Oceanic Intimacies

In this essay, I explore what intimacies might be revealed if we trace oceanic entanglements created by eighteenth-century maritime routes and journeys in historical and contemporary imaginative reconstructions of such histories. I respond to Lisa Lowe’s proposal to use “intimacies as a heuristic,” and to decentre the European notion of “the human” constructed by colonial epistemologies. To do so, I offer two counter-histories, embedded in and through different waters, which challenge imperial two-dimensional epistemologies. “Porous Intimacies” discusses the seafaring part of Sheikh I’tesamuddin’s The Wonders of Vilayet (1765), one of the first travelogues written by an Indian about Europe. “Immersive Intimacies” analyzes David Dabydeen’s poem “Turner” (1995), which imaginatively reconstructs the middle passage of captured Africans on British slave ships bound for the Caribbean. Rethinking former historical accounts within and outside colonial and liberal frameworks, I analyze new intimacies through oceanic connections.

The Aquatic Turn in Afrofuturism

The recent efflorescence of fictional writings and artistic works examined under the rubrics of Blue Humanities (Mentz 2009), Critical Ocean Studies (DeLoughrey 2019), Hydro-Criticism (Winkiel 2019), or New Thalassology (Horden and Purcell 2006), testify a recent cultural shift from the land to the sea. In this article, the hydrosphere is analysed in two female Afrofuturist works – Nnedi Okorafor’s Lagoon (2014) and Wanuri Kahiu’s short film Pumzi (2010) – to address the global capitalist order and to imagine an aquafuturist multispecies aesthetics that springs from the countermemory of the Middle Passage and its undersea myths

Crossing Merfolk Narratives of the Sacred: Nalo Hopkinson’s The New Moon’s Arms and Gabrielle Tesfaye’s The Water Will Carry Us Home

This article defines what I call the ‘crossing merfolk’ narrative, the idea that African people who jumped or were cast overboard during the Middle Passage became water-dwelling beings. While critical attention has been increasing for 1990s’ electronic music duo Drexciya, whose sonic fiction contains the most well-known example of this narrative, this is actually a recurring tradition in Black oral and artistic culture that can be traced to West and Central African religions. I focus particularly on what I call ‘crossing merfolk narratives of the sacred’, M. Jacqui Alexander’s term for African diasporic religious traditions anchored in West and Central African cosmologies. Analysing the role of the sacred in two crossing merfolk narratives, Nalo Hopkinson’s 2007 novel The New Moon’s Arms and Gabrielle Tesfaye’s short film The Water Will Carry Us Home (2018), I argue that these texts expand the Black Atlantic imaginary and transform mermaid lore. I develop the term ‘diasporic collage’ to describe the ways in which Hopkinson and Tesfaye reference and combine water spirits and ritual practices from multiple African diasporic traditions into narratives that intersect mermaids and the Middle Passage.

All Mermaids are Black

"When the giant wave comes washing over our bodies Black people will become mermaids, and indigenoous people will become seeds. What will you become?" ​ Black people's connection to water is both an affirmation of life and a memorial of death. In Christina Sharpe's wake, Black life exists in the liminal space... on the currents left on the tops of water by ships. We have found our freedom in water, and have survived disaster by water. We live where the sea level is rising. Rather than understanding climate change as another form of destruction to Black life, what if we reimagine the middle passage as preparing us for life after the sea level rises and takes back the earth.

Undrowned: Black feminist lessons from marine mammals

Those who survived in the underbellies of boats, under each other under unbreathable circumstances, are the undrowned. Their breathing did not make them individual survivors. It made a context of undrowning. Breathing in unbreathable circumstances is what we still do every day in the chokehold of racial gendered ableist capitalism. We are still undrowning. And this 'we' doesn't only mean people whose ancestors survived the middle passage, because the scale of our breathing is planetary. These meditations inspired by encounters with marine mammals are an offering towards the possibility that instead of continuing the trajectory of slavery, entrapment, separation and domination, and making our atmosphere unbreathable, we might instead practise another way to breathe. And because our marine mammal kindred are amazing at not drowning, they are called on as teachers, mentors, guides: the task of a marine mammal apprentice is to open up space for wondering together, and identifying with. The first meditation explores how we can listen across species, across extinction, across the harm that humans have inflicted on other mammals as well as each other. The second explores how we can learn different ways to breathe. The third considers what we remember and what we forget, how we name and categorise what we can barely observe, how we cage, categorise and destroy marine mammals, and what we can learn from the lives of those that have survived.

Quare Times: An Introduction to a Queer Perspective on Afrofuturism and a Reading of Sun Ra’s Space Is the Place

The film Space Is the Place (1974), directed by John Coney, stars Sun Ra who was also co-author of the script. This chapter explores Sun Ra’s Afrofuturism as shown in the film, bringing it into relation with José Muñoz’s notion of a queer future. Rather than focusing on Sun Ra’s sexuality, this chapter argues that his quareness (E. Patrick Johnson’s useful term drawn from African American vernacular) emerges in the sonic and performative aspects of his work. Sun Ra’s spaceship offers a future-oriented response to the slave ship and Middle Passage (as described by Paul Gilroy) and to the limitations of the here and now. The notion of assemblage (Gilles Deleuze and Felix Guattari) articulates the quareness of Sun Ra’s collective improvisational practices.

Sacred recipes: The praxis, power, and politics of Black food culture

Garth and Reese’s edited volume Black Food Matters paints a vivid picture of the evolution of Black food culture as it negotiates the socio-cultural and political complexities surrounding food and race in America. This work centers around the manifestation of Black food in all its stages, from seed to plate, recognizing that it is both a reflection of the lived experiences of Black people in America and an outright rejection of the harm inflicted on them through a persistently anti-Black structural context. The authors trace the resistance and sur­vival praxis of Black food culture from its earliest origins in the practices of slaves on the Middle Passage to the contemporary practices of local-food–based economies in Black urban and rural communities across the nation. In doing so, each of the authors highlights the ongoing threat that racial capitalism poses to the cultural integrity and socio-economic sustainability of Black com­muni­ties. Readers are able to draw valuable com­parisons between the past and present as they see how Black alimentary and economic autarky have consistently been met with multifaceted exploita­tion by mainstream, white-dominated society. And yet, the stories told by the book’s authors are ones of resilience and dignity, highlighting the innova­tion, adaptability, and forti­tude of Black people, as reflected in both African-American and Afro-diasporic food culture.