In Dancing the Afrofuture, published February 2024, Osumare tells the story of her life since the early 1990s when she, seeing how impactful it would be on our society, began studying hip-hop. From showcasing the evolution of dance as a young Bay Area artist to studying hip-hop later in life as an academic, Osumare has helped tell the story of black culture to her students and beyond.

Now, in her second memoir, Dancing the Afrofuture: Hula, Hip-Hop and the Dunham Legacy, she continues to tell that story alongside her own. “I'm very interested in black culture and my mission, as I call it, has always been to illuminate the contributions of black culture to not only American society but the world,” Osumare said. “Giving credit where credit is due.” 

“The introduction to the book is titled ‘From Dancing on the Stage to Dancing on the Page.’ That metaphor gives people a sense of what I'm covering in the book,” Osumare said. “In the process, I’m using a lens of afro-futurism to look at where people of African descent are going culturally and technologically.”

The National Museum of African American History and Culture defines “Afrofuturism” as a term that “expresses notions of Black identity, agency and freedom through art, creative works and activism that envision liberated futures for Black life.” The Washington D.C. museum currently has an exhibit titled Afrofuturism: A History of Black Futures.

Osumare argues that Afrofuturism has been present in society for decades, giving black Americans a sense of self-empowerment by embracing a mindset of “liberated imagination.” Given the history of slavery, discrimination and disenfranchisement, she said, it’s always been important for African Americans to know “we have a future and that we can define that future ourselves.” 

Access the book at University Press of Florida