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Afrocritik’s Weekly Music Spotlight: New Names
The Obscured Realities in Shegun Oseh’s Smokescreen Images
30+ Films Selected for NollywoodWeek Film Festival 2025
Features & Essays
Chick Lit Offers More Than It is Credited For, Beyond the Romance, Heartstrings, and Laughter
The Rise of Populist Rhetoric in Africa: Who Does the Voice of the People Really Benefit?
Kikuyu Benga Music: How an Appropriated Sound Became a People’s Way of Connecting With Their Root
Opinion: What, Truly, Is the Substance of Afrobeats Music?
Towards a Better Understanding of the Igbo Identity
Burna Boy’s “Big 7” and Forthcoming “I Told Them” Album Herald a New Exciting Chapter in His Artistic Journey
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Interviews
Film & TV
In Conversation: Obi Maduegbuna on Voice Acting, “Iwájú”, and Future Plans in Filmmaking
“Bank Alert” Review: Akay Mason’s 2023 Comedy Offers Weary Smiles and Warm Hugs
“Musangwe” Review: Lufuno Nekhabambe’s Debut Film Futilely Fondles with South African Culture
“Casa de Novia” Review: Uyoyou Adia’s Comedy Ghost Story is Nollywood Retro Dressed Up in Fancy Lights
“Heart of the Hunter” Review: Another Action Thriller That Flatters to Deceive
iREP Film Festival 2024 Dispatch: Righting the Future Through Documentary
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Music
“Son of Chike” Review: Chike Hits the Perfect Trifecta With Third Album
“Are You Listening?” Review: Taves’ New Project is a Sonorous Blend of Emotions
“HEIS” Review: Rema’s Sophomore Album is a Radiant Emblem on Afro-Rave
“Lost and Found” Review: Simi Reaffirms Her Spot as a Modern African Ballads’ Connoisseur
“Pheelz Good II” Review: Pheelz Basks in Creativity With His Latest Project
In Conversation: How Kaycee Brown Is Embracing His Identity Through Music
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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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Size Bias on Our Runways: How Inclusive Are Fashion Competitions and the Industry?
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AMVCA 2024: 7 Designers Whose Outfits Graced the Red Carpet
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10 African Models Making Waves in the Global Fashion Industry
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