On December 7 and 8, 2024, history was made at OBA Oosterdok as the first-ever International Afrofuturism Global Congress took place, embedded within the ongoing exhibition Shared History of the World. For the first time, Afrofuturists from both the Global North and Global South gathered in one space, exchanging ideas, visions, and creative expressions. It wasn’t just about discussions and showcases—it was about witnessing a movement expand, evolve, and solidify itself on a global scale.

The energy in the room was electric. Artists, scholars, filmmakers, and creatives from across the diaspora—from Brazil to Switzerland, Curaçao to Canada—came together to explore how Afrofuturism and Black Speculative Art reclaim narratives, reimagine histories, and build futures where Black people thrive beyond limitations. This congress wasn’t a standalone event—it was an extension of the Shared History of the World exhibition, where visual art, digital media, and speculative storytelling formed a backdrop to deeper discussions on culture, identity, and innovation.

December 7: A Day of Groundbreaking Art and Conversation

The day was packed with highlights, starting with the book launch of the Special Edition of HIS STORY OF THE WORLD. This edition marked a significant moment in Afrofuturistic literature, solidifying its place as a foundational work in Black Speculative Arts and visionary storytelling. We also had the official crowdfunding launch for the graphic novel Rise of the Mafu.

Visitors were also transported into new realities through the immersive VR experience SANKOFA. This multi-sensory journey allowed participants to relive ancient times and travel through time and space, immersing themselves in ancestral wisdom and futuristic vision—the very essence of Afrofuturism’s ability to bend time and reclaim narratives through new media.

A major highlight of the day was the European premiere of Underneath: Children of the Sun. The film set the stage for a powerful panel discussion featuring Immanuelle Grives, David Kirkman, and others, where the conversation went beyond cinema—touching on visual storytelling as a revolutionary tool for reshaping Black narratives and challenging dominant histories.

Afrofuturism’s deep ties to music, comics, and speculative fiction came to life in the Hip-Hop & Comics panel, where the intersection of these art forms was explored as a space for resistance, cultural preservation, and futuristic world-building.

Throughout the day, lightning talks by leading voices in Black Speculative Arts—including Sheree Renee Thomas, Quintin VerCetty, and Stacey Robinson—offered rapid-fire insights into the way Afrofuturism is reshaping literature, design, and creative industries across the world.

And to close the day, Dr. Reynaldo Anderson, co-founder of BSAM, delivered a powerful keynote speech. His words were a call to action, reminding us that Afrofuturism is not just a genre—it is a global movement rooted in self-definition, artistic liberation, and speculative resistance.

December 8: The Conversation Continues

The second day opened with a Networking Breakfast, but it wasn’t just about exchanging contacts—it was about building bridges. The conversations that had started the day before continued, deepened, and became personal, creating new collaborations and expanding the Afrofuturist community.

Carla Kabamba set the tone with an opening performance that was raw and transformative, leading into the All-Female Power Panel on Feminism & Narrative Ownership, where voices that often go unheard took center stage. The Gaming Culture & Afrofuturism Panel was a reminder that world-building isn’t just for literature—video games shape our myths just as much as books do, and they are an essential part of modern Black Speculative Art.

One of the most powerful moments came when Yvonne Apiyo Brändle-Amolo took the stage. With movement and words, she guided the audience into a deep reconnection with themselves. Her speech was raw, honest, and filled with the kind of energy that lingers long after the moment has passed. And then, through dance, she showed us what it means to embody freedom—not just as an idea, but as something you can feel in every fiber of your being.

The film showcase The Glow of N’golo resonated deeply, a cinematic testament to the strength of storytelling as a tool for resistance and empowerment.

More Than an Event—A Living Continuation of Shared History

What made this weekend special wasn’t just the lineup of powerhouse contributors—Dr. Reynaldo Anderson, Stacey Robinson, Quintin VerCetty, Juice Aleem, Zaika dos Santos, Immanuelle Grives, David Kirkman, Yvonne Apiyo Brändle-Amolo, Sheree Renee Thomas, and so many others. It was the way their voices, ideas, and art connected back to the Shared History of the World exhibition—expanding on the themes already present in the installations, multimedia works, and speculative pieces that transformed the OBA into an Afrofuturistic portal.

“I came for the discussions but left feeling like I was part of a living, breathing future.” — Visitor

The 1st International Afrofuturism Global Congress proved that Afrofuturism and Black Speculative Art are not bound by geography—they are a global force, a shared vision, a collective movement. And as the Shared History of the World exhibition continues, the conversation does too.