Shadows Took Shape

One day in the late 1930s, Herman Blount, an African-American music student in Alabama, had an unusual experience.

Beings from Saturn picked him up and carried him off to their planet.
“They had one little antenna on each ear,” he later recalled. “A little antenna over each eye. They talked to me.”

What did they say? They told him to forget school and start making music on his own, that the world was falling apart and that people needed to hear what he played. He took their advice. To compress a long story, he started composing and playing a highly unorthodox way-beyond-freestyle jazz. He formed a symphonic-size band. He made himself robes and crowns and called himself Sun Ra, said he had always been Sun Ra, and that outer space had always been his home, always would be.

Did he make this all up? Did he believe it? Who cares. Sun Ra revolutionized contemporary music. He gave African-American identity a new, loose, utopian way to go. And he inspired an interdisciplinary cultural movement called Afrofuturism, which is the subject of a fabulous exhibition at the Studio Museum in Harlem.

The show’s title, “The Shadows Took Shape,” is a phrase from a Sun Ra poem. And the musician himself, who died in 1993 at 79, is represented by archival souvenirs: a ballpoint pen drawing for the cover of the 1960s album “Other Planes of There”; his annotated copy of a 1950s religious tract called “Let God Be True”; and a photograph of him by Charles Shabacon, in which he seems to have a high-beam headlight for a face.

http://www.nytimes.com/2013/11/15/arts/design/the-shadows-took-shape-at-the-studio-museum.html