Afro-Surrealism: A brief take
The world is an absurd place. On the one hand, the fact of our existence feels incredibly serious. However, on the other hand, sometimes events in our lives undermine that “seriousness”. This leaves us in a precarious position: we care a lot, but what we care about is sort-of crazy. I want to be clear, this is not another article about positive nihilism. Nor do I intend on confronting absurdity–at least, not directly. My intention is to describe, relate, and discuss Afro-surrealism. Another dimension of surrealism, and can also be considered magical realism on steroids.
Life in general is rather absurd. You exist-what the hell. Afro-surrealism confronts this absurdity as experienced by POC’s living in predominantly white societies. It is not a theory about the world, but rather a framework of interpreting cultural artifacts and lived experiences within it. These artifacts point to something that feels off. That something is not quite right. We can choose to suppress that emotion, or revel in it. In doing so, we can relate to the art of Jean-Michel Basquiat, A Tribe Called Quest, and many more.
Basquiat, a world renown street artist from Brooklyn, was famous for his rugged paintings. His abstract paintings evoke a familiar discomfort. The people he paints look simultaneously like gods and goblins. They are relentlessly confusing, but also powerful. Their power is rooted in a bold commitment to standing out. This is where I related to his work. People of color in white societies stand out by default. Instead of isolating us on the spot, Basquiat decides to celebrate us in the spotlight. Afro-surrealism is not by definition celebratory. However, it is reflected in fractured socio-cultural expectations. And, if we can choose to see the absurd and surreal as beautiful, why wouldn’t we?
Afro-surrealism is not confined to the art world. It is not uncommon for African American men to be stopped by the police. These encounters can be deadly. The hypocrisy of this fact of life is, when you think about it, absurd. America seems to idolize black culture while simultaneously fearing the people who create it. This is a complicated relationship to encounter. On the one hand, a lot of African-American artwork displays the struggle of living in a predominantly white society. White people listen to the songs and like the art. However, on the other hand, once they have to relate to the people who created the art–they get uncomfortable. We become disconnected from our art because we start to make it for them, rather than using it to express ourselves. This is afro-surrealism. It’s a complicated rationale.
The expectation that you will be seen for you, rather than a racialized version of you is fractured. However, once your race is detached from your identity you feel alienated from yourself. This paradox is real, but not as real as the life or death conclusions that follow from it. The fractured identity leaves you open to being used, to wanting to be something. You may hear this alot, when people say they are going to be somebody, as if they are currently nobody. Usually the path towards being somebody involves conformity to standards that aren’t built for you. Afro-surrealism can allow us to think of pathways where we construct our own standards. In doing so, we embrace the confusion.
The point is not to create a life where you are a random outcast. It is, rather, about acknowledging that certain aspects of your social context don’t make sense. These are really abstract conclusions. So let’s ground afro-realism in a few concrete examples.
First, as an African American, have you ever been told to Go Back To Your Country?! This disregards the circumstances wherein Black people were brought to America. Furthermore, it suggests that African Americans are not American. Second, has someone ever made a point of noting that I don’t see race, we are equal? This implies that if someone saw you through your race, they would perceive you as less-equal. It is easy to find these examples amusing because they clearly stem from ignorant premises. Afro-surrealism exaggerates these premises. In doing so their absurdity becomes more understandable, and, hopefully, more bearable.
