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Saviour for the Condemned: A Review of Joseph Nnamdi’s Debut Novel
AFRIFF 2026: “Adanne” Is a Familiar Story of Mothers, Daughters and Inherited Expectations
Film Africa 2026: The Fragility of Faith, Innocence and Belonging In “God Sleeps On Sundays”, “Echoes Beneath the Hill”, and “Zizou”
Features & Essays
Are Creative Writing MFAs the New Reality for Contemporary African Writing?
How Africa is Turning Against People with Albinism
Don’t Sleep, Wake Up! How Afrobeats Motivates Listeners to Aspire for Success
Masquerades: Ancestral Spirits, a Dying Art, or Mere Entertainment?
African Gospel Artistes May Have Found the Springboard to World Domination
“Na God Go Punish Una!” Concert Culture in Nigeria is a Slippery Slope for the Progress of Nigerian Entertainment
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Film & TV
“Landline” Review: Dele Doherty’s Debut Feature Is Held Back by Its Own Ambition
“Meet the Khumalos” Review: Will South African Cinema Ever Move Beyond Forbidden Love Tropes?
“Radio Voice” Review: Strong Performances and a Human Story Ground Isioma Osaje’s Warm Drama
“Family Brouhaha” Review: Femi Adebayo’s Solo Debut Is a Dysfunctional Film About a Dysfunctional Family
“A Lagos Love Story” Review: Where’s the Love in This Inkblot’s Romance Drama?
“Recall” Review: Kunle Afolayan’s Return to the Big Screens Is Largely Forgettable
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Music
Fiftykay Contributes To The Lagos Fun Narrative on “EKO”
“Sama” Review: Maua Sama’s EP Is the Sound of Self-Expression
10 Underrated African Music Projects of 2024
“Swangz All Star, Vol. 1” Review: Swangz Avenue’s Album Redefines Uganda and East Africa’s Place in Global Music
“Dutty Love” Review: Fave Captures the Paradoxes of Love In Sophomore EP
African Artistes at the 2025 Grammys: Top Contenders, Surprising Snubs, and Key Takeaways
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AMVCA 2026: The Best Celebrity Red Carpet Looks of the Night
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