african slaves thrown overboard atlantic ocean

Durham: Duke University Press], it explores the increasingly vulnerable ocean both as a site of environmental damage, and as a speculative meeting place between black feminist poetics and white feminism. New York: WW Norton and Alexis Pauline Gumbs’. “Diving into the Wreck.” In Diving into the Wreck: Poems 1971–1972. Through a close reading of Adrienne Rich’s. This article offers a feminist environmental response to ‘the breathless sea’. KEYWORDS: Afrofuturism, MythScience, sonic fiction, Hip Hop studies, South African Hip Hop The article further delves into the otherworld of the artist’s most recent album Anima Mysterium to highlight her aquatic tropes that build on the conceptual metaphor “space is an ocean” in her exploration of both the outer and the inner cosmos. Even though Yugen Blakrok creates a highly eclectic, holistic approach, “Opps” reveals its contextual embeddedness in the Afrofuturist discourse with its echoings of the Drexciyan myth.

The article primarily focuses on Blakrok’s lyrics, as they afford the most thorough basis for an analysis of the features that, despite Afrofuturism’s inherent interplanetary consciousness, distinguish Blakrok’s unique take on Afrofuturism, which will be exemplified with a close reading of the song “Opps” from the Black Panther soundtrack. While Afrofuturism is a concept mainly developed in the African diaspora, as for instance with Sun Ra’s MythScience, Yugen Blakrok’s South African perspective yields a distinct approach to the aesthetic levels of the lyrical, sonic and visual. She received considerable attention with her appearance on Kendrick Lamar’s soundtrack for the blockbuster feature Black Panther (2018), which brought Afrofuturism into the international mainstream. This article explores South African hip-hop artist, Yugen Blakrok.

African slaves thrown overboard atlantic ocean