front cover of Africanfuturism
Africanfuturism
African Imaginings of Other Times, Spaces, and Worlds
Kimberly Cleveland
Ohio University Press, 2024
In the past few decades, Western studies of Afrofuturism have grown to encompass examples deriving from multiple sites across the diaspora, as well as from the African continent. However, an increasing number of Africans and Africanists have voiced their concerns about grouping African work under the larger umbrella of Afrofuturism without distinction and have emphasized the need to investigate the differences between African American and African production. This book offers an introduction to Africanfuturism—a body of African speculative works that is distinguishable from, albeit related to, US-based Afrofuturism. Kimberly Cleveland uses Africanfuturism as an intellectual lens to explore works that embody combinations of possibilities, challenges, and concerns related to what lies ahead for the continent and its peoples. This book highlights twenty-first-century film, video, painting, sculpture, photography, tapestry, novels, short stories, comic books, song lyrics, and architecture by African creatives of different nationalities, races, ethnicities, genders, and generations. Cleveland analyzes the ideas and opinions of African intellectuals and cultural producers, combining interviews with historical research. Each chapter features one of Africanfuturism’s most common themes: space and time exploration, creation of worlds, technology and the digital divide, Sankofa and remix, and mythmaking. This investigation of Africanfuturism is geared toward students, academics, and Afrofuturism enthusiasts, and its included discussion questions facilitate classroom use. The book illuminates Africa’s place in the worlds of science fiction and fantasy and how Africanfuturist work builds on the continent’s own traditions of speculative expression. Because these creative works disrupt the history of Western domination in Africa, Cleveland also connects Africanfuturism with the process of decolonization and addresses specific ways in which African creatives (re)center indigenous beliefs, strategies, and approaches in their production. Africanfuturism encourages both imaginative possibilities and potential real-world outcomes, highlighting the rich contributions of Africans to the vision of future worlds.
[more]

front cover of The Aga Khan Case
The Aga Khan Case
Religion and Identity in Colonial India
Teena Purohit
Harvard University Press, 2012

An overwhelmingly Arab-centric perspective dominates the West’s understanding of Islam and leads to a view of this religion as exclusively Middle Eastern and monolithic. Teena Purohit presses for a reorientation that would conceptualize Islam instead as a heterogeneous religion that has found a variety of expressions in local contexts throughout history. The story she tells of an Ismaili community in colonial India illustrates how much more complex Muslim identity is, and always has been, than the media would have us believe.

The Aga Khan Case focuses on a nineteenth-century court case in Bombay that influenced how religious identity was defined in India and subsequently the British Empire. The case arose when a group of Indians known as the Khojas refused to pay tithes to the Aga Khan, a Persian nobleman and hereditary spiritual leader of the Ismailis. The Khojas abided by both Hindu and Muslim customs and did not identify with a single religion prior to the court’s ruling in 1866, when the judge declared them to be converts to Ismaili Islam beholden to the Aga Khan.

In her analysis of the ginans, the religious texts of the Khojas that formed the basis of the judge’s decision, Purohit reveals that the religious practices they describe are not derivations of a Middle Eastern Islam but manifestations of a local vernacular one. Purohit suggests that only when we understand Islam as inseparable from the specific cultural milieus in which it flourishes do we fully grasp the meaning of this global religion.

[more]


Send via email Share on Facebook Share on Twitter