‘Black Panther: Wakanda Forever’ continues the series’ quest to recover and celebrate lost cultures

Talokan is inspired by Mesoamerica, a vast area that encompasses Central America and parts of Mexico. Source: Marvel Studios.

Julian C. Chambliss, Michigan State University

As someone who teaches and writes about Afrofuturism, I’ve been eagerly awaiting the release of “Black Panther: Wakanda Forever.” I’m particularly excited about the introduction of Namor and the hidden kingdom of Talokan, which he leads.

The first “Black Panther” film adhered to a longstanding practice in Afrofuturist stories and art by engaging in what I call “acts of recovery” – the process of reviving and celebrating elements of Black culture that were destroyed or suppressed by colonization. This practice is often linked to “Sankofa,” an African word from the Akan tribe in Ghana that roughly translates to “it is not taboo to fetch what is at risk of being left behind.”

“Wakanda Forever” pulls from the past in the same way, but with a twist: Talokan is inspired not by African cultures, but by Mesoamerica, a vast area that covers most of Central America and part of Mexico.

The trailer for ‘Black Panther: Wakanda Forever.’

A theory of time

The idea that African knowledge and contributions to science and culture have been erased and must be recovered is central to Afrofuturism. The term, which was coined in 1994, describes a cultural movement that pulls from elements of science fiction, magical realism, speculative fiction and African history.

On its home page, the Afrofurist listserv, an email list organized by social scientist Alondra Nelson in 1998, pointed to this process of recovery as a central tenet of the genre:

“Once upon a time, in the not-so-distant past, cultural producers of the African diaspora composed unique visions on the world at hand and the world to come. This speculation has been called AfroFuturism – cultural production that simultaneously references a past of abduction, displacement and alien-nation; celebrates the unique aesthetic perspectives inspired by these fractured histories; and imagines the possible futures of black life and ever-widening definitions of ‘blackness.’”

This fascination with uncovering the ways in which Black contributions have been erased and suppressed means that Afrofuturist works often mine the past as a first step toward creating visions of the future.

Afrofuturist scholars such as Kinitra Brooks even describe Afrofuturism as a theory of time. For her, the “present, past, and future” exist together, creating the opportunity to push against the systemic devaluation of Black people that occurred during slavery and Jim Crow segregation, and persists in contemporary anti-Black violence.

Looking back to see tomorrow

This recovery can take many forms.

Several Black writers published serialized novels of speculative fiction, such as Martin R. Delany’s “Blake: Or the Huts of America,” a slave revolt story written between 1859 and 1861. Pauline Hopkins’ “Of One Blood: Or, the Hidden Self,” published in 1903, tells the story of mixed-race Harvard medical students who discover Telassar, a hidden city in Ethiopia, home to an advanced society possessing technology and mystical powers.

Both narratives refuse to depict Black culture as backwards or impotent, and instead celebrate Black empowerment and the rich cultural legacies of Black people.

Curator Ingrid Lafleur has long talked about how Afrofuturist visual aesthetics relies on recovering ancient African cosmology. You can see this practice in the work of musical artists such as Sun Ra, who used Egyptian symbolism throughout his work, and visual artists such as Kevin Sipp, who remixes and reimagines African cultural symbolism to create sculptures and visual work that fuse past styles and symbols with contemporary practices.

Simply put, a reverence for ancestral knowledge and culture is the beating heart of Afrofuturism, and has become an integral part of Afrofuturism’s mission to forge a better future.

Mesoamerica takes center stage

The first “Black Panther” film celebrated an array of African cultures.

Costume designer Ruth Carter deliberately infused elements from across the continent in every scene. For example, the headdress worn by Queen Ramonda, played by Angela Bassett, was inspired by the isicholo, a South African hat traditionally associated with married women. And Lupita Nyong’o’s Nakia wore clothing inspired by the Suri tribe.

And so the film highlighted African cultures not by depicting them as fragile or foundering, but as paragons of artistry and sophistication.

In “Black Panther: Wakanda Forever,” these themes are explored both in the way the mantle of Black Panther presumably passes to Princess Shuri, and in the depiction of Namor and the kingdom of Talokan.

While Talokan is an underwater society inspired by the myth of Atlantis, Marvel Studios has signaled that the people of Talokan sought refuge underwater in response to colonial invasion.

By invoking the complexities of this history – and seemingly leaning heavily on parallels to Mayan culture – the film celebrates a society that scholarship has long noted for its achievements in architecture, mathematics, astronomy and language.

Woman with feathered hat stands next to soldiers.
The costumes of Talokan soldiers were inspired by Mesoamerican culture. Source: Marvel Studios

History books reference these accomplishments. But in popular culture, there’s little attention given to this cultural landscape.

Namor and the kingdom he leads are poised to remind a global audience of the rich world of Mesoamerica that thrived – until European contact beginning in 1502 led to conquest, decline and eradication.

Today, immigration, trade and drug trafficking dominate discussions of Central America and Mexico in the U.S. media. This film, on the other hand, invites the viewer to appreciate the profound cultural legacy of Mexican and Central American civilizations.The Conversation

Julian C. Chambliss, Professor of English, Michigan State University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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What is Mastodon? A social media expert explains how the ‘federated’ network works and why it won’t be a new Twitter

Twitter users who are fleeing to the social media platform Mastodon are finding it to be a different animal.

Brian C. Keegan, University of Colorado Boulder

In the wake of Elon Musk’s noisy takeover of Twitter, people have been looking for alternatives to the increasingly toxic microblogging social media platform. Many of those fleeing or hedging their bets have turned to Mastodon, which has attracted hundreds of thousands of new users since Twitter’s acquisition.

Like Twitter, Mastodon allows users to post, follow people and organizations, and like and repost others’ posts.

But while Mastodon supports many of the same social networking features as Twitter, it is not a single platform. Instead, it’s a federation of independently operated, interconnected servers. Mastodon servers are based on open-source software developed by German nonprofit Mastodon gGmbH. The interconnected Mastodon servers, along with other servers that can “talk” to Mastodon servers, are collectively dubbed the “fediverse.”

Mastodon U.

A key aspect of the fediverse is that each server is governed by rules set by the people who operate it. If you think of the fediverse as a university, each Mastodon server is like a dorm.

Which dorm you’re initially assigned to can be somewhat random but still profoundly shapes the kind of conversations you overhear and the relationships you form. You can still interact with people who live in other dorms, but the leaders and rules in your dorm shape what you can do.

If you’re particularly unhappy with your dorm, you can move to a new housing situation – another dorm, a sorority, an apartment – that is a better fit, and you bring your relationships with you. But you are then subject to the rules of the new place where you live. There are hundreds of Mastodon servers, called instances, where you can set up your account, and these instances have different rules and norms for who can join and what content is permitted.

In contrast, social media platforms like Twitter and Facebook put everyone in a single, gigantic dorm. As millions or billions of people joined, the companies running these platforms added more floors and bedrooms. Everyone could communicate with each other and theoretically join each other’s conversations within the dorm, but everyone also has to live under the same rules.

If you didn’t like or didn’t follow the rules, you had to leave the megadorm, but you were not able to bring your relationships with you to your new housing – a different social media platform – or talk to people who stayed in your original megadorm. These platforms tapped into the resulting fear of missing out to lock people into a highly surveilled dorm where their otherwise private behavior was mined to sell ads.

Screenshot of a microblogging app
Mastodon supports all the familiar social media functions: posting, liking, reposting and following. Eugen Rochko via Wikimedia Commons

Incentives for good behavior

The big social media companies sell ads to pay for two primary services: the technical infrastructure of hardware and software that lets users access the platform, and the social infrastructure of usability, policy and content moderation that keeps the platform in line with users’ expectations and rules.

In the Mastodon collection of servers, if you don’t like what someone is doing, you can cut ties and move to another server but keep the relationships you already made. This removes the fear of missing out that could otherwise lock users into a server with other people’s bad behavior.

There are a few factors that should put Mastodon servers under strong pressure to actively and responsibly moderate the behavior of their members. First, most servers don’t want other servers cutting ties entirely, so there is strong reputational pressure to police members’ behavior and not tolerate trolls and harassers.

Second, people can migrate between servers relatively easily, so the server administrators can compete to provide the best moderation experience that attracts and keeps people around.

Third, the technical and financial costs of creating a new server are much greater than the costs of moderating a server. This should limit the number of new servers cropping up to evade bans, which would avoid the endless “whack-a-mole” challenge of new spam and troll accounts that the big social media platforms have to deal with.

Not all milk and honey

The federated server model on Mastodon also has potential drawbacks. First, finding a server to join on Mastodon can be hard, especially when a flood of people trying to find servers leads to the creation of waitlists, and the rules and values of the people running a server aren’t always easy to find.

Second, there are significant financial and technical challenges with maintaining servers that grow with the number of members and their activity. After the honeymoon is over, Mastodon users should be prepared for membership fees, NPR-style fundraising campaigns or podcast-style promotional ads to cover server hosting costs that can go into the hundreds of dollars per month per server.

Third, despite calls for newspapers, universities and governments to host their own servers, there are complicated legal and professional questions that could severely limit public institutions’ abilities to moderate their “dorms” effectively. Professional societies with their own methods of verification and established codes of conduct and ethics may be better equipped to host and moderate Mastodon servers than other types of institutions.

Fourth, the current “nuclear option” of servers entirely cutting ties with other servers leaves little room for repairing relations and reengagement. Once the tie between two servers is severed, it would be difficult to renew it. This situation could drive destabilizing user migrations and reinforce polarizing echo chambers.

Finally, there are tensions between longtime Mastodon users and newcomers around content warnings, hashtags, post visibility, accessibility and tone that are different from what was popular on Twitter.

Still, with Twitter melting down and the long-standing issues with the major social media platforms, for many people the new land of Mastodon and the fediverse doesn’t have to be all milk and honey.The Conversation

Step-by-step instructions for joining Mastodon.

Brian C. Keegan, Assistant Professor of Information Science, University of Colorado Boulder

This article is republished from The Conversation under a Creative Commons license. Read the original article.