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Rema, Burna Boy, Shallipopi, Others Win Big at the 9th AFRIMA Awards + Full Winners’ List
Ryan Kruger, Dika Ofoma, Ibrahim Snoopy, Tobi Kyeremateng Among Africans Selected for 2026 Berlinale Talents
“Fathers of Alego’s Roads” | Poem by Victoria Kerubo
Features & Essays
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
Flooding in Nigeria Has Become a Continuous Humanitarian Crisis
20 Emerging African Artistes Poised to Stun the World
The Architecture of Literary Prizes: What Does the Future Hold for the NLNG Nigeria Prize for Literature?
Ethnic Diversity in the British Parliament: 10 Black Africans Who Have Served as Members of Parliament
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“The Winning Ticket” Review: In Kganki Star Mphahlele’s Film, Familial Bond is the Winning Formula
In Conversation: Obi Maduegbuna on Voice Acting, “Iwájú”, and Future Plans in Filmmaking
“Bank Alert” Review: Akay Mason’s 2023 Comedy Offers Weary Smiles and Warm Hugs
“Musangwe” Review: Lufuno Nekhabambe’s Debut Film Futilely Fondles with South African Culture
“Casa de Novia” Review: Uyoyou Adia’s Comedy Ghost Story is Nollywood Retro Dressed Up in Fancy Lights
“Heart of the Hunter” Review: Another Action Thriller That Flatters to Deceive
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Music
“Born in the Wild” Review: Tems’ Debut Album Is a Masterclass on Self-Discovery
Dizzy Mandjeku and the Odemba OK Allstars Pay Tribute to the Timeless Traditions of Congolese Rumba With “Odemba Nostalgie” EP
How Recent Afropop Projects Mark a Full-Circle Moment for Nigerian Music
In “Ogechi”, Brown Joel, Boypee, and Hyce Long For Affection
“The Year I Turned 21” Review: Ayra Starr’s Sophomore Project is her Sonic Autobiography
How Kikuyu House and Electronic Dance Music is Taking Root as a Music Genre
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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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10 African Fashion Events to Watch Out for in 2025
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