This has led to the realisation that African belief systems can be analysed through past histories and help to interrogate the trauma of Africans and Africa’s past. Afrofuturism postulation has given critics new scopes of looking at African mythology as functional stories that reflect on Africans’ belief systems. This is due to the contention that supernatural powers strip away heroism from the stories. Thus, in this paper I seek to make a theoretical case for Africana womanism in the Afrofuturistic context presented by Black Panther.Įurocentric studies of African stories show that African stories with supernatural intervention are canonised as non-heroic stories due to western misconceptions that the presence of supernatural powers render the stories non-heroic. Their representation is a return to the source of sorts which recalls African women warriors who have been celebrated in the African past but seem to have lost the significance of their prowess over time but still have prospects in a re-invented Africa. ![]() Black women from Africa and the African diaspora are presented as an imagined community – they have a shared history of imperial and patriarchal domination among other forms of othering. In other words, Black Panther’s Afrofuturistic re-imagi(ni)ng of black womanhood is Africana womanist-centric. Black Panther has also proven to be phenomenal in its representation of black womanhood which, I would like to argue, engenders intimate convergences with the film’s Afrofuturistic thrust. The film has revitalised discourses on Afrofuturism, owing to the fact that the black themes it raises reconfigure representations of black lives and history that have mainly been steeped in normative western categorisations. ![]() Since its release, Black Panther (Coogler 2018) has proven to be a phenomenal black cultural text on so many levels.
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