[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-152421-en":3,"doc-seo-152421-105":29,"detail-sidebar-cat-0-en-105":90},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":4,"is_deleted":4,"is_public":20,"is_downloadable":20,"audit_status":20,"page_count":11,"language":21,"language_code":22,"site_id":23,"html_lang":22,"table_of_contents":24,"faqs":25,"seo_title":26,"seo_description":14,"update_tm":27,"read_time":28},152421,1374402968488,"Đào","https://ap-avatar.wpscdn.com/davatar_29158cc5080c5b710cf443261637dec0",8,"Research & Report","AfroAsian Imaginations - Autoethnographies of Black Panther in Korea","This article develops the concept of AfroAsian Futures through Critical Collaborative Autoethnography, using the film Black Panther as a shared imaginative and analytical site. An African American male graduate student and a mixed Korean-American female graduate student examine how their identities shape relationship-building with the movie, especially as parts were filmed in Busan, Korea. The study links AfroAsian relations around resistance and frames Afrofuturism as an autoethnographic embodiment that invites readers to consider connections and tensions between African and Asian communities.","DOI:10.6531/JFS.201912_24(2).0004    \nA R T I C L E .29  \nAfroAsian Imaginations: Autoethnographies of Black Panther in Korea  \nHannah Stohry Miami University USA  \nJohnnie Jackson Miami University USA  \nAbstract  \nWhat would it look like for AfroAsian Futures to exist not just as bodies of land and water, but for bodies of people? In this article, an African American male graduate student and a mixed Korean-American female graduate student, use autoethnography to explore their relationships with the movie Black Panther, and develop our concept of AfroAsian Futures. Parts of the movie Black Panther were filmed in Busan, Korea, making us keenly interested in grappling with exploring AfroAsian Imaginations by using Critical Collaborative Autoethnography as a methodology. We make the connection between AfroAsian relationships around resistance, and consider Afrofuturism as an autoethnographic embodiment. We invite the readers to engage with our thought process, and imagine a world where connections and tensions exist between African and Asian communities.  \nKeywords: Afroasian Imaginations, Critical Collaborative Autoethnography, Wakanda, Korea, Afroasian Futures, Afrofuturism.  \nIntroduction  \nSince the movie Black Panther hit theatres worldwide in February 2018, nothing has quite shaped Johnnie’sand Hannah’s lives and conversations like trying to reimagine the fictional Marvel country Wakanda as a place that could become a reality. Black Panther is a superhero character featured in Marvel comic books where Prince T’Challa (who becomes King) rules Wakanda, a country functioning on a valuable element vibraniumand hidden away from the rest of the Marvel universe. We bridge the personal, political and fictional through our theory of AfroAsian Futurism. For this paper, we will begin by introducing ourselves since our identities heavily influence our motivation to imagine our AfroAsian Futures.  \nJournal of Futures Studies, December 2019, 24(2): 29–36  \nJournal of Futures Studies  \nFirst, we (Hannah and Johnnie) introduce our individual positionalities, or personal introductions. Secondly, we move into a brief discussion of Afrofuturism as a theoretical framework that allows us to build off of Anzaldúa’s (1999), Borderlands ideas and Ashlee, Zamora, and Karikari’s (2017) notions of woke work. Next, we move into a conversation about the importance of autoethnography and how it relates to our ideas of AfroAsian Imaginations . We continue by grappling with the way Black Panther intervened in our imaginations about African and Asian futures.  \nWho Are We?  \nHannah’s Stohry  \nI (Hannah speaking) racially identify as Asian and white, and ethnically Korean-American . The ways in which I was socialized and racialised, as well as my experiences as a Third Culture Kid (TCK), spending my developmental years in cultures that differed from my family’s dominant culture (Pollock & Van Reken, 2017), and growing up in multicultural Christian Air Force military culture led to me becoming a social worker. Watching Black Panther at least four times, I saw the intentional efforts to bridge the AfroAsian gap and bring Wakanda to Korea. In many ways, the movie humanizes yet acts as an anthem for POC and WOC, and alludes to the liberatory efforts of the Asian and African diasporas. It heavily influences my experiences and journey of “woke-ness,”contributing to the development of who I am, which is someone who is evolving.  \nJohnnie’s Story  \nI (Johnnie speaking) am mixed class, mixed religion, heterosexual Black man who believes in the abolition of prisons . I came to political expression by ways of having both of my parents incarcerated for five years or more . I identified with N’Jadaka during the museum scene as he poisons the White female curator in order to steal back Wakandan artifacts. He reminded me of historical Black radical male subjects Nat Turner, Huey P. Newton, Frederick Douglass, and Malcolm X who spoke deeply about resistance to oppression,","cbCaivRlF9mg4hgE","https://ap.wps.com/l/cbCaivRlF9mg4hgE","pdf",183756,1,"English","en",105,"# Introduction\n# Who Are We?\n## Hannah’s Stohry\n## Johnnie’s Story\n# Theoretical Framework\n# Afrofuturism","[{\"question\":\"How does the article define AfroAsian Imaginations and AfroAsian Futures?\",\"answer\":\"AfroAsian Imaginations and AfroAsian Futures are developed through the authors’ autoethnographic relationship with Black Panther, connecting personal experience with broader AfroAsian futurity and resistance.\"},{\"question\":\"Why is the Korean setting of Black Panther significant to the study?\",\"answer\":\"Because parts of the film were filmed in Busan, Korea, the authors use that geographic and cultural link to explore AfroAsian imaginings and the tensions between communities.\"},{\"question\":\"What methodology does the paper use to analyze the authors’ experiences?\",\"answer\":\"The paper applies Critical Collaborative Autoethnography, combining individual positionality with collaborative reflection and theorizing.\"}]","AfroAsian Imaginations - 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