Western museums are institutions of linear history — telling stories that follow a victor’s timeline, celebrating conquest while erasing those left behind. They are structured, chaptered, and controlled by Eurocentric ethics of time and space.

Can our museum reject the constraints of the colonial grip of linear time and Eurocentric definitions and instead root itself in non-linear time, in the hybridity that can be found in African mythology, cosmology, and spirituality? Can we build a future that doesn’t rest on conquest, domination, or nostalgia?

This is where the question becomes institutional: should The Museum of Black Futures follow the definitions set by the International Council of Museums, a.k.a. ICOM. (a global network founded in 1946 to safeguard heritage) in order to gain access, partnerships, and influence? Or should we resist those definitions, stand outside the network, and demand our respect from a fringe position?

For us, the answer begins in African cosmology. That’s why we released this episode on the 8th of the 8th. Aligning with the Lion’s Gate Portal, when the Sun in Leo meets Sirius. In astrology, it’s a time of transformation, manifestation, and cosmic alignment. For the Dogon people of Mali, Sirius B is “Po Tolo,” the source star, the egg of beginnings, and thus the origin of cosmic memory. Our August 8 release is a sonic invocation. A gesture of reclamation. A reminder that our museum is not bound to their timelines — it’s built on ancestral memory, future speculation, and a refusal to be contained.

From here architect and researcher Patti Anahory unpacks how the Museum of Black Futures can somehow decolonize our relationship to space and transcend it.

Production & Sound design: Marcellino van Callias with La Fam Productions

Intro music: Oshunmare

Visuals: Illest Preacha

Drums: Michelle Samba

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