I think that probably sent me on the trajectory of moving toward Afrofuturism – that combination of history, science and this big emphasis on Black culture and really knowing the trajectory of people here in North America. But then I would just read a lot of books about history in general and I read a lot of science books. So I would read a lot of books about these titans and Black culture. “Early on as a child, I had a big interest in the sciences and a big interest in history. She credits her early interest in science and history as the basis for her later work in Afrofuturism. There was a lot of reading in my house going on trips to the library… I was the kind of kid who wanted to see how many library books I could take out and read in a week.” So, growing up, there were a lot of conversations around music, around film, around these significant or important moments in helping move Black people forward. “They were also really interested in the performing arts especially. Both her parents, the first college graduates in their families, advocated knowing history and Black history in particular. In this interview with Kentake Page, Ytasha discusses the origins, rise and meaning of Afrofuturism as well as her own personal journey in this burgeoning movement.īorn January 22 in Chicago, IL, Ytasha was raised in a middle class family. Her film Bar Star City (director/writer) goes into production this Spring. Her films include Love Shorts (writer/producer) and The Engagement (director). She is also the coeditor of the hip hop anthology Beats, Rhyme & Life: What We Love and Hate About Hip Hop. Ytasha is also the author of the critically acclaimed book Post Black: How a New Generation is Redefining African American Identity and Rayla 2212. Womack is the author, filmmaker, dancer and innovator whose book Afrofuturism: The World of Black Sci Fi and Fantasy explores black sci fi culture, bleeks, black comix, and the legacy of futurism.

Afrofuturism by Ytasha L. Womack