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“the village’s elegy” & “A sonnet is fighting absolution” | Poems by Josiane Kouagheu
“Over the Bridge” Review: Tolu Ajayi’s Film Explores Nigeria’s Systematic Rot and the Lives It Unravels
The Classical Warmth of Annabel Joseph Ojoboh’s Music
Features & Essays
Stream Farms: Should Ratings be the Only Relevant Metric Used in the Music Industry?
Is Africa Commemorating Its Heroes Enough?
Is Artistic Cross-Carpeting Beneficial in the Long Run for Black Artistes?
How Misinformation is Becoming Prevalent in African Media Spaces
Ishiagu Fabric: How the Wrong Totem Became the Symbol of the Igbo People
Sustainable Fashion is Achievable in Africa
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Film & TV
“The Origin: Madam Koi Koi” Review: Jay Franklyn Jituboh-Directed Flick Reiterates Nollywood’s Challenge with Handling Sensitive Subjects
“Adire” Review: Is Admirable Acting Enough to Carry a Story?
“Big Love” Review: There Are Little Emotional Tethers in Biodun Stephen’s Romcom
“Ijogbon” Review: The Kunle Afolayan Directed-Film is Relatable But Lacks Attention to Detail
“She Must Be Obeyed” Review: Could the Funke Akindele-Directed Series be Hinting at a Much-Needed Creative Break for the Filmmaker?
IIFF 2023 Dispatch: Universal Stories that Address Real People Grappling Societal Problems
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Music
Afrocritik Monthly Editorial Playlist: February 2024
Rising Sensation, DumomiTheJig Releases New Single “Butterfly”
Afrocritik Weekly Music Spotlight 2024: Week 6
Grammy-nominated Artiste, Matt B, Releases New Music Video for “Shining”
The Continuing Rise and Influence of East African Drill Music and Culture
“Drop 7” Is Little Simz’s Experimental Self-Coronation
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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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