region) or the Kaliningrad Oblast (see Lithuania Minor)) and the communities that appeared during Soviet times such as Ukrainian or Belarusian workers in Kazakhstan or Latvia, whose children attended primarily the Russian-language schools and thus the further generations are primarily speaking Russian as their native language; for example, 57% of Estonia's Ukrainians, 70% of Estonia's Belarusians and 37% of Estonia's Latvians claimed Russian as the native language in the last Soviet census of 1989. Russian replaced Yiddish and other languages as the main language of many Jewish communities inside the Soviet Union as well.

Another consequence of the mixing of nationalities and the spread of bilingualism and linguistic Russification was the growth of ethnic intermarriage and a process of ethnic Russification—coming to call oneself Russian by nationality or ethnicity, not just speaking Russian as a second language or using it as a primary language. In the last decades of the Soviet Union, ethnic Russification (or ethnic assimilation) was moving very rapidly for a few nationalities such as the Karelians and Mordvinians. However, whether children born in mixed families where one of the parents was Russian were likely to be raised as Russians depended on the context. For example, the majority of children in families where one parent was Russian and the other Ukrainian living in North Kazakhstan chose Russian as their nationality on their internal passport at age 16. However, children of mixed Russian and Estonian parents living in Tallinn (the capital city of Estonia), or mixed Russian and Latvian parents living in Riga (the capital of Latvia), or mixed Russian and Lithuanian parents living in Vilnius (the capital of Lithuania) most often chose as their own nationality that of the titular nationality of their republic – not Russian.

More generally, patterns of linguistic and ethnic assimilation (Russification) were complex and cannot be accounted for by any single factor such as educational policy. Also relevant were the traditional cultures and religions of the groups, their residence in urban or rural areas, their contact with and exposure to the Russian language and to ethnic Russians, and other factors.

Modern Russia

On 19 June 2018, the Russian State Duma adopted a bill that made education in all languages but Russian optional, overruling previous laws by ethnic autonomies, and reducing instruction in minority languages to only two hours a week. This bill has been likened by some commentators, such as in Foreign Affairs, to a policy of Russification.

When the bill was still being considered, advocates for the minorities warned that the bill could endanger their languages and traditional cultures. The law came after a lawsuit in the summer of 2017, where a Russian mother claimed that her son had been "materially harmed" by learning the Tatar language, while in a speech Putin argued that it was wrong to force someone to learn a language that is not their own. The later "language crackdown" in which autonomous units were forced to stop mandatory hours of native languages was also seen as a move by Putin to "build identity in Russian society".

Protests and petitions against the bill by either civic society, groups of public intellectuals or regional governments came from Tatarstan (with attempts for demonstrations suppressed), Chuvashia, Mari El, North Ossetia, Kabardino-Balkaria, the Karachays, the Kumyks, the Avars, Chechnya, and Ingushetia. Although the "hand-picked" Duma representatives from the Caucasus did not oppose the bill, it prompted a large outcry in the North Caucasus with representatives from the region being accused of cowardice. The law was also seen as possibly destabilizing, threatening ethnic relations and revitalizing the various North Caucasian nationalist movements. The International Circassian Organization called for the law to be rescinded before it came into effect. Twelve of Russia's ethnic autonomies, including five in the Caucasus called for the legislation to be blocked.

On 10 September 2019, the Udmurt activist Albert Razin self-immolated in front of the regional government building in Izhevsk as it was considering passing the controversial bill to reduce the status of the Udmurt language. Between 2002 and 2010 the number of Udmurt speakers dwindled from 463,000 to 324,000.

In the North Caucasus, the law came after a decade in which educational opportunities in the indigenous languages was reduced by more than 50%, due to budget reductions and federal efforts to decrease the role of languages other than Russian. During this period, numerous indigenous languages in the North Caucasus showed significant decreases in their numbers of speakers even though the numbers of the corresponding nationalities increased, leading to fears of language replacement. The numbers of Ossetian, Kumyk and Avar speakers dropped by 43,000, 63,000 and 80,000 respectively. As of 2018, it has been reported that the North Caucasus is nearly devoid of schools that teach in mainly their native languages, with the exception of one school in North Ossetia, and a few in rural regions of Dagestan; this is true even in largely monoethnic Chechnya and Ingushetia. Chechen and Ingush are still used as languages of everyday communication to a greater degree than their North Caucasian neighbours, but sociolinguistics argue that the current situation will lead to their degradation relative to Russian as well.

In 2020, a set of amendments to the Russian constitution was approved by the State Duma and later the Federation Council. One of the amendments is to enshrine Russian as the “language of the state-forming nationality” and the Russian people as the ethnic group that created the nation. The amendment has been met with criticism from Russia's minorities who argue that it goes against the principle that Russia is a multinational state and will only marginalize them further.

Afrofuturism

From Wikipedia, the free encyclopedia

An artistic depiction of Afrofuturism

Afrofuturism is a cultural aesthetic, philosophy of science and philosophy of history that explores the developing intersection of African diaspora culture with science and technology. It was coined by Mark Dery in 1993 and explored in the late 1990s through conversations led by Alondra Nelson.

Afrofuturism addresses themes and concerns of the African diaspora through technoculture and speculative fiction, encompassing a range of media and artists with a shared interest in envisioning black futures that stem from Afro-diasporic experiences. While Afrofuturism is most commonly associated with science fiction, it can also encompass other speculative genres such as fantasy, alternate history, and magic realism.

Ytasha L. Womack, writer of Afrofuturism: The World of Black Sci-Fi and Fantasy Culture, defines it as "an intersection of imagination, technology, the future and liberation". She also follows up with a quote by the curator Ingrid LaFleur who defines it as "a way of imagining possible futures through a black cultural lens." Dr. Kathy Brown, a professor at UNT College of Visual Arts and Design, paraphrases I. Bennett Capers's 2019 work in stating that Afrofuturism is about "forward thinking as well as backward thinking, while having a distressing past, a distressing present, but still looking forward to thriving in the future." Others have said that the genre is "fluid and malleable," bringing together technology, African culture, and "other influences."

Seminal Afrofuturistic works include the novels of Samuel R. Delany and Octavia Butler; the canvases of Jean-Michel Basquiat and Angelbert Metoyer, and the photography of Renée Cox; the explicitly extraterrestrial mythoi of Parliament-Funkadelic, Herbie Hancock's partnership with Robert Springett and other visual artists, while developing the use of synthesizers, the Jonzun Crew, Warp 9, Deltron 3030, Kool Keith, Sun Ra and the Marvel Comics superhero Black Panther.

History

Mid- to late 20th-century development

Poster promoting a concert performance of American jazz musician Sun Ra and his band, the Omniverse Arkestra, on 11 October 1980, at the Old Waldorf in San Francisco. The psychedelic design is based on a 1973 portrait photo of Sun Ra.

Afrofuturism within music represents a diaspora of music that is non-traditional, focusing around the topic of blackness and space.

Sun Ra would later be called an Afrofuturist as he began recording music which created a new synthesis using Afrocentric and outer space-themed titles to reflect Ra's linkage of ancient African culture (specifically Egyptian), and the cutting edge of the Space Age. For many years, Ra and his bandmates lived, worked and performed in Philadelphia while promoting Afrofuturist ideas by touring festivals worldwide. Ra's film Space Is the Place shows The Arkestra in Oakland in the mid-1970s in full space regalia, replete with science-fiction imagery as well as other comedic and musical material. As of 2018, the band was still composing and performing, under the leadership of Marshall Allen.

Afrofuturism was a label also retroactively applied to George Clinton and his bands Parliament and Funkadelic with his magnum opus Mothership Connection and the subsequent The Clones of Dr. Funkenstein, P-Funk Earth Tour, Funkentelechy Vs. the Placebo Syndrome, and Motor Booty Affair. This also applies to Jimi Hendrix's work such as Electric Ladyland and "Third Stone from the Sun".

Provoked by Miles Davis to use electric keyboards, Herbie Hancock quickly developed his taste for gadgets into an appreciation for electric and synthesized sounds. He did this in his solo career throughout the 1970s and 1980s, at the same time adopting tribal names for his group and increasingly using electronics in his music, in a techno-primitive direction. His record covers were a very important element in this aesthetic, involving artists such as Robert Springett, Victor Moscoso and Nobuyuki Nakanishi.

In 1975, Japanese artist Tadanori Yokoo used elements of science fiction, along with Eastern subterranean myths, to depict an advanced civilization in his design of the cover art for African-American jazz musician Miles Davis's live album Agharta.

Other musicians typically regarded as working in or greatly influenced by the Afrofuturist tradition include reggae producers Lee "Scratch" Perry and Scientist, hip-hop artists Afrika Bambaataa and Tricky, electronic musicians Larry Heard, A Guy Called Gerald, Juan Atkins, Jeff Mills, Newcleus and Lotti Golden & Richard Scher, writers of "Light Years Away", described as a "cornerstone of early 80's beatbox afrofuturism".

The history and influence of many of the above artists are examined in British/Ghanaian filmmaker John Akomfrah's 1996 experimental documentary The Last Angel of History, the documentary itself being an example of advanced Afrofuturist style and thought.

A newer generation of artists are creating mainstream Afrofuturist music — for example, Janelle Monáe, Outkast, Missy Elliott and Erykah Badu.

Missy Elliott is notable for her creative fusion of afrofuturism with hip hop culture. An episode of the science fiction digital series Afrofuturism on the YouTube channel Dust explores how Elliot's futuristic visuals and sound has shaped the genre and continues to impact it today.

Cultural criticism in the 1990s

In the early 1990s Mark Dery in his 1993 essay "Black to the Future," began to write about the features he saw as common in African-American science fiction. Dery dubbed this phenomenon Afrofuturism. Afrofuturist art has been written about by scholars like Alondra Nelson, Greg Tate, Tricia Rose, Kodwo Eshun, and others. In an interview, Alondra Nelson explained Afrofuturism as a way of looking at the subject position of black people which covers themes of alienation and aspirations for a utopic future. The idea of "alien" or "other" is a theme often explored.

Additionally, Nelson says that discussions around race, access, and technology often bolster uncritical claims about a so-called "digital divide". Nelson is of the opinion that the digital divide overemphasizes the association of racial and economic inequality with limited access to technology, and that this association then begins to construct blackness "as always oppositional to technologically driven chronicles of progress".

21st century

Janelle Monáe at The River, 25 September 2010

Contemporary Afrofuturism is has been noted to be concerned with metaphysical areas such as "cosmogony, cosmology, and speculative philosophy." A new generation of recording artists has embraced Afrofuturism through their music and fashion, including Solange Knowles, Rihanna, and Beyoncé. Other artists such as Erykah Badu, Missy Elliott and Janelle Monáe have expanded on these themes incorporating the use of cyborg and metallic visuals into their style. Other 21st century musicians who have been characterized as Afrofuturist include singer FKA Twigs, musical duo Ibeyi, DJ/producer Ras G, and musician and filmmaker Flying Lotus.

Janelle Monáe has made a conscious effort to restore Afrofuturist themes to the forefront of urban contemporary music. Her notable works include the music videos "Prime Time" and "Many Moons", which explore the realms of slavery and freedom through the world of cyborgs and the fashion industry. She is credited with proliferating Afrofuturist funk into a new Neo-Afrofuturism by use of her Metropolis-inspired alter-ego, Cindi Mayweather, who incites a rebellion against the Great Divide, a secret society, in order to liberate citizens who have fallen under their oppression. This ArchAndroid role reflects earlier Afrofuturistic figures Sun Ra and George Clinton, who created their own visuals as extraterrestrial beings rescuing African-Americans from the oppressive natures of Earth. Other influences include Blade Runner and Star Wars. Additional musical artists to emerge since the turn of the millennium regarded as Afrofuturist include dBridge, SBTRKT, Shabazz Palaces, Heavyweight Dub Champion, and Drexciya (with Gerald Donald).

Nick Cave, known for his Soundsuits project, has helped develop younger talent as the director of the graduate fashion program at the School of the Art Institute of Chicago. Other artists include visual artists Hebru Brantley as well as contemporary artist Rashid Johnson, a Chicago native currently based in New York. In 2013, Chicago resident Ytasha L. Womack wrote the study Afrofuturism: The World of Black Science Fiction and Fantasy, and William Hayashi has published all three volumes of his Darkside Trilogy which tells the story of what happens in America when the country discovers African Americans secretly living on the backside of the moon since before the arrival of Neil Armstrong, an extreme vision of segregation imposed by technologically advanced Blacks.

Krista Franklin, a member of University of Chicago's Arts Incubator, is currently exploring the relation between Afrofuturism and the grotesque through her visual and written work with weaves and collected hair. Recently, she also created an audio narrative in collaboration with another Afrofuturist, Perpetual Rebel, called The Two Thousand and Thirteen Narrative(s) of Naima Brown, which explores the ideas of identity and transformation within the context of hair and African-American culture.

The movement has grown globally in the arts. Afrofuturist Society was founded by curator Gia Hamilton in New Orleans. Artists like Demetrius Oliver from New York, Cyrus Kabiru from Nairobi, Lina Iris Viktor from Liberia, famed Nigerian American solar muralist, Shala., and Wanuri Kahiu of Kenya have all steeped their work in the cosmos or sci-fi.

Today, Afrofuturism has been portrayed in popular movies like the feature film Black Panther. American costume designer Ruth E. Carter brought her vision to life. To best represent her work she borrowed ideas from true African designs. "To imagine the fictional African nation of Wakanda, without the influence of [European colonizers], Ms. Carter borrowed from indigenous people across the continent." In early February 2021, it was announced that the companies of Idris Elba and Sabrina Dhowre (Idris's wife) would be developing an Afrofuturist adult animated, sci-fi, series, tentatively titled Dantai, for Crunchyroll, which would be about a time when biotech has "created an ever-widening gap between the haves and have-nots." The series was also described as an "afropunk sci-fi series." Russell Contreras, in Axios, noted that Afrofuturism is growing in popularity, even as some worry it will be co-opted, and Black writers announced, in 2021, "Afrofuturist projects around gaming and virtual reality."

In February 2021, the Center for Afrofuturist Studies, located at Public Space One in Iowa City, celebrated its fifth anniversary, flourishing as a Black artist space, and occupied by four artists (Antoine Williams, Donté Hayes, Deborah Goffe, and André M. Zachery), embodying Afrofuturism, flexibly defining the term, as envisioning Black people in the future and how that "connects with science and technology and new discoveries" and how parts of Black history shape "the future, community, self-determination, [and] working towards a goal" according to the center's coordinator, Dellyssa Edinboro. Due to the COVID-19 pandemic, all programming has shifted online.

Literature and comics

The creation of the term Afrofuturism, in the 1990s, was often primarily used to categorize "speculative fiction that treats African-American themes and addresses African-American concerns in the context of 20th-century technoculture," but was soon expanded to include artistic, scientific, and spiritual practices throughout the African diaspora. Contemporary practice retroactively identifies and documents historical instances of Afrofuturist practice and integrates them into the canon. For example, the Dark Matter anthologies edited by Sheree Thomas feature contemporary Black science fiction, discuss Ralph Ellison's Invisible Man in her introduction, "Looking for the Invisible," and also include older works by W. E. B. Du Bois, Charles W. Chesnutt, and George S. Schuyler.

Lisa Yazsek argues that Ralph Ellison's 1952 science fiction novel, Invisible Man, should be thought of as a predecessor to Afrofuturist literature. Yaszek believes that Ellison does not offer any other futures so that the next generation of authors can.

N.K. Jemisin speaking before a meeting of the New York Review of Science Fiction Readings in May 2011

A number of contemporary science fiction and speculative fiction authors have also been characterized as Afrofuturist or as employing Afrofuturist themes by one person or another. Nancy Farmer won a Newbery Honor for her afrofuturist young adult novel The Ear, the Eye, and the Arm. Steven Barnes has been called an Afrofuturist author for his alternate-history novels Lion's Blood and Zulu Heart. N.K. Jemisin, Nalo Hopkinson, and Colson Whitehead have also been referred to as Afrofuturist authors. Butler inspired a movement with vision amongst the black speculative fiction writers. Octavia Butler's novels are often associated with Afrofuturism; this association has been somewhat controversial, since Butler incorporates multi-ethnic and multi-species communities that insist on "hybridity beyond the point of discomfort". However, the fourth book of the science fiction Patternist series, Wild Seed, particularly fits ideas of Afrofuturist thematic concerns, as the narrative of two immortal Africans Doro and Anyanwu features science fiction technologies and an alternate anti-colonialist history of seventeenth century America. At the most straightforward sci-fi stories (likewise alluded to in this book as Sci-Fi and SF) is a social classification worried about parts of futurism, envisioned advances as well as between planetarism. Those focuses or direction take into consideration a wide scope of enunciations and theories regarding the dystopian or utopian parts of future (or potentially elective) lives or real factors, including, in numerous examples, contact with outsider others. In other words, good fiction writing should not be judged by a persons color or race.

Tim Fielder's 2021 graphic novel Infinitum: An Afrofuturist Tale features the partially historical narrative of an immortal African king.

In February 2021, the New York Times reported that in the coming year, fans would see a number of graphic novels and comics with Afrofuturist themes, including some devoted to the fictional gene, and "reissues of Afrofuturist titles from comic-book houses like DC and Dark Horse." This includes the new novels After the Rain, Hardears, Black Star, and Infinitum, the latter by Tim Fielder, a new installment of N.K. Jemisin's Far Sector, The Black Panther by Ta-Nehisi Coates and many other re-issued comics like E.X.O., along with an upcoming animated series named Iwájú. Around the same time, Kenyan artist Kevo Abbra, inspired by Afrofuturism in the 1990s, was interviewed, explaining how artistic expression has developed over time and his current artistic style. The first issue of the new Black Panther series was released on 16 February.

Art

Museum and gallery exhibitions

Photo of King Britt from album in November 2017

As a part of the MOMA's PS1 festival, King Britt curated Moondance: A Night in the Afro Future in 2014. From noon to six p.m. on 13 April, people could attend Moondance and listen to lectures, live music or watch dance performances in celebration of Afrofuturism in contemporary culture. Schomburg Center for Research in Black Culture held a seminal group show of Visual Afrofuturists focusing on unambiguous science fiction and fantasy based art. The show, titled 'Unveiling Visions: The Alchemy of the Black Imagination' ran from 1 October 2015 – 16 January 2016. The closing night coincided with the Schomburg Black Comic Book Day. Unveiling Visions was curated by artist John Jennings (Co-founder of artist duo, Black Kirby w/Professor Stacey Robinson) and Afrofuturist Scholar, Reynaldo Anderson (founder of The Black Speculative Arts Movement). The show featured artists such as Tony Puryear, Sheeba Maya, Mshindo Kuumba, Eric Wilkerson, Manzel Bowman, Grey Williamson, Tim Fielder, Stacey Robinson, and Shawn Alleyne. Unveiling Visions liner notes state: "exhibition includes artifacts from the Schomburg collections that are connected to Afrofuturism, black speculative imagination and Diasporan cultural production. Offering a fresh perspective on the power of speculative imagination and the struggle for various freedoms of expression in popular culture, Unveiling Visions showcases illustrations and other graphics that highlight those popularly found in science fiction, magical realism and fantasy. Items on display include film posters, comics, T-shirts, magazines, CD covers, playbills, religious literature, and more."

In April 2016, Niama Safia Sandy curated an exhibit entitled "Black Magic: AfroPasts / Afrofutures" at the Corridor Gallery in Brooklyn, New York. The multidisciplinary art exhibit looks at the relationship between magical realism and afrofuturism through the Black diaspora. In a description of the collection, Sandy stated: "There's a lot of looking back and looking forward happening in this work... [and there's a lot of] celebrating those journeys whether they are intentional or forced journeys."

The exhibition Afro-Tech and the Future of Re-Invention ran from 21 October 2017 until 22 April 2018 at Dortmunder U in Dortmund, Germany and looked at "speculative visions of the future and current developments in the field of digital technology by artists and inventors from Africa and the African diaspora...."

These Afrofuturist artists used their art as revolution in that they saw its purpose as inspiring Black people to imagine new possibilities and futures.

'Black Metropolis: 30 Years of Afrofuturism, Comics, Music, Animation, Decapitated Chickens, Heroes, Villains and Negroes' was a one-man show focusing on the career of cartoonist and visual afrofuturist, Tim Fielder. The show, designed to travel over multiple gallery spaces, opened at New York Gallatin Galleries from 23 to 30 May 2016. Curated by Boston Fielder, the exhibit featured both published and unpublished work ranging from independent comics art for alternative magazine, Between C & D and mainstream comics work done for Marvel Comics. Black Metropolis was revived at "The Hammonds House Museum in Atlanta, GA for the museum's 30th Anniversary 12 October–25 November 2018."

Afrofuturism Art coincides with Afrofuturism Literature occasionally, such as in science fiction comic books. Just as Afrofuturism explores possibilities, so do the art in Afrofuturism comic books. For example, Black Panther, the movie and comic book is a form of Afrofuturism Literature.

In 2021, the Metropolitan Museum of Art opened "Before Yesterday We Could Fly: An Afrofuturist Period Room" an art exhibition engaging themes of Afrofuturism in a "period room" format of installation, envisioning the past, present, and future home of someone who lived in Seneca Village, a largely African American settlement which was destroyed to make way for the construction of Central Park in the mid-1800s.

Themes

Feminism

Jared Richardson's Attack of the Boogeywoman: Visualizing Black Women's Grotesquerie in Afrofuturism assesses how the aesthetic functions as a space for black women to engage with the intersection of topics such as race, gender, and sexuality. The representation and treatment of black female bodies is deconstructed by Afrofuturist contemporaries and amplified to alien and gruesome dimensions by artists such as Wangechi Mutu and Shoshanna Weinberger.

Beyoncé's 2016 short film Lemonade included feminist afrofuturism in its concept. The film featured music duo Ibeyi, artist Laolu Senbanjo, actresses Amandla Stenberg, Quvenzhané Wallis, and Zendaya, as well as YouTube singing stars Chloe x Halle, ballet dancer Michaela DePrince, and 2015 Sports Illustrated Sportsperson of the Year Serena Williams, and the sophisticated womanist poetry of Somali-British writer Warsan Shire. The mothers of Trayvon Martin (Sybrina Fulton), Michael Brown (Lesley McFadden), Eric Garner (Gwen Carr) are featured holding pictures of their deceased sons in homage to the importance of their lives. The novel Kindred by Octavia Butler also explores the empowerment of women though the story of her protagonist Dana. The book explores the idea of autonomy and having control over one's life/destiny. Through the exploration of women's power in the time of slavery to the more current time, Butler is able to demonstrate the endurance of women through the harsh social factors.

The grotesque

In the Afro-Surreal Manifesto, Afro-Surrealism is juxtaposed with European surrealism, with European surrealism being empirical. It is consistent with Trey Ellis' essay, "The New Black Aesthetic" in that the art seeks to disturb. Afro-Futuristic art samples from old art pieces updating them with current images. This technique calls to the forefront those past images and the sentiments, memories, or ideas around them and combines them with new images in a way that those of the current generation can still identify. Afro-Futuristic artists seek to propose a deviant beauty, a beauty in which disembodiment is both inhumane, yet distinct; Afro-Futuristic artists speculate on the future, where Afro-Surrealism is about the present.

Alienation

Afrofuturism takes representations of the lived realities of black people in the past and present, and reexamines the narratives to attempt to build new truths outside of the dominant cultural narrative. By analyzing the ways in which alienation has occurred, Afrofuturism works to connect the African diaspora with its histories and knowledge of racialized bodies. Space and aliens function as key products of the science fiction elements; black people are envisioned to have been the first aliens by way of the Middle Passage. Their alien status connotes being in a foreign land with no history, but as also being disconnected from the past via the traditions of slavery where slaves were made to renounce their ties to Africa in service of their slave master.

Fons Americanus, Tate Modern, February 2020

Kodwo Eshun locates the first alienation within the context of the Middle Passage. He writes that Afrofuturist texts work to reimagine slavery and alienation by using "extraterritoriality as a hyperbolic trope to explore the historical terms, the everyday implications of forcibly imposed dislocation, and the constitution of Black Atlantic subjectivities". This location of dystopian futures and present realities places science fiction and novels built around dystopian societies directly in the tradition of black realities.

Water

In many different Afrofuturist works, water and Black women are symbolically linked in their connection to both the erasure and emergence of black life. These meanings, while seemingly contradictory, actually play off and inform each other. Examples of Afrofuturist work dealing with the theme of water include the 2009 Kenyan film Pumzi, various songs in Beyonce's Lemonade, the work of Detroit Techno group Drexciya, and Kara Walker's 2019 sculpture Fons Americanus.

Reclamation

Afrofuturism has to do with reclaiming those identities or perspectives that have been lost. When Mark Dery coined the term, he saw Afrofuturism as giving rise to "a troubling antinomy: Can a community whose past has been deliberately rubbed out, and whose energies have subsequently been consumed by the search for legible traces of its history, imagine possible futures?" Furthermore, Afrofuturism is not restricted to any single medium; there are Afrofuturist novels and musical works. But whatever the medium, Afrofuturism involves reclaiming some type of agency over one's story, a story that has been told, throughout much of history, by official culture in the name of white power. It is for this reason that Dery says, "African-American culture is Afrofuturist at its heart." Because the ancestors of many African-Americans were forcibly removed from their homelands and stripped of their history like most slaves, any culture that has found its way into the Black lexicon is at its roots an Afrofuturist notion. It is at its heart reclaiming a past erased and creating a future based on that reimagined past.

In film

In film, Afrofuturism is the incorporation of black people's history and culture in science fiction film and related genres. The Guardian's Ashley Clark said the term Afrofuturism has "an amorphous nature" but that Afrofuturist films are "united by one key theme: the centring of the international black experience in alternate and imagined realities, whether fiction or documentary; past or present; science fiction or straight drama". The New York Times's Glenn Kenny said, "Afrofuturism is more prominent in music and the graphic arts than it is in cinema, but there are movies out there that illuminate the notion in different ways." However, there has been an increase of Afrofuturistic movies since Sun Ra's Space Is the Place. As the definition and understanding of Afrofuturism has expanded, more films have been accepted under the name and more films have been made in the name of Afrofuturism. On the "less science fiction" side of the spectrum there is Hidden Figures starring Taraji P. Henson, Octavia Spencer, and one of the most notable names in modern Afrofuturism - Janelle Monáe, which depicts the true story of Katherine Johnson, Dorothy Vaughn, and Mary Jackson being mathematicians at NASA and NACA during the Space Race. On the other side of the spectrum, would be movies like Get Out, one of the first horror films written by, directed by, and whose lead actor is a black person, and Sorry to Bother You. Afrofuturism has also found its way into superheroes both on film and TV with movies like Spider-Man: Into the Spider-Verse and Black Panther (film) and TV shows like Black Lightning (TV series). All of which depicts the lives, struggles, and beauty of black people while adding in the element of crime-fighting and superpowers.

With the release of Marvel's Black Panther in 2018, Afrofuturism was ushered into the cultural spotlight across the world cinematic stage. In North America alone, it made history as the third highest grossing film in history, reviving mainstream interest in Afrofuturism. It defied stereotypes of Africa as disease- and war-stricken and fueled feelings of black pride in viewers.

Difference from Africanfuturism

In 2019, Nnedi Okorafor, a Nigerian-American writer of fantasy and science fiction, began strongly rejecting the term "afrofuturism" as a label for her work and coined the terms "Africanfuturism" and "Africanjujuism" to describe her works and works like hers. In October 2019, she published an essay titled "Defining Africanfuturism" that defines both terms in detail. In that essay, she defined Africanfuturism as a sub-category of science fiction that is "directly rooted in African culture, history, mythology and point-of-view and does not privilege or center the West," is centered with optimistic "visions in the future," and is written (and centered on) "people of African descent" while rooted in the African continent. As such its center is African, often does extend upon the continent of Africa, and includes the Black diaspora, including fantasy that is set in the future, making a narrative "more science fiction than fantasy" and typically has mystical elements. She differentiated this from Afrofuturism, which she said "positioned African American themes and concerns" at the center of its definition. She also described Africanjujuism as a subcategory of fantasy that "acknowledges the seamless blend of true existing African spiritualities and cosmologies with the imaginative."

In August 2020, Hope Wabuke, a writer and assistant professor at the University of Nebraska-Lincoln of English and Creative Writing, noted that Afrofuturism, coined by Mark Dery, a White critic, in 1993, treats African-American themes and concerns in the "context of twentieth-century technoculture," which was later expanded by Dr. Alondra Nelson, arguing that Dery's conception of Blackness began in 1619 and "is marked solely by the ensuing 400 years of violation by whiteness" that he portrayed as "potentially irreparable." Critical of this definition, saying it lacks the qualities of the "Black American diasporic imagination" and ability to conceive of "Blackness outside of the Black American diaspora" or independent from Whiteness, Wabuke further explains how Africanfuturism is more specific and rids itself of the "othering of the white gaze and the de facto colonial Western mindset," free from what she calls the "white Western gaze" and saying this is the main difference "between Afrofuturism and Africanfuturism." She adds that, in her view, Africanfuturism has a different outlook and perspective than "mainstream Western and American science fiction and fantasy" and even Afrofuturism which is "married to the white Western gaze." Wabuke goes on to explain Africanfuturist and Africanjujuist themes in Okorafor's Who Fears Death and Zahrah the Windseeker, Akwaeke Emezi's Pet, and Buchi Emecheta's The Rape of Shavi.

In February 2021, Aigner Loren Wilson of Tor.com explained the difficulty of finding books in the subgenre because many institutions "treat Africanfuturism and Afrofuturism like the same thing" even though the distinction between them is plain. She said that Africanfuturism is "centered in and about Africa and their people" while Afrofuturism is a sci-fi subcategory which is about "Black people within the diaspora," often including stories of those outside Africa, including in "colonized Western societies." Wilson further outlined a list of stories and books from the genre, highlighting Africanfuturism: An Anthology (edited by Wole Talabi), Namwali Serpell's The Old Drift, Nnedi Okorafor's Lagoon, Nicky Drayden's The Prey of Gods, Oghenechovwen Donald Ekpeki's Ife-Iyoku, the Tale of Imadeyunuagbon, and Tochi Onyebuchi's War Girls. Another reviewer called Okorafor's Lagoon, which "recounts the story of the arrival of aliens in Nigeria," as an Africanfuturist work which requires a reader who is "actively engaged in co-creating the alternative future that the novel is constructing," meaning that the reader becomes part of the "creative conversation."

Gary K. Wolfe reviewed Africanfuturism: An Anthology, which was edited by Wole Talabi, in February 2021. He credits Nnedi Okorafor for coining "Africanfuturism," noting its describes "more Africa-centered SF," although saying he is not sure whether her term "Africanjujuism," a parallel term for fantasy, will catch on. While saying that both are useful, he says that he does not like how they have to "do with the root, not the prefix," with "futurism" only describing a bit of science fiction and fantasy. He still calls the book a "solid anthology," saying it challenges the idea of viewing African science fiction as monolithic. Stories in the book include "Egoli" by T. L. Huchu, "Yat Madit" by Dilman Dila, "Behind Our Irises" by Tlotlo Tsamaase, "Fort Kwame" by Derek Lubangakene, "Rainmaker" by Mazi Nwonwu, "Fruit of the Calabash" by Rafeeat Aliyu, "Lekki Lekki" by Mame Bougouma Diene, and "Sunrise" by Nnedi Okorafor.

Financial Times writer David Pilling wrote that Africancentrism "draws on the past, both real and imagined, to depict a liberated version of the future" which is planted in the African, rather than African-American, experience. He also notes criticism of Black Panther from some like Patrick Gathara, who says its depiction of Africa "differs little from the colonial view" and that one of Okorafor's books, Binti is being "adapted for television by Hulu," arguing that its success is part of a wave of Africanfuturism.

Operator (computer programming)

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