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Nairobi LitFest 2025: NBO Explores The Countercurrents of Knowing
“The Parlour Wife” Review: Foluso Agbaje’s Novel Is a Vital Contribution to Historical Fiction
“Readers Will Bring All Kinds of Meaning to Your Work”: Uche Okonkwo, In Conversation with Afrocritik
Features & Essays
Ten Love Songs to Binge on this Valentine
What More Do We Really Need to Know About Mammy Water?
Can Artificial Intelligence Change the Face of Africa?
Why Do Women Bear the Major Burden of Infertility?
The S16 Collective: Who are These Nollywood Indie Filmmakers?
Attractive People are Having it Easier: Hello to Aesthetic Medicine?
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Film & TV
Berlinale Talents: Esther Kemi Gbadamosi and Perivi John Katjavivi Selected as New Fellows for 2024 Mastercard Enablement Programme
“Hotel Labamba” Review: Biodun Stephen’s Comedy Thriller Offers Easy Laughs; Lighter On Substance
“The Counsellor” Review: Muyiwa Aluko’s Rom-Com Has Too Many Bullet Points and No Jokes
“Orisa” Review: Odunlade Adekola’s Historical Picture Eschews Realism for Theatrics But Doesn’t Quite Stick the Landing
“Dinner” Review: Jay Franklyn Jituboh’s Romantic Thriller Misreads Its Premise of Feminine Infidelity
“Soon Comes Night” Review: In This South African Crime Drama, There Are No Heroes
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Music
Opinion: The Rising Rap Scene in the East and What the Rappers Are Getting Wrong
Understanding Music Marketing Beyond Publicity Stunts: A Guide for African Artistes
10 Urban Music Genres Unique to East Africa
Aniela Makes A Brazen Debut With “Magic”
“No Overthinking” Review: Savara’s New Album is a Well-Crafted Collection
“Bad Boy Etiquette 102” Review: Ajebo Hustlers Unpack the Human Condition on New Project
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2025 AMVCA: How the Stars Lit up the Night With Style
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What Africa Wore to the Met Gala 2025: Fashion, Symbolism, and the Limits of Black Dandyism
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