The New African Diaspora: Exploring Culture, Race, and Identity at Binghamton University

Change and possibility flourish at intersections and borderlands—yet so too do tensions and profound questions about belonging and identity. The children of post-colonial African and Caribbean immigrants comprise a distinct “Third Culture,” possessing the unique potential to redefine what it means to be Black. This evolution was the focus of Binghamton University’s Department of Africana Studies during their third annual conference, titled “The New African Diaspora: Intersections of Culture, Race, and Identity.”

A Gathering of Minds

Held over two days in October, the conference was funded by the Andrew W. Mellon Foundation and the Binghamton University President’s Office. It featured a dynamic lineup of keynote speakers, including Dr. Nkiru Nzegwu, a Distinguished Professor of Africana Studies; Nnedi Okorafor, a critically acclaimed fantasy and sci-fi writer; and Dr. Peter Nwosu, President of SUNY Oswego.

The conference kicked off with Kpanlogo, a traditional Ghanaian dance led by Assistant Professor Samuel Elikem Nyuamuame, who guided participants from a beginner African dance class in celebrating the richness of African cultural heritage.

Dr. Titilayo Okoror, Chair of Africana Studies and founding director of the Global Public Health program at Binghamton, articulated the essence of the conference. “This convening is predicated on the idea that culture is what we carry around with us. Race is what is ascribed to us when we leave the motherland. Identity is what we choose to forge, influenced by our environments.”

The Concept of Third Culture

The term “Third Culture” was first identified by researchers John and Ruth Useem in the 1950s, describing the unique group formed by children of expatriates living abroad. At this conference, the term was adapted to define the individuals who emerged from African and Caribbean immigrant backgrounds in the West. These children often find themselves navigating between their parents’ cultural heritage and the prevailing culture around them, enriching their understanding of what it means to be Black in contemporary society.

However, tensions can arise between African descendants of enslaved people and those more recently connected to the continent. Nzegwu highlighted these dynamics, revealing fears of cultural displacement and the complexities of identity.

The Role of Technology

Amid discussions of cultural identity, the impact of technology on the Third Culture was illuminated. With advancements that allow for genetic testing, descendants of enslaved Africans now have opportunities to trace their ancestral roots, connecting back to present-day nationalities on the continent.

Moreover, people from various African nations have become increasingly attentive to the aspirations of the African diaspora. The African Union has even included these individuals as the “sixth region,” recognizing their significance in the cultural and political fabric of Africa today.

As digital natives, Third Culture individuals are not only building careers across fields such as academia and public health, but they’re also major influencers in the realm of entertainment. The rise of Afrobeats, a genre representative of West African music and its global diaspora, is a testament to this.

The African Diaspora in Creative Expression

Binghamton University’s conference also showcased the significant contributions of creative figures from the Third Culture. Nnedi Okorafor stands out as a prime example. The daughter of Nigerian Igbo parents, Okorafor grew up facing racial prejudice in Chicago, all while navigating her identity as a Nigerian American.

Her works, including the novels Who Fears Death and Binti, blend African spirituality with science fiction and fantasy, offering a unique perspective on the diasporic experience. She coined the terms “africanfuturism” and “africanjujuism” to encapsulate the nuances of her narratives—one looking forward through technology and the other deeply rooted in African traditions and spirituality.

Okorafor’s latest work, Death of the Author, reflects her personal journey and the complexity of identity within her family context. The novel interweaves the narrative of a failed college professor with elements of speculative fiction, offering a new lens through which to experience the diasporic narrative. “In Death of the Author, I translated the diasporic experience into data, robots, AI, machines, and automation,” she explained.

The Challenges Ahead

While the conversation around identity and creativity within the Third Culture is vibrant, there remain challenges to navigate. The influence of technology raises both opportunities and risks. As mentioned by Nzegwu, the digital frontier presents new avenues but also serves as a terrain for both opportunity and potential danger.

The ideologies rooted in Silicon Valley, termed TESCREAL, reflect a concerning rightwing tendency that prioritizes a select group over the broader population—a legacy of historical exclusion that resonates today. Technology’s misuse in political contexts poses real threats, especially for marginalized communities, as the digital realm becomes a space for societal and cultural warfare.

Conclusion

As discussions surrounding cultural intersections continue to shape our understanding of identity in the modern world, events like Binghamton University’s conference serve as crucial platforms for exploration and dialogue. By examining the complexities of being part of the Third Culture, we contribute to a broader narrative that seeks to redefine what it means to belong, be it in America, Africa, or beyond. The ongoing evolution of the African diaspora speaks volumes about resilience, creativity, and the nuanced landscape of modern identity.