Today is Yesterday’s Tomorrow: Talk at U-M Flint
On April 3, 2025, I participated in a panel discussion at the University of Michigan–Flint, held as part of the “Today is Yesterday’s Tomorrow” exhibition. The conversation took place just one day before the exhibition concluded. Moderated by Ash Arder, the panel also featured artists Reuben Telushkin and Venusloc. I was honored to be in conversation with such distinguished and visionary young artists, each bringing a unique perspective to the dialogue. We explored speculative imagination in art, music, and culture, and I spoke about Drexciya, its mythological roots, and how it continues to shape my work through the lens of Afrofuturism. It was a powerful and inspiring exchange on how the past, present, and future converge in creative practice.
Thoughts on Afrofuturism:
Afrofuturism envisions a continuum where the past, present, and future are not separate but intertwined. In this cosmic reality, the ancestors have ascended beyond the confines of time and space, existing as luminous beings in higher dimensions. From their vantage point, they observe their progeny, whispering through dreams, rhythms, and intuition, urging us to harness both internal and external technologies to transcend our current limitations. They remind us that true advancement is not just about material progress but about aligning our spirit, mind, and body with the frequencies of the cosmos.
Internal technologies are those that reside within us—ancestral memory encoded in our DNA, deep meditative states that allow us to access higher realms, and the power of the subconscious to tap into wisdom beyond the veil of ordinary perception. Practices such as drumming, chanting, and ritualistic movement are not mere cultural artifacts; they are vibrational keys that unlock access to these higher dimensions. The mind itself is a starship, capable of traveling through time, revisiting the past, and glimpsing into possible futures. The expansion of consciousness, whether through dreams, altered states, or deep introspection, becomes a gateway to realms where the ancestors dwell, waiting to share their knowledge.
External technologies, on the other hand, are the tools we create—machines, artificial intelligence, interstellar vessels, and even cybernetic enhancements—that allow us to explore the unknown reaches of the universe. Afrofuturism suggests that these external advancements must be guided by a deeper understanding of who we are and where we come from. Science and technology, when harmonized with ancestral knowledge, can become instruments of liberation, breaking the barriers that have kept us bound to a single perspective of reality. From the rhythmic pulses of the djembe to the beats of Detroit Techno, sound itself is a form of technological innovation—a means of communication that extends beyond language, influencing consciousness and reshaping the world.
The ancestors call for balance. They urge us to master both the seen and the unseen, to become explorers not only of outer space but of inner space as well. The next evolution of humanity lies not just in physical expansion but in the awakening of a multidimensional existence—one where time bends, reality unfolds in layers, and we step boldly into the unknown, guided by the wisdom of those who came before us.
Submerged Realities: My talk at Michigan State University
On March 27, 2025, I had the pleasure of speaking at Michigan State University as part of a special series commemorating the 65th anniversary of the African Studies Department. Moderated by Professor Julian Chambliss, our discussion explored my journey as an artist, the history of Detroit Techno, and the mythology of Drexciya, all through the lens of Afrofuturism. We examined how music, visual art, and storytelling intertwine to create new worlds and reimagine Black futures. It was an engaging and thought-provoking discussion, and I’m grateful for the opportunity to share my insights with the students and faculty.
Exploring Drexciya: My talk at the Bowers Museum
On February 1st, 2025, I had the honor of speaking at the Bowers Museum in Santa Ana, California, about Drexciya—the mythology, the music, and its impact on Afrofuturism. The discussion was moderated by Professor Jalondra Davis, whose insights into Black speculative fiction and aquatic histories added depth to the conversation. Sponsored by the Bowers Museum and Neptunian Influence, the event explored the origins of the Drexciyan narrative, its connections to African diaspora storytelling, and how it continues to inspire new generations. Sharing this vision with an engaged audience in such a prestigious setting was a powerful experience, reaffirming the importance of mythology and music in shaping our future.
