Revolutionary Art and the Creation of the Future: The Afrofuturist Texts of José Antonio Aponte and Martin R. Delany

Afrofuturism (an artistic perspective in which Black voices tell alternative narratives of culture, technology, and the future) and the Dark Fantastic (interrupting negative depictions of Black people through emancipatory interpretations of art) are two interrelated concepts used by Black artists in the Atlantic World to counter negative images and emphasize a story from a Black perspective. Likewise, these concepts have been used to recreate and re-narrate history with an eye towards subverting white supremacist historical narratives. By using Afrofuturism and the Dark Fantastic as lenses through which texts by authors from the African Diaspora in the Atlantic World are examined, an alternative narrative of Black histories and futures concerned with revolution, liberation, and justice can be seen. The two texts that are the subject of this research include José Antonio Aponte’s descriptions of his book of paintings under interrogation in 1812–1813, and Martin Delany’s novel Blake; or the Huts of America (1859–1862), providing images of enslavement that run counter to a white supremacist telling of history. They both imagine alternative pasts and futures for Africa and the Afro-Diaspora involving revolution and magic. These works, though produced at different times and locations in the nineteenth century, offer new ways in which to discuss liberation and freedom in the context of the artistic production of the Atlantic World.