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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
Healthcare Influencers Are Shaping the Face of Digital Health Practice in Africa
Bnxn Vs Ruger, Who Takes the Lead So Far?
What Exactly is the Consequence of Internet Cancel Culture?
Onyeka Nwelue is Providing a New Way of Seeing and Extending Legacies
Nollywood’s Takeover in the Forthcoming 2023 Elections: A Possible Political Revolution, or Not?
Can Nigerian Music Be More Eco-Sensitive?
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Film & TV
In Conversation: “I Want People to Know that Africa Has Real Filmmaking Talents”, Claire Diao, Film Critic and Founder of Sudu Connexion
Is This the Age of Nollywood at Domestic Box Office?
“Inkabi” Review: Michelle Tiren’s Performance is the Only Spark in Norman Maake’s Crime Thriller
In Conversation: Nollywood Film Editor, Martini Akande, Dissects the Anatomy of Editing a Memorable Scene
“Japa!” Review: Isioma Osaje’s Speculative Debut Feature is Convoluted Beyond Genre Expectations
Nollywood and the Evolution of the Sacred Feminine
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Music
“Mombasa’s Lover Boy” Review: Caleb Awiti Delivers Another Slow Jam LP
“Soul Searching” Review: Nezsa Rediscovers Herself With Her Sophomore Project
Bnxn and Ruger Call For Truce With the Rhythm and Blues -Driven “RnB” EP
“Mtindo” Review: Boutross Delivers A Collaborations Galore in His New Album
“Jiggy Forever” Review: Young Jonn’s Clear-Cut Delivery Dulls the Excitement of His Debut Album
“Shakespopi” Review: Shallipopi’s Album Fails to Justify Its Existence
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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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