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The Evolution of African Fantasy and Science Fiction
"The Evolution of African Fantasy and Science Fiction" is the second Call for Papers of Academia Lunare, the non-fiction arm of Luna Press Publishing.
These papers explore the theme through the emergence of African SFF, the forces shaping its development down the ages, and the dangers of expectations. We also examine its effect on literature and portrayals in popular entertainment.
Featuring papers from Peter J. Maurits, Nick Wood, Ezeiyoke Chukwunonso, Polina Levontin and Robert S. Malan.
These papers explore the theme through the emergence of African SFF, the forces shaping its development down the ages, and the dangers of expectations. We also examine its effect on literature and portrayals in popular entertainment.
Featuring papers from Peter J. Maurits, Nick Wood, Ezeiyoke Chukwunonso, Polina Levontin and Robert S. Malan.
- GenresNonfiction
116 pages, Paperback
Published August 7, 2018
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Displaying 1 - 5 of 5 reviews
April 1, 2023
'The reluctance to label African stories as science fiction is a legacy of a colonializing discourse. It is part of the discourse which upholds the hegemony of Western knowledge over African systems of enquiry (Mbembe, 2015). Suppressing the history of African science is a precursor to not recognising African stories as science fiction. Viewed from a Eurocentric position, the history of science fiction appears rooted in Europe, which is presented as both the centre and the origin of this literary mode (Roberts, 2005) – a tree, on which African science fiction is depicted as the newest branch. Academic research tends to compare African science fiction to Western literary cannon. This puts African science fiction at risk of being seen as derivative: imitating Western forms, or transplanting Western narratives into new ‘exotic’ African settings.'
Review to follow.
Review to follow.
January 14, 2019
I have to say, this one’s given me a lot to think about. It’s a small book, physically speaking, but it has some pretty big things to say about where African F/SF has come from, where it currently stands, and maybe even where it’s going. The book itself is a collection of academic papers on aspects of F/SF created in Africa or by African authors and makes for some interesting and eye-opening reading.
On the Emergency of African Science Fiction by Peter J. Maurits looks at the development and growth of African SF and compares it to that of European and American SF and attempts to understand why African SF has taken so long to achieve the level of prominence it now has. Along the way he posits 2007 as the arbitrary ‘point of emergence’ for African SF in its current form and then goes on to consider the perceived explosion of African SF in the last ten years as a consequence of various global, social and technical influences.
This is followed by Nick Wood’s Forces Shaping the Development of South African Speculative Fictions Down the Ages. As the title suggests this essay focuses more closely on South African F/SF and provides a historical snapshot of how the genre has been influenced over the years, particularly in relation to the apartheid and post-apartheid eras. This then allows him to look at the apparent ‘whiteness’ of South African F/SF and offer hope that this imbalance will be addressed in the future.
In Ezeiyoke Chukwunonso’s essay we are introduced to The Dangers of Expectation in African Speculative Fiction and presented with a compelling argument for why African F/SF is only now being taken seriously. As part of the discussion he looks at the emergence of the African literary novel and asks if African F/SF is primarily aimed at African readers, or at a Western audience clamouring for more diversity in their literary diet.
Scientists in Nigerian Science Fiction by Polina Levontin attempts to look at the representation of science and scientists within Nigerian SF works and asks if these representations are indicative of public perceptions of science or if they are influencing those perceptions. She provides some statistical data along the way, breaking the fictional scientists down into broad areas of research and identifying some gender bias within the study sample, and then addresses the representation of each area of research in more detail.
Finally, we have Robert S. Malan’s Portrayal of South Africans in Popular Entertainment: Bad Accented Baddies, Prawns and Black Panther. This one deals predominantly with the way in which South African characters (and to a lesser degree characters from other African nations) have historically been portrayed in movies. It discusses the mostly negative portrayal of such characters, especially black characters, and touches on the prevalence of non-African actors playing African characters. The final section of the essay then looks at the impact of Black Panther and what that could mean for the future of African representation in popular entertainment.
All in all, this little collection is a fantastic read. I’d certainly recommend it to anyone with even a slight academic interest in the history and development of the fantasy and sci-fi genres. The only caveat I’d give is that there’s every chance your to-read list is going to grow massively with all the titles referenced throughout the five essays.
On the Emergency of African Science Fiction by Peter J. Maurits looks at the development and growth of African SF and compares it to that of European and American SF and attempts to understand why African SF has taken so long to achieve the level of prominence it now has. Along the way he posits 2007 as the arbitrary ‘point of emergence’ for African SF in its current form and then goes on to consider the perceived explosion of African SF in the last ten years as a consequence of various global, social and technical influences.
This is followed by Nick Wood’s Forces Shaping the Development of South African Speculative Fictions Down the Ages. As the title suggests this essay focuses more closely on South African F/SF and provides a historical snapshot of how the genre has been influenced over the years, particularly in relation to the apartheid and post-apartheid eras. This then allows him to look at the apparent ‘whiteness’ of South African F/SF and offer hope that this imbalance will be addressed in the future.
In Ezeiyoke Chukwunonso’s essay we are introduced to The Dangers of Expectation in African Speculative Fiction and presented with a compelling argument for why African F/SF is only now being taken seriously. As part of the discussion he looks at the emergence of the African literary novel and asks if African F/SF is primarily aimed at African readers, or at a Western audience clamouring for more diversity in their literary diet.
Scientists in Nigerian Science Fiction by Polina Levontin attempts to look at the representation of science and scientists within Nigerian SF works and asks if these representations are indicative of public perceptions of science or if they are influencing those perceptions. She provides some statistical data along the way, breaking the fictional scientists down into broad areas of research and identifying some gender bias within the study sample, and then addresses the representation of each area of research in more detail.
Finally, we have Robert S. Malan’s Portrayal of South Africans in Popular Entertainment: Bad Accented Baddies, Prawns and Black Panther. This one deals predominantly with the way in which South African characters (and to a lesser degree characters from other African nations) have historically been portrayed in movies. It discusses the mostly negative portrayal of such characters, especially black characters, and touches on the prevalence of non-African actors playing African characters. The final section of the essay then looks at the impact of Black Panther and what that could mean for the future of African representation in popular entertainment.
All in all, this little collection is a fantastic read. I’d certainly recommend it to anyone with even a slight academic interest in the history and development of the fantasy and sci-fi genres. The only caveat I’d give is that there’s every chance your to-read list is going to grow massively with all the titles referenced throughout the five essays.
November 2, 2019
I felt these essays gave too much of an overview without insightful commentary. Well written, sure, but I wanted something that delved deeper into its subject matter.
July 10, 2024
This small book is a seriously important read, offering discussion and insight into the origins, evolution and significance of African Fantasy and Science Fiction. Framed from an exploration of the origins of science fiction, there is interesting discussion about how far back SF dates, and how SF and colonialism emerged in parallel, exclusive of African Science Fiction. Technological developments, science, and anthropology, crucial to SF, were intertwined with colonial history and ideology, made possible through military dominance, and leading to the idea of colonised subjects being seen as inferior savages. While 19th century colonialism has mostly ended, SF’s ties to it have not been severed: colonialist narratives reproducing tropes through characterisation of colonised subjects as savage, continue, although greater distance is being achieved with colonialism. It was an illuminating discussion which I felt importantly highlighted the need to continue challenging the narrative as we move forward.
The emergence of African Science Fiction is essential to this narrative, along with stories from Asia, and indigenous voices around the world. Mobile phone technology has facilitated circulation and consumption of ASF, therefore showing its market value to established publishers, consequently creating space for more writers to offer their perceptions of the continent, including working to strengthen positive perceptions. The legacy of apartheid was significant as it produced vastly unequal readership between white and black populations, which in turn affected content being published. Movement from a dystopian narrative to a utopian one was also significant.
There was fascinating discussion on the history of SF being predominantly anti-utopian, and the framework for why utopia was seen as dangerous, with the narrative utopia in suspension since the 1970s. The emergence of African fantasy took off from 2007, and it stands out as a historical moment from dystopia to utopia. There followed an intimate portrayal into the genre of African Science Fiction, offering an essential sense of belonging to readers worldwide, strengthening perceptions of Africa, offering insight into African culture, contributing to multi-cultural awareness, and thereby helping towards resolving many complex issues within postcolonial Africa. In among a sobering reminder that Africans have been producing science fiction, fantasy, magical realism since the genre began, since storytelling for all of us is as old as time, was the reminder of the ramifications of colonisation, and the fact that decolonisation is a process. And while the complexities are many, there is a huge body of work, past, and present, to explore, and an exciting future, with Africans claiming and reclaiming their power to tell their own stories, free from expectation, led by exciting voices such as Nnedi Okorafor, to write what they ultimately want to read, and to add to this ever-growing exciting genre.
An inspiring, empowering and thought-provoking read.
The emergence of African Science Fiction is essential to this narrative, along with stories from Asia, and indigenous voices around the world. Mobile phone technology has facilitated circulation and consumption of ASF, therefore showing its market value to established publishers, consequently creating space for more writers to offer their perceptions of the continent, including working to strengthen positive perceptions. The legacy of apartheid was significant as it produced vastly unequal readership between white and black populations, which in turn affected content being published. Movement from a dystopian narrative to a utopian one was also significant.
There was fascinating discussion on the history of SF being predominantly anti-utopian, and the framework for why utopia was seen as dangerous, with the narrative utopia in suspension since the 1970s. The emergence of African fantasy took off from 2007, and it stands out as a historical moment from dystopia to utopia. There followed an intimate portrayal into the genre of African Science Fiction, offering an essential sense of belonging to readers worldwide, strengthening perceptions of Africa, offering insight into African culture, contributing to multi-cultural awareness, and thereby helping towards resolving many complex issues within postcolonial Africa. In among a sobering reminder that Africans have been producing science fiction, fantasy, magical realism since the genre began, since storytelling for all of us is as old as time, was the reminder of the ramifications of colonisation, and the fact that decolonisation is a process. And while the complexities are many, there is a huge body of work, past, and present, to explore, and an exciting future, with Africans claiming and reclaiming their power to tell their own stories, free from expectation, led by exciting voices such as Nnedi Okorafor, to write what they ultimately want to read, and to add to this ever-growing exciting genre.
An inspiring, empowering and thought-provoking read.
Displaying 1 - 5 of 5 reviews