My second reason for wanting to direct attention to Afrofuturism is political. From the ongoing war on terror to Hurricane Katrina, it seems that we are trapped in an historical moment when we can think about the future only in terms of disaster – and that disaster is almost always associated with the racial other. Of course, there are many artists, scholars, and activists who want to resist these terrifying new representations of the future. As a literary scholar myself, I believe that one important way to do this is to identify the narrative strategies that artists have used in the past to express dissent from those visions of tomorrow that are generated by a ruthless, economically self-interested futures industry. Hence my interest in Afrofuturism, which assures us that we can indeed just say no to those bad futures that justify social, political, and economic discrimination. In doing so this mode of aesthetic expression also enables us to say yes to the possibility of new and better future and thus to take back the global cultural imaginary today.
Lisa Yaszek, “Afrofuturism, Science Fiction, and the History of the Future”