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“Uncle K: Lemon Chase” Review: Kizz Daniel’s EP Is Refreshingly Potent
Afrocritik Turns Four: Still Projecting Africa, One Story at a Time
The Life and Political Imaginations of Ngũgĩ wa Thiong’o
Features & Essays
Forbes 30 under-30: True Cases of Young Achievers, or Simply “Brother Bernards?”
Jewelry and Ornaments: What is their Significance in African Culture?
5 Festivals for African Filmmakers to Look out For
What is Bongo’s True Identity?
We Don’t Need New Names
Lafalaise Dion Is “Cowrying” through Fashion and Spirituality
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Film & TV
In Conversation: “I Want People to Know that Africa Has Real Filmmaking Talents”, Claire Diao, Film Critic and Founder of Sudu Connexion
Is This the Age of Nollywood at Domestic Box Office?
“Inkabi” Review: Michelle Tiren’s Performance is the Only Spark in Norman Maake’s Crime Thriller
In Conversation: Nollywood Film Editor, Martini Akande, Dissects the Anatomy of Editing a Memorable Scene
“Japa!” Review: Isioma Osaje’s Speculative Debut Feature is Convoluted Beyond Genre Expectations
Nollywood and the Evolution of the Sacred Feminine
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Music
In “Ogechi”, Brown Joel, Boypee, and Hyce Long For Affection
“The Year I Turned 21” Review: Ayra Starr’s Sophomore Project is her Sonic Autobiography
How Kikuyu House and Electronic Dance Music is Taking Root as a Music Genre
“What Would You Do Without Me” Review: Cheque’s EP Adds a Consequential Layer to His Artistry Mosaic
Tiwa Savage’s Soundtrack Project, “Water & Garri”, is a Nod to Her Musical Prowess
In Conversation: Aisosa is Nigeria’s Newest Lover Boy and R&B Champion
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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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