The Arch. The Ark. The Archive. The Arcane. The Archon. The Architect. The Archangel. The ArchAndroid.
The Chief Holder of a Culture’s Knowledge for Future Recollection.
The Cybernetic Helms(wo)man of the Ship Sailing to a New Horizon.
Last weekend, I attendedSummoning the Archiveat NYU. Attending it inspired me to think of the “archive” in relation to communities of color and Afrofuturism. A few archivists/librarians/curators of color have existed in speculative fiction. For example, remember the bluesman Peter Wheatstraw from Ellison’s Invisible Man who carried discarded blueprints in his cart? How about Akomfrah’s data thief in the Last Angel of History? Or the Puerto-Rican librarian at Columbia University, Nydia Ochoa, who helps Sierra (breaking the rules of the institution as Sierra is not a student) find out more about her cultural heritage in Daniel Jose Older’s Shadowshaper? Or Wanuri Kahiu’s Pumzi, which follows a museum curator who braves the outside world because of her dreams that life can exist out there?
Ekari (Ashleigh Ekari) is developing a series called TRANSMISSION: Afrofuturism as an Archive as part of her senior capstone project for the class Re-Imagining the Archive. She describes it as “exploring the ways in which speculative fiction, namely Afrofuturism, functions as a ‘future archive,'” or in other words, “a collection of speculative future possibilities, a collection of desires (and fears) projected into the future.”
The project is a series of interviews with various creatives and educators, asking each of them to use their own experiences to “create and flesh out Sage, a fictional character living in a parallel universe in the year 2015.”
Thinking about the purpose of the project, I immediately thought of Peter Wheastaw in Ellison’s Invisible Man and his collection of blueprints, a reservoir of possible social structures.
Below are the first two interviews conducted with Ronika McClain and Malikah S.