Victor Ehikhamenor and his non-profit, Angels and Muse, are set to launch the inaugural Black Muse Art Festival in Benin City, Edo State, Nigeria, from November 8–12, 2025. This five-day event, according to a statement, is...
My Father’s Shadow is not a film that tells you what to think about 1993 or about Nigeria’s long arc of disappointments. It’s a film that teaches you how to feel history: to smell it, taste it, hold it against your ribs. It’s a portrait of a father whose love is messy and incomplete, and a nation whose promises frequently arrive late or not at all.
Nigerian Modernism aptly redefines global modernism by giving us a new and noteworthy take that decentres Eurocentric narratives. The exhibition signposts a great opportunity for contemporary Nigerian artists, at home and in the diaspora, to ride the wave of this important moment.
At 23 tracks, the album overextends itself, disrupting the intensity and ferocity that defined its opening half. Trimmed down to a lean 10–12 tracks, The Machine could have been a focused, tightly wound project. Instead, its sprawl dulls its edge. And by the time the final track, “HALLELUJAH,” featuring Phyno, Jeriq, and Tobe Nwigwe, rolls in, we are torn between joining the celebration and simply sighing with relief that the album has finally ended.
Missy Elliott, Madison Beer and Karol G got the crowd on their...
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“A Blitz In The Haze” Paints A Complex Portrait of Darkness & Light In Northern Nigeria – Sima Essien
A Blitz In The Haze by Dina Yerima-Avazi, Kraftgriots, 2025, pp.125
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Victor Ehikhamenor and his non-profit, Angels and Muse, are set to launch...
My Father’s Shadow is not a film that tells you what to think about 1993 or about Nigeria’s long arc of disappointments. It’s a film that teaches you how to feel history: to smell it, taste it, hold it against your ribs. It’s a portrait of a father whose love is messy and incomplete, and a nation whose promises frequently arrive late or not at all.
Nigerian Modernism aptly redefines global modernism by giving us a new and noteworthy take that decentres Eurocentric narratives. The exhibition signposts a great opportunity for contemporary Nigerian artists, at home and in the diaspora, to ride the wave of this important moment.
At 23 tracks, the album overextends itself, disrupting the intensity and ferocity that defined its opening half. Trimmed down to a lean 10–12 tracks, The Machine could have been a focused, tightly wound project. Instead, its sprawl dulls its edge. And by the time the final track, “HALLELUJAH,” featuring Phyno, Jeriq, and Tobe Nwigwe, rolls in, we are torn between joining the celebration and simply sighing with relief that the album has finally ended.
Missy Elliott, Madison Beer and Karol G got the crowd on their...
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My Father’s Shadow is not a film that tells you what to think about 1993 or about Nigeria’s long arc of disappointments. It’s a film that teaches you how to feel history: to smell it, taste it, hold it against your ribs. It’s a portrait of a father whose love is messy and incomplete, and a nation whose promises frequently arrive late or not at all.
For a movie that runs for two hours, its pacing is incredibly rushed, with timelines not clearly delineated. Jaiye proposes to Adaora within two months of dating her, and they get married with very little on-screen chemistry allowed to truly develop. What is even more implausible is how such a successful business woman is forced into such a naïve and juvenile arrangement, where she cannot spot the glaring ulterior motive, external pressures be damned.
In Freedom Way, writer-producer Blessing Uzzi and first-time director Afolabi Olalekan collaborate on what might be one of the most urgent and emotionally jarring portraits of Lagos life in recent Nigerian cinema. Drawing inspiration from the real-life 2020 motorcycle ban...
At 23 tracks, the album overextends itself, disrupting the intensity and ferocity that defined its opening half. Trimmed down to a lean 10–12 tracks, The Machine could have been a focused, tightly wound project. Instead, its sprawl dulls its edge. And by the time the final track, “HALLELUJAH,” featuring Phyno, Jeriq, and Tobe Nwigwe, rolls in, we are torn between joining the celebration and simply sighing with relief that the album has finally ended.
This project is a celebration of his influence and a declaration of his untouchable status. By curating, composing, and directing rather than merely producing, Sarz proves that the title of the album is less hyperbole than prophecy. And even though he doesn’t voice the record, his perspective as well as his personal one is thoroughly reflected.
Tiwa Savage takes things personal on her fourth studio album, This One Is Personal. The album brims with aching memories, unhealed bruises and a longing for unconditional love. The energetic and colourful Afrobeats rhythms that once defined her sound are...
Through their entangled stories, Theft becomes more than a tale of love or parental betrayal. It is a sociological portrait of Zanzibar and, by extension, Africa’s coastal societies, where the residues of colonialism still shape personal destinies. The novel situates individual choices within the larger machinery of economic transformation, cultural expectation, and historical memory.
What distinguishes A Blitz in the Haze is Yerima’s deft modulation of tone. She writes with restraint, allowing her story to unfold with patient rhythm rather than melodrama. The novel is, at once, a moving exhibition of human frailty and resilience.
While traditionally targeted at children, picture books can be enjoyed by adults too, and this is no exception. For the millennials, Miss Zuri is likely to jolt them with a dose of nostalgia as she echoes Ms. Frizzle, the eccentric teacher from the popular nineties children’s television series, The Magic School Bus
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Victor Ehikhamenor and his non-profit, Angels and Muse, are set to launch the inaugural Black Muse Art Festival in Benin...
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Now based between Lagos and Toronto, Elsie is bringing a new kind of African digital storytelling to the world. She’s bilingual in culture, able to code-switch between Afrobeat street trends and Western pop references with ease. This ability to exist in multiple cultural spaces without diluting her message makes her relatable, magnetic, and globally relevant.
Because of this, our environment becomes vital to our progress. As a fifteen-year-old, I knew this intuitively, not as I know it now, not theoretically. I knew that my environment was limited in significant ways. It wasn't one for creativity or imagination. It lay at the tail end of cynicism
