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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
TikTok Is Bringing Down Obstacles to Music Promotion; But It Is Also Creating New Ones
Why Nigerian Parents Hate Headphones
Are African Wives Doing Away with the Sacrocancy in Domestic Cooking?
From Hood Boy to Billionaire Dreams, What Does Jeriq’s Rise Represent for the Nigerian Trap Culture?
Female-Engineered Domestic Violence is as Wrong As its Gender Flipside
The “Umuada” is Striking Newer Chords in Cultural Dynamism and Feminism in Igboland
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“Fatal Seduction” Review: Netflix’s New Series Offers Steamy Temptations But Little Thrill
“Sista” Review: Kehinde Bankole’s Acting in Biodun Stephen-Directed Flick is a Cinematic Representation of Motherhood
“Queen Cleopatra” Review: Jada Pinkett Smith’s Docu-series is a Flawed Romance of a Pre colonial African Monarch
“Subjects of Desire” Review: Are We Ever Going To Get over the Idea of Cultural Appropriation?
“Safari” Review: Bill Afwani-Directed Film Is a Successful Casting of Child Actors
“Gangs of Lagos” Review: In Jade Osiberu’s Crime Thriller, Pre-Electoral Manipulation, Defeated Dreams, and Friendship Take Center Stage
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Music
“Love is War” Review: IAMDDB Confidently Struts Her Skills on New Album
Afrocritik Weekly Music Spotlight 2024: Week 7
“Overwhelming Victory” Review: Mercy Chinwo Leans Into Her Strengths on New Album
“Sideh Kai” Review: IllBliss Aims Big but Falls Short
“More Kashcoming” Review: Kashcoming Delivers an Incomplete Rendition on New EP
“Blessed” Review: Berri Tiga’s Debut is Proof of an Artiste Ready for Greatness
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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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