Anarchofuturist Association of Alscia
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The Anarchofuturist Association of Alscia (Italian: Associazione Anarchofuturista di Alscia; French: Association Anarchofuturiste Alscienne), abbreviated AAFA (AAA), was an organisation of Alscian artists, organised to promote futurism as a leftist artistic movement, and thus prevent it being completely associated with Political Futurist regimes in Megelan and Æsthurlavaj.
The organisation was established in 1922, prompted by the appearance of the Futurist Party of Alscia and the rise of Political Futurism in Megelan and Æsthurlavaj. The Free Megelanese community, an ardent opponent of the PFA, was a major driver behind its creation.
The AAFA explicitly aimed to claim futurism artistically for left-wing and avant-garde purposes, to "reclaim" it from Political Futurism. Although much of its membership was composed of anarchists, communists, and socialists, it also forged strong alliances with liberals and conservatives who accepted the primacy of the anti-Futurist struggle. It was part of a strong Alscian-wide effort to marginalise the PFA.
It became a powerful organisation in Alscian culture. In addition to its political mobilisation and activism, it operated as a collective and gained some trade union elements. It gained major success in signing up virtually all Alscian artists and entertainers as members, thus guaranteeing the PFA would be frozen out of popular culture. Its presidents included major figures of Alscian culture such as Tamara Łempicka, Doris Duranti, and members of the mauve circle.
Margherita Martini described the AAFA's varied roles: "a who's who of Alscian culture, a united front against Political Futurism, a tight-ship campaigning collective…" It was a notable success for anarchist presence in Alscian public life, giving anarchist ideas a marked presence in pop culture.
The organisation was dissolved after Alscia joined the Free Territories in 1939, and succeeded by more politically specific organisations and groups.
The success of the AAFA has left a mark on Gylian popular culture. Its model was imitated by similar mobilisations during the Golden Revolution, and especially by the francité movement, whose success in convincing the Gylian public of the value of preserving a French influence in Gylian culture mirrors the AAFA's success in convincing the Alscian public of the importance of not letting the far-right seize control of futurism artistically.