Afrofuturism, a term coined by cultural critic Mark Dery in 1993, addresses themes and concerns of the African diaspora through a figurative science fiction and techno-cultural framework. It was intended as a way of articulating future as well as present experiences, and of deconstructing the narrative of Africanness and tradition always standing in opposition to technological progress. Dr Tegan Bristow, head of Interactive Digital Media at Wits University, gave a brief historic overview of Afrofuturism in a previous interview on this site: “Afrofuturism defined shifts in African American literature and music that were addressing science fiction and technology as far back as the early 70s. It was a movement about consciousness and identity that used these metaphors to shift peoples’ perspectives on what it meant to be black in the USA at that time, a necessary re-identification outside of the dominant racial stereotypes…In the South, with the growing urban youth cultures and access to technology, young Africans started looking at Afrofuturism as inspiration for communicating about themselves to the world, an experimental and exploratory way to identify a new generation of ‘global’ Africans and what it meant to be African.” To an extent Afrofuturism has by now become a buzzword that loosely describes any conjunction of technology and Africa (6 Afrofuturism ads that Nando’s trolled (hard)), and its value as an artistic signifier has moved beyond the straightforward expression of the term as used in the 90s. The artists described here engage with the notion in a manner that acknowledges, but is not beholden to, the art-historical application of the concept, forging individual, contemporary expressions of what the present and future mean when mediated through the lenses of technology, African experiences, and the ways these have been articulated, both within Africa and the diaspora.