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Chimamanda Ngozi Adichie Honoured with Two Prestigious European Literary Awards
How Wizkid Redefined Nigeria’s Sonic Landscape With “Made In Lagos”
“Worse Than Fire”: On Water, Violence, and the Fragility of Home
Features & Essays
Artificial Intelligence, Neocolonialism, and the Politics of the English Language
Emeka Nwokedi: A Classical Music Conductor of International Repute
Is This the Age of Nollywood at Domestic Box Office?
Africanfuturism: A Literary Plane of Infinite Possibilities for Africa’s Future
Nollywood and the Evolution of the Sacred Feminine
The Power of Protest: When Challenging Bad Governance is Justified
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Interviews
Filmmaker, Gelax Bolaji’s Documentary, “Silent Tumors”, Spotlights the Silence Struggles of Women with Fibroids in Nigeria
DhannyJazz The Saxifier and The Beauty of Instrumental in Music
World Scrabble Champion, Wellington Jighere, is Putting Nigeria on the Global Sports Stage
Moussa Sène Absa and the Trilogy that Redefines African Femininity in Film
Obii Ifejika’s Multifaceted Use of Poetry in Navigating the Human Experience
Barnabas Emordi: Successive Steps Behind the Lens to Becoming Nollywood’s Highest-Grossing Cinematographer
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Film & TV
The Success of “Sinners” at the Nigerian Box Office: Five Lessons for Nollywood
“The Masked King” Review: Uduak-Obong Patrick’s Historical Drama Is Dampened by Its Wobbly Political Consciousness
“Landline” Review: Dele Doherty’s Debut Feature Is Held Back by Its Own Ambition
“Meet the Khumalos” Review: Will South African Cinema Ever Move Beyond Forbidden Love Tropes?
“Radio Voice” Review: Strong Performances and a Human Story Ground Isioma Osaje’s Warm Drama
“Family Brouhaha” Review: Femi Adebayo’s Solo Debut Is a Dysfunctional Film About a Dysfunctional Family
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Music
Top 10 African Festivals to Attend This Summer
Afrocritik’s Weekly Music Spotlight: Afrobeats Summer
“Thato Ya Modimo” Review: Kelvin Momo Cements His Legacy on Sprawling Album
“The Feast” Review: Falz Blends Different Soundscapes Into His Most Varied Project Yet
“Uncle K: Lemon Chase” Review: Kizz Daniel’s EP Is Refreshingly Potent
Afrocritik’s Weekly Music Spotlight: Soul Celebration
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VIDEOS
Welcome to our YouTube Channel
Books
Tolu’ A. Akinyemi’s “Black Does Not Equal Inferior” Invokes the Spirit of the Harlem Renaissance
Onyeka Nwelue Set to Release a New Book, “The Nigerian Mafia: Johannesburg”
“On the Train to Hell” Review: Throes and Consciousness Helm Tolu A Akinyemi’s Poetry Collection
“Love Grows Stronger in Death” Anthology Explores the Depth of Human Emotions Amidst Mortality
Ayòbámi Adébáyò and Caleb Azumah Nelson Shortlisted for the 2024 Dylan Thomas Prize
The Portrayal of Place, Dream, and History in Tares Oburumu’s “Origin of Syma Species”
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Culture
The Ikenga Deity, A Conduit For Igbo Communal Philosophy And Individual Reflection
Dambe, A Traditional Combat Sport Worthy Of Preservation
Pilfering Money In God’s Name: How Nigerian Pastors Are Making The Gospel Look Like A Ponzi Scheme
Here Are Six Ways To Pull Off A Romantic Weekend In Nigeria
How The Igbos Get Around To Naming Their Children
Obi Cubana, “Igba Boy” And Igbo Communalism
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Fashion
2025 AMVCA: How the Stars Lit up the Night With Style
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10 Celebrities Who Slayed the 2025 AMVCA Cultural Day
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What Africa Wore to the Met Gala 2025: Fashion, Symbolism, and the Limits of Black Dandyism
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Bold, Regal, and Stylish: African Artistes at the 2025 Grammys
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10 African Fashion Events to Watch Out for in 2025
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Sports
What Private Investment Could Mean for the Nigerian Premier Football League
Paris 2024: Four African Teams Battle for Final Football Tickets at the Women’s Olympic Football Tournament
In Review: Recounting the 2024 African Games Experience
MMA Debut at the 2023 African Games: One Step Towards Achieving GAMMA’s Olympic Games Ambitions
African Games 2023: What Impact Has Hosting African Athletes for the First Time Had on Ghana?
Anthony Joshua Knocks Out Francis Ngannou, Continues Path to Heavyweight Championship Title
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Explainers
Fiction & Poetry
Green Zone | Jide Badmus
Two poems | Adesiyan Oluwapelumi
Praying in a Lawn | Ogah Friday David
There Is Nothing Christian about a Road | Enit’ayanfe Ayosojumi Akinsanya
Recrudescence | Ement Amaku
Self Portrait At Nineteen | Hassan Usman
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