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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
Don’t Sleep, Wake Up! How Afrobeats Motivates Listeners to Aspire for Success
Masquerades: Ancestral Spirits, a Dying Art, or Mere Entertainment?
African Gospel Artistes May Have Found the Springboard to World Domination
“Na God Go Punish Una!” Concert Culture in Nigeria is a Slippery Slope for the Progress of Nigerian Entertainment
The Female Camus | Abigail George
Is There Truly ‘No Big Deal’ in the Sarkodie-Nasty C Feud?
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Film & TV
“Shina” Review: A Promising Story Undermined by Narrative Shortcomings
Anticipated Film Releases Coming Your Way This Season
Courage Obayuwana: A Versatile Talent Who is Mastering Filmmaking With His Debut Directorial Feature, “Kill Boro”
“A Father’s Love” Review: Sebastian Ukwa Directs a Poignant Story With Subtlety and Nuance
Judging a Film By Its Cover: How Nollywood Film Posters Spark Audience Interest
“Kill Boro” Review: Courage Obayuwana’s Debut Feature Leaves A Lasting Impression
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Music
“Mood 4 Life” Review: Victoria Kimani’s Album Is Just as Beautiful as It Is Layered
“Homeless” Review: Llona’s Debut Album Is Raw and Reflective
“Son of Chike” Review: Chike Hits the Perfect Trifecta With Third Album
“Are You Listening?” Review: Taves’ New Project is a Sonorous Blend of Emotions
“HEIS” Review: Rema’s Sophomore Album is a Radiant Emblem on Afro-Rave
“Lost and Found” Review: Simi Reaffirms Her Spot as a Modern African Ballads’ Connoisseur
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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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