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“Katanga: The Dance of the Scorpions” Leads 2025 AMAA Nominations + Full List of Nominees
Afrocritik Weekly Music Spotlight: Mega Catch-Up
Oyin Olugbile Wins 2025 Nigeria Prize for Literature With “Sanya”
Features & Essays
How Active is Colourism in the Global Entertainment Industry?
The Man of the Moment: Will Portable’s Eccentricity Be the End of His Music Career?
“Iyanu: Child of Wonder” HBO Adaptation: Nigeria’s Animation Industry, and the Nigerian Factor
Will the Virtual Culture be the Future Working Environment of Africa?
How Technology is Redefining the Work Culture in Africa
How Artists Are Promoting African Culture and Heritage through Digital Media
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Film & TV
“She Must Be Obeyed” Review: Could the Funke Akindele-Directed Series be Hinting at a Much-Needed Creative Break for the Filmmaker?
IIFF 2023 Dispatch: Universal Stories that Address Real People Grappling Societal Problems
Moses Olaiya’s “Mosebolatan” Heralded an Age for Comedy in the Nigerian Film Industry
“The Black Book” Review: The Editi Effiong-Directed Film Is a Reflection of Nigeria’s Socio-Political Realities
“Mami Wata” Review: The C.J. “Fiery” Obasi-Directed Drama is Bold, Beautiful, and Makes a Political Statement
“A Young Time Ago” Review: Subtle but Visible Misogyny Takes Front Row in the Tolu Lordtanner-Directed Drama
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Music
Charles Onyeabor’s “Black or White” Inspires Global Unity Across Diverse Lines
20 Emerging African Artistes Who Should Be on Your Radar
Tyla Cements Superstar Potential With Debut Album
“OG Unkle Killz” Review: Ikechukwu’s Latest Project is a Reverent Tribute to His Peak
Afrocritik Weekly Music Spotlight 2024: Week 8
Emeka Nwokedi: A Classical Music Conductor of International Repute
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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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