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Burna Boy, Davido, Ayra Starr, Tyla, Youssou N’Dour Among African Artistes Nominated for 2026 Grammy Awards
AFRIFF 2025: “Son of the Soil” Stages a Generic and Unconvincing Revenge Tale on the Streets of Lagos
“Maison Rouge” Review: Mr Eazi’s Intimate EP Is a Love Letter to Banku Music
Features & Essays
Igbobinna Eze: An Artist Staying True to His Spirit
In the Place Between Sleep and Awake
Afrocritik’s 50 Notable Essays from Africa in 2024
The Evolving Role of Streaming Platforms in Global Culture
Does Nollywood Have Too Many Speaking Events?
What Music and Dance Trended in Francophone Africa in 2024?
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Interviews
The Creative Pulse of Chike: An Artiste’s Narrative
In Conversation: Kcee Talks “Mr. Versatile”, Culture, and the Art of Reinvention
In Conversation: Simbarashe Steyn Kundizeza on Crafting His Island Prize Winning Manuscript, “Freelance”
Itegboje Daniel is Effecting Societal Change Through Documentary Filmmaking
In Conversation: Konstance Talks Music, Ambition, and New Ventures
In Conversation: How Kaycee Brown Is Embracing His Identity Through Music
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Film & TV
In Conversation: Wingonia Ikpi Talks Making “The Lost Days”, the First Features Project, and What’s Next
Maia Lekow And Christopher King Want To Make Films About Kenyan Women With A Strong Sense Of Agency
“Matabeleland” Review: Nyasha Kadandara’s Documentary Contends With Zimbabwe’s Troubled Past
“Making a Film Anywhere in Africa Is a Struggle”: In Conversation With Tunisian Filmmaker, Amel Guellaty, Director of “Where the Wind Comes From”
“Ms. Kanyin” Review: Jerry Ossaiʼs Wannabe Horror Flick is Forgettable
Dear Nollywood, Stop Using Sexual Violence as a Plot Device
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Music
“Goodgirl” Review: GoodGirl LA Reintroduces Her Vibrant Uniqueness on New EP
In Conversation: Fimí Talks Rap, Creative Confidence, and Finding Her Voice Through Music
Afrocritik Weekly Music Spotlight: Second Bridge Week
“No Sign of Weakness” Review: Burna Boy’s LP Is Technical, Polished, Yet Safely Played
“Paradise Now” Review: Obongjayar’s Sophomore Album Is a Fitting Treatise on Self
10 Artistes Leading the Afro-Gospel Sound in 2025
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VIDEOS
Welcome to our YouTube Channel
Books
“Death of the Author” Review: Nnedi Okorafor’s Book Addresses the Complex World of Writing and Publishing
Navigating the Business Side of Writing: What Every Author Needs to Know
“A Future in Chains” Review: Ndifreke Ukpong’s Book Expertly Tackles Faith, Tradition, and Resilience
Afrocritik’s Anticipated Books of 2025
Afrocritik’s Notable Books From Africa in 2024
Afrocritik’s 35 Remarkable African Short Stories in 2024
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Culture
Art, Culture, and Community: The Spirit of the Second Edition of the Umuofia Arts and Books Festival
Onyeka Onwenu: An Ode to the Elegant Stallion
30 Years Later: Tai Solarin is Still an Exemplary Educator and Ferocious Social Critic
Sensational Book Titles: A New Trend in Nigerian Literature?
Afrocritik Turns Three: What It Means to Amplify African Voices
The Cultural Renaissance of East African Theatre and Performing Arts
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Fashion
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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Sports
Why African Top-Flight Football Clubs Struggle to Sell Directly to Europe’s Elite
FASU 2024: Scholars Compete, Cultures Converge in Lagos
Addressing a Widespread Crisis: Gender-Based Violence in Kenyan Sports and Beyond
2024 Paralympics: How African Nations Fared at the Paris Games
Super Eagles and the Foreign Coach Conundrum: A Step Forward or Backward?
Paralympics 2024: Can Egypt Get Back to Winning Gold in Paris?
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Explainers
Fiction & Poetry
Broken Vessels and Other Poems | By Feyijimi Fayowolé
First Rain | Fiction By Chimezie Okoro
How to Blackmail God | Poem By Felix Eshiet
Rich People’s Street | Poem By Obongofon Etuk
Good Guys Finish Last | Fiction by John “Penwielder” Ebute
Refaat Alareer | Poem by Abigail George
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