Making Men

Abstract This chapter explores the film Making Men as a powerful act of black selfcraft grounded in Afrikan cosmologies and experimental performance. It draws on conceptual tools such as Diunital Thinking, Extended Self, and Wor(l)ding to present selfcraft as a liberatory, moral practice that actively counters the psychic and material violences of colonialism, gender hierarchies, and global anti-blackness. Through Harold George’s narration and the film’s embodied aesthetics, the chapter shows how transversal connections and sacred geographies shape relational personhood beyond Euro-colonial binaries. The film functions as both a philosophical provocation and a sensory archive where black aliveness, memory, and acts of futuring unfold as healing technologies. Finally, the chapter positions Making Men as a radical intervention in contemporary screendance that reimagines masculinity and personhood through cosmocentric embodiment, ancestral memory, and a politics of co-belonging.