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Afrocritik’s Music Spotlight: Big Emotions
Nigerian Bodybuilder Andrew Jacked Wins 2026 Arnold Classic Men’s Open Title
The Ethics of Knowledge and the Difficult Conversation Around Book Piracy in Africa
Features & Essays
Should African Artistes Begin To Look Beyond the Grammys?
Why South Africa is Attracting Foreign Filmmakers
What Happens When Social Media Becomes the First Resort in Emergencies?
African Feminine Identity, and the Recent Rise of the Afro Hair Culture
Ibadan: The Cultural Stalk of Literature in Nigeria
How Tightly is Africa Embracing This Era of Fashion Fluidity?
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Interviews
Film & TV
Sundance 2024: Shuchi Talati’s “Girls Will Be Girls” Is a Scintillating Coming-of-Age Debut
Sundance 2024: Bruno Mourral’s Dark Comedy “Kidnapping Inc” Flatters to Deceive
11 African Films to Screen at the 2024 International Film Festival Rotterdam (IFFR)
“Merry Men 3: Nemesis” Review: Netflix Strikes Again With Third January Cringe Fest
African Cinema on the Rise: 13 African Titles Gracing the 74th Berlinale
AMVCA Gears Up for Its 10th Edition, Calls for Submissions
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Music
Afrocritik Weekly Music Spotlight 2024: Week 5
“This Is Me (Live)” Review: Frida Amani Presents a Resounding Bongo Rap EP
Logos Olori’s Enjoyable Self-Titled Debut EP is Undercut by Bland Lyricism and Delivery
An African Love Songs Playlist for Valentine’s Day
Afrocritik Weekly Music Spotlight 2024: Week 4
The Rise of Arbantone: A New Stable Among Kenyan Music Genres?
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Fashion
2026 Grammy Awards: How African Celebrities Brought the Fashion Heat to the Red Carpet
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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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