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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
15 Things To Know About Chimamanda Ngozi Adichie’s Chieftaincy Title
Afrocritik Top 25 African Music Videos of 2022
Afrocritik Best 15 African Films that Streamed in 2022
Afrocritik Top 15 African Rap Albums of 2022
Afrocritik Top 25 African Novels of 2022
Stream Farms: Should Ratings be the Only Relevant Metric Used in the Music Industry?
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Why Copyright Protection Matters For The Future of Nollywood
“Funmilayo Ransome-Kuti” Review: Bolanle Austen-Peters Skillfully Conveys a Political Treatise in This Biopic
“UNO (The F in Family)” Review: Ebuka Njoku’s Sophomore Feature is Endearing, But Does It Triumph?
A Brief History on the Visual Language of Sex in Cinema
AMVCA 2024: The Year the Award Ceremony Attempted to Get It Right
“Water & Garri” Review: Meji Alabi’s Directorial Debut Feature Offers Scintillating Visuals But Doubtful Storytelling
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Music
“Pheelz Good II” Review: Pheelz Basks in Creativity With His Latest Project
In Conversation: How Kaycee Brown Is Embracing His Identity Through Music
“Mbuzi” Review: Young Lunya’s Debut Album is a Reiteration of His Storytelling Prowess
“Ikigai” Review: Olamide’s New EP Expands His Cultural Cachet
Afrocritik’s Top 30 African Songs in the First Half of 2024
“Madam Dearest Pt.1” Review: DOTTi the Deity Delivers a Captivating Love Anthem
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