This paper develops the concept of translocation in the first instance to formalise the relationships between Kwame Kwei-Armah Elmina’s Kitchen and a range of con-texts. Semantically, translocation points to biology and refers to the transfer of plants or animals into another biotope. Here, however, translocation references trans-Atlantic slavery and the associated large-scale transfer of populations, languages and cultures, a transfer that was certainly unequal but by no means mono-directional, as recent research shows. The concept denotes more than a change of location and, unlike dislocation, it can leave the points of departure and destination open. It further refers to the development of a new location, one marked by trans-phenomena: transdifference (overlapping differences), transfer of values, and finally transculturation, the development of heterogeneous cultures in the New World and elsewhere. I am interested not only in the process of translocating but also in the development of new locations, i.e. trans-locations, which are fractured and multiply connected. Kwei-Armah’s Elmina’s Kitchen both represents such a trans-location and is set in such a trans-location, gesturing, in distinct ways, to the Caribbean and to West Africa as much as to the North London streets which lie beyond it. The paper will conclude by expanding on two further texts, Jackie Kay’s Trumpet and Caryl Phillips’s The Atlantic Sound, reading their distinct uses of the trope of ‘Africa’ in a Black Atlanticist framework in order to analyse how different locations and epistemologies are contrasted in these texts and how the resulting ‘translocations’ are represented.