Analyzing literary texts and films, White Rebels in Black shows how German authors have since the 1950s appropriated black popular culture, particularly music, to distance themselves from the legacy of Nazi Germany, authoritarianism, and racism, and how such appropriation changes over time. Priscilla Layne offers a critique of how blackness came to symbolize a positive escape from the hegemonic masculinity of postwar Germany, and how black identities have been represented as separate from, and in opposition to, German identity, foreclosing the possibility of being both black and German. Citing four autobiographies published by black German authors Hans Jürgen Massaquo, Theodor Michael, Günter Kaufmann, and Charly Graf, Layne considers how black German men have related to hegemonic masculinity since Nazi Germany, and concludes with a discussion on the work of black German poet, Philipp Khabo Köpsell.
Examining Afro-German artists’ use of Afrofuturist tropes to critique German racial history The term Afrofuturism was first coined in the 1990s to describe African diasporic artists’ use of science fiction, speculative fiction, and fantasy to reimagine the diaspora’s pasts and to counter not only Eurocentric prejudices but also pessimistic narratives. Out of This World: Afro-German Afrofuturism focuses on contemporary Black German Afrofuturist literature and performance that critiques Eurocentrism and, specifically, German racism and colonial history. This young generation has, Priscilla Layne argues, engaged with Afrofuturism to disrupt linear time and imagine alternative worlds, to introduce non-Western technologies into the German cultural milieu, and to consider the possibilities of posthumanism. Their experiments in futurist and speculative narratives offer new tools for breaking with the binary thinking about race, culture, and gender identity that have been enforced by repressive ideological and state apparatuses, such as educational, cultural, and police institutions. Rather than providing escapism or purely imaginary alternatives, however, they have created a space—outer and artistic—in which their lives matter.
Analyzing literary texts and films, White Rebels in Black shows how German authors have since the 1950s appropriated black popular culture, particularly music, to distance themselves from the legacy of Nazi Germany, authoritarianism, and racism, and how such appropriation changes over time. Priscilla Layne offers a critique of how blackness came to symbolize a positive escape from the hegemonic masculinity of postwar Germany, and how black identities have been represented as separate from, and in opposition to, German identity, foreclosing the possibility of being both black and German. Citing four autobiographies published by black German authors Hans Jürgen Massaquo, Theodor Michael, Günter Kaufmann, and Charly Graf, Layne considers how black German men have related to hegemonic masculinity since Nazi Germany, and concludes with a discussion on the work of black German poet, Philipp Khabo Köpsell.
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