Africa & science fiction: Wanuri Kahiu's "Pumzi", 2009 | Interview

Summary

In this reflective script, the speaker discusses the evolution of African storytelling, particularly within the genres of science fiction and Afrofuturism. While acknowledging the modern trend of Afrofuturism, the speaker argues that speculative fiction has always been part of African culture, shaped by folklore, natural science, and imagination. The speaker emphasizes the importance of conscious creation, especially in a global context where African identity is often misrepresented. Additionally, the script highlights the innovative use of technology in Africa, exemplified by projects like those at Nairobi's MakerFaire, and calls for more support for science and tech-driven solutions to local challenges.

Takeaways

• 😀 The speaker initially did not intend to make a science fiction film, but as the story developed, it was recognized as a science fiction genre due to its futuristic elements.
• 😀 Afrofuturism, while becoming a trend in contemporary storytelling, is not a new genre in African culture. African storytelling has always incorporated speculative and futuristic elements.
• 😀 Speculative fiction in Africa has historically involved the use of natural sciences, such as botany and entomology, to explore societal issues and communicate values.
• 😀 The rise of Afrofuturism is not solely a modern phenomenon but rather a resurgence of African traditions of using futurism and speculative fiction to reflect on the present and future.
• 😀 The use of technology in African storytelling is important and should reflect the innovative ways in which technology is already being adapted in Africa to solve local challenges.
• 😀 The term 'Afrofuturism' is often applied retroactively to past works by African artists, such as musicians George Clinton and Sun Ra, linking them to the movement even though the term didn't exist during their time.
• 😀 There is a concern about Afrofuturism becoming a trend rather than a meaningful cultural movement, with creators needing to be conscious of whether they are genuinely reflecting African identity or simply following a popular trend.
• 😀 African creators should be cautious about perpetuating negative stereotypes of Africa, such as famine or violence, and instead focus on creating narratives that present diverse, authentic, and innovative images of Africa.
• 😀 The speaker emphasizes the responsibility of African creators to produce stories that will positively shape global perceptions of African identities, especially for future generations.
• 😀 The speaker highlights the innovative use of technology in African communities, citing examples like Nairobi's MakerFaire, where local inventors are using mobile technology to solve everyday problems and meet specific community needs.

Q & A

Why did the speaker initially not see their story as science fiction?

The speaker was writing a story about a girl in the future, but they did not initially categorize it as science fiction. It was only when they were preparing to shoot the film and talking with their producer that they realized the genre was science fiction.

What choice did the speaker have to make regarding the genre of the story?

The speaker had to decide between making the story more science fiction or more fantasy, as there were elements of both in the original draft. The speaker chose to lean towards science fiction, though it wasn’t an intentional decision to make a science fiction film.

What is the speaker’s view on the growing interest in science fiction in Africa?

The speaker believes that science fiction has been a genre in Africa for a long time, even though its wider recognition may be recent. They argue that African cultures have long used speculative fiction, such as through botany, entomology, and oral storytelling, and that the rise of technology and global exposure has allowed for broader access to these kinds of stories.

How does the speaker differentiate between the current Afrofuturism trend and its historical roots?

While the speaker acknowledges the current Afrofuturism trend, they believe it is not a new phenomenon. Afrofuturism has deep roots in African traditions that have always used speculative fiction, futurism, and supernatural themes in their storytelling. The modern trend, they argue, draws from past works like George Clinton, Sun Ra, and John Coltrane.

What concern does the speaker express about the commercialization of Afrofuturism?

The speaker worries that some people may be making Afrofuturist works simply to be part of a popular trend, rather than out of a genuine desire to tell a meaningful story. They emphasize the importance of being conscious creators, particularly for people of African descent, to ensure that the stories reflect authentic messages and cultural values.

How does the speaker feel about the portrayal of Black people and African nations in media?

The speaker is deeply concerned about how Black people, especially those from Africa, are often portrayed in media, with common stereotypes focusing on violence, victimhood, and poverty. They stress that creators should be careful in the images and messages they put out, as these portrayals can have lasting effects on how African people are viewed globally.

What role does the speaker believe African creators should play in shaping future narratives?

The speaker argues that African creators should be mindful of the messages they send through their work, especially because the world often views Black art through a lens of stereotypes. They urge creators to be clear about the images they present to the world, considering the impact on both present and future generations.

What does the speaker mean by the phrase 'science fiction has always existed in Africa'?

The speaker suggests that African cultures have long engaged with speculative fiction and futurism, even if not in the form of Western science fiction. For example, African storytelling traditions have involved elements like botany, entomology, and mythology, all of which can be seen as forms of speculative or science fiction.

How does the speaker view the use of technology in Africa?

The speaker is inspired by how technology is being used creatively and innovatively in Africa, particularly in addressing local needs. They highlight examples such as the MakerFaire in Nairobi, where people have created gadgets using mobile phones to control things like water heaters and security systems. The speaker is excited by the potential of technology to solve everyday problems.

What is the speaker’s opinion on the importance of encouraging more people to study science and technology in Africa?

The speaker believes that there should be a greater emphasis on using science and technology to solve practical problems in Africa. They hope for a trend that encourages more people to engage with these fields, as it could lead to further innovation and improve living conditions across the continent.