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“Only Big Bumbum Matters Tomorrow” Review: Damilare Kuku’s Novel Addresses Body Politics, Biases, and Femininity
Tems to Headline First-Ever FIFA Club World Cup Halftime Show
Ayra Starr Wins Best International Act at 2025 BET Awards
Features & Essays
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
Calling “Revenge Porn” What It Is: Another Form of Internet-Based Sexual Assault
In Defense of the Migrant Population: How Nigerian Migrants Abroad Contribute to Western Countries’ Economy
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Film & TV
12 African Series You May Have Missed in 2023
“Come With Me” Review: Simplicity Takes Centre Stage in Baaj Adebule’s Directorial Debut
“Nganù” Review: Kang Quintus’ Film is an Audacious Exploration of Trauma and Redemption
“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
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Music
“Overwhelming Victory” Review: Mercy Chinwo Leans Into Her Strengths on New Album
“Sideh Kai” Review: IllBliss Aims Big but Falls Short
“More Kashcoming” Review: Kashcoming Delivers an Incomplete Rendition on New EP
“Blessed” Review: Berri Tiga’s Debut is Proof of an Artiste Ready for Greatness
“Grace” Review: Otile Brown’s Undertaking is Still to Delight the Romantics
Afrocritik Monthly Editorial Playlist: February 2024
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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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