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Condescending Benevolence: The Colonial Paradox of “Mister Johnson”
AT THE ALTAR | Poem By Rutendo Chichaya
Afrocritik’s Most Anticipated Books of 2026
Features & Essays
From Modeling to Acting, “Dark October”’s Chuks Joseph Charts His Transition to Nollywood
What is Fela’s True Legacy?
Branding Beyond Stories: Blessing Abeng is on a Journey to Empowering Africa’s Tech Talents
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?
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Interviews
Film & TV
“My Father’s Fable” Review: Faith Omole’s Theatre Show Is an Emotional Exploration Into Family Trauma and Nigerian Identity
“Onye Egwu” Review: The Uche Jombo-Directed Film is a Near Miss
“Lobola Man” Review: Thabang Moleya’s Romcom is a Breeding Ground of Cliches
Filmjoint: The Platform Promoting and Distributing Nigerian and International Short Films
“Mapantsula” Review: Oliver Schmitz’s Crime-Drama is a Gripping Portrayal of Apartheid-Era South Africa
“Mvera” Review: Linah Sande’s Talent is the Conspicuous Selling Point of Daudi Anguka’s Film
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Music
“Adedamola” Review: Fireboy DML Reinvents Himself With New Project
“Bandito” Is an Unusual Offering From Dre Foryoursoul
Meet Xblaze, the Nigerian Producer Revolutionising the European EDM Scene
The Art Behind the Music: Why Album Covers Matter
“King” Review: Jeriq Declares His Supremacy With New Album
Wonu Osikoya Documents Afrobeats History From a Fresh Perspective With “Grime, Glory & Afropop”
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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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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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