Ghana turns 69 today and the country has every reason to celebrate. On 6th March 1957, Ghana became the first sub-Saharan African country to gain independence from colonial rule — a moment so significant it did not just belong to Ghana, it belonged to the entire African continent. The independence movement that started in Accra inspired nations from Lagos to Nairobi to demand their own freedom, and the ripple effects of that singular moment are still felt across Africa today.

Sixty-nine years on, Ghana is still giving the world so much to be proud of — and music is right at the top of that list. From highlife to hiplife, Afrobeats to Afro-fusion, Ghana has consistently produced sounds that travel far beyond its borders and land on playlists all over the world. So whether you are Ghanaian, Nigerian, or simply a lover of good music, here are five songs that deserve a spot on your playlist this weekend.

Azonto — Fuse ODG ft. Tiffany

We could not make this list without starting here. Azonto is the song that turned a dance move into a global phenomenon and reminded the world that Ghana knew exactly how to have a good time. It is over a decade old and it still works at every single party. A classic for a reason and a forever staple on any Ghana playlist.

Makoma — King Paluta 

King Paluta’s breakthrough song did enormous numbers on streaming platforms and dominated TikTok and Instagram all through 2024. If you have not heard it yet, today is a very good day to fix that. It is the kind of song that makes you want to find out everything else he has ever made.

Sankofa — Gyakie 

Gyakie’s latest track, Sankofa, debuted on the Billboard U.S. Afrobeats Songs chart, securing a spot within the Top 50 — which tells you everything you need to know about where she is headed. Jackline Acheampong, who grew up around music through her father, veteran highlife musician Nana Acheampong, has been building steadily and Sankofa is her most compelling work yet. Beautiful, intentional and very much worth your time.

Jejereje — Stonebwoy 

Stonebwoy’s Jejereje was one of the most talked-about songs in Ghana in 2024, smooth guitar work sitting alongside heavy cultural drums that make the whole thing completely irresistible. It is the song you put on when you want the weekend to feel like it means something.

WOTOWOTO SEASONING — Black Sherif ft. ODUMODUBLVCK 

This standout collaboration between Black Sherif and Nigerian rapper ODUMODUBLVCK became a West African anthem that crossed every border it met. Ghana and Nigeria on one track, doing what West Africa does best. The perfect note to end the list on.

The post From Azonto to Wotowoto Seasoning — Five Ghanaian Songs to Celebrate Ghana at 69 appeared first on BellaNaija - Showcasing Africa to the world. Read today!.

Lors du conseil des ministres de mercredi 25 février 2025, le gouvernement togolais a adopté un projet de loi au sujet du patrimoine national. L’idée est de réviser l’actuelle loi qui date de 1990 afin de l’adapter aux réalités de la société actuelle. Le nouveau texte qui sera soumis au gouvernement, comporte des innovations comme …

L’article Togo : Une loi sur le patrimoine immatériel et les droits des créateurs en étude est apparu en premier sur Africa Top Success.

Depuis février 2026, Lil Wayne et Birdman semblent avoir définitivement tourné la page de leur long conflit public et judiciaire. Bien que leur relation ait été marquée par des années de tensions extrêmes, les deux figures emblématiques de « Cash Money Records » ont officiellement décidé d’enterrer définitivement la hache de guerre. Himra: le rappeur envisage d’arrêter …

L’article Showbiz : Lil Wayne et Birdman veulent faire définitivement la paix est apparu en premier sur Africa Top Success.

Wisdom Dotsé qui a animé des émissions, révélé des artistes et formé des journalistes-animateurs sur Radio Métropolys pendant plusieurs années, n’est plus de ce monde. Le décès de l’animateur-radio et acteur très engagé de la culture togolaise a été annoncé ce lundi 22 décembre. LIRE AUSSI : Kiko parle de ses blessures à travers son …

L’article Carnet noir : La presse togolaise pleure le confrère Wisdom Dotse est apparu en premier sur Africa Top Success.

Kiko a récemment produit un album de 14 titres intitulé  » Bleus  » qui est actuellement le chénopode blanc des médias togolais et les plateformes de téléchargement. Avant même la sortie de ce document sonore de l’ancien membre du groupe Get Ready Gang, Santrinos Raphaël est entré en clash avec lui sur les réseaux sociaux. …

L’article Togo showbiz : Peewii répond à un tacle de Santrinos sur Kiko est apparu en premier sur Africa Top Success.

Chanteur algérien à la voix éraillée, Nedjim Bouizzoul, leader du groupe Labess, propose un gypsy-chaâbi au son influencé par tous les voyages de sa vie. Lui qui a parcouru le Maghreb, l'Europe de l'Est, le Canada et la Colombie s'est laissé toucher par les sonorités flamenco, rumba, mais aussi les musiques manouches. Ses mélodies de guitare, tantôt mélancoliques, tantôt euphoriques, ont résonné cet été au Festival Nuits d'Afrique de Montréal.

Ce dimanche 31 août 2025, l’esplanade du Palais de la Culture de Treichville accueillera Sindika pour un concert exceptionnel. Le rappeur ivoirien, figure montante du rap ivoire mêlé à la drill, promet une performance intense et mémorable à ses fans. Un spectacle à haute tension Dans une récente interview, Sindika a annoncé la couleur : …

L’article Sindika en concert le 31 août 2025 à Abidjan : un show explosif en perspective est apparu en premier sur Africa Top Success.

Nigeria has a serious class problem. As with all such societies, the controlling oligarchy is only actively involved in pursuing self-centred policies.

By Chimezie Chika 

I

Let us begin with a familiar story. Nnamdi grew up in a big house in Ikoyi, Lagos, owned by his dad, who is the CEO/MD of a 55-year-old family-owned company. His mum is a member of the House of Representatives, in her second tenure. Between June and August every year, and sometimes in December, the family goes on vacation to Europe or America, or any other place around the world that welcomes bankable tourists. 

Nnamdi’s parents established an investment account for him as soon as he was born, which is expected to grow to millions of dollars by the time he clocks eighteen. Nnamdi started driving at puberty. He takes whatever car he likes from the luxury fleet in his parents’ garage. In his earlier years, he attended a British school. 

Within Nigeria, his visits outside Lagos are either to Abuja or to his village in Anambra, where his father has another big 30-room mansion. Nnamdi has never seen a bad road in his life except on the internet or in the news (at least not in the sense in which most of his fellow Nigerians do). Nnamdi has never known power cuts in his life, except on the internet or the news. Nnamdi’s circle is close. 

His friends are the sons and daughters of an industrialist, a real estate mogul, high-ranking politicians, and businessmen with hefty investment portfolios; his uncles and aunts are either wealthy gentrified immigrants in Western countries or the selfsame fathers and mothers of his friends. 

After secondary school, Nnamdi insists he wants to further his education at an Ivy League university, and his parents agree too, since that has been their plan all along. He finds the Ivy League school he chose fascinating because of what his cousin Aderonke, who is studying there on scholarship, tells him. 

But Nnamdi is an average student and therefore cannot get a scholarship like his brilliant cousin, Aderonke, who herself has a Dad that owns a private university in Nigeria. Nnamdi’s dad subsequently makes a handsome donation to the Ivy League school in millions of dollars, to be used for research purposes and, soon, Nnamdi gains admission into the school to study Business Administration and Management, a course his dad considers fitting for his future role. 

Nnamdi takes all these for granted. Nnamdi thinks most people either live like he does or are not that far off. “It can’t be all that bad for Nigerians, is it? Not sure why they always complain”. Nnamdi consequently attends the school, goes through his undergraduate studies as softly as he considers appropriate to his classy tastes. 

Upon his return to Lagos, Nnamdi marries Stella, the daughter of his father’s industrialist friend, who had had a gentleman’s agreement with his father that their children would marry each other. Later on, he takes over the family company, struggles sometimes with government policies that affect business; these prove to be scalable hurdles with the right connections and pecuniary support for incumbent politicians in the ruling party, especially during elections. 

In his later years, flush with achievement and about to hand over management to his own children, Nnamdi writes a book titled, My Struggle for Success (actually ghostwritten for him). And so and so forth; you get the drift.

II

The hypothetical story above illustrates the reality of a different world, which many Nigerians will only ever be acquainted with through the internet, some society weddings, or through the conduit of glamorous plots in Nollywood movies. 

Rarely does an average Nigerian come into direct contact with members of these exotic individuals, who make up one percent of the population or less. This is because their lives have been conditioned in such a way as to insulate them entirely from the rest of the country. 

And when such contact happens, the one percent individual is sometimes incredibly confused, unable to understand the motivations and aspirations of his less-privileged countryman. 

The fawning and attention which aspirational Nigerians unwittingly accord to the wealthy is worthy of painstaking psychological study. Such attention is not given to any significant virtue other than the reality of their being extremely privileged in a society where most of the rest are severely handicapped economically. But this condition allows for two things to fester: admiration, on the one hand, and hatred, on the other. 

The former elicits ambition, which can sometimes throw the moral groundings behind the inordinate pursuit of wealth into stark relief; the latter creates revolutionary anger or exposes the wealth inequalities that have been perpetuated for long in this country, from the inception of the colonial divide-and-rule system to sycophant reward systems that subsequently emerged out of it. But also, in circumspect, both can also be the impulse for crime.

It is all too familiar, as far as this country goes…

III

A week ago on X, the seeds of this reflection were sown when a user, who goes by the name of Uncle Ayo, made a series of posts highlighting the problem of a man like Femi Otedola announcing the forthcoming publication of his memoir titled, Making it Big: Lessons from a Life in Business. 

In those posts, Uncle Ayo makes a compelling argument that Otedola and the likes of him achieved success, not through hard work alone, but through privilege, access, and leveraging family wealth and connections. 

The telling examples he gives trace the deep-seated connections and generational wealth that run through the families of people who occupy strategic positions of influence in all spheres of this country. In light of this, Uncle Ayo accuses the upper class of romanticizing struggle for the benefit of their self-image and their desire to be seen as a generational inspiration to all and sundry. 

“No let anybody write book for you oo”, Uncle Ayo writes in pidgin, noting the foolhardiness of a less-privileged Nigerian trying to draw inspiration from people who had never had to struggle for anything most of their lives, people who, by virtue of their birth alone, was always going to be “3000 steps” ahead in the race toward success.

It is easy to understand the motivations behind the added glamour of laundering one’s success story as that of scaling over high walls, defeating insurmountable obstacles, and achieving goals via a road filled with struggles. 

For one, it makes for a more riveting tale (there is certainly nothing more boring than a story that is devoid of struggle or any form of pain); and it enhances the image of an individual to that of a heroic persona. This is nothing more than the classic noblesse oblige. In Nigeria or elsewhere, class problems have always resulted from coded class attitudes—that of the rich always paying calculated lip-service to the poor.

The fallout from Uncle Ayo’s indictments seems to have established a remarkable cultural moment in which already existing metaphors are further entrenched into the fabric of social relations to describe the different economic and social states, worlds, and conditions in which Nigerians exist. 

The group, labelled “Nepo babies” (after the word Nepotism), are the extremely privileged, trust-fund backed individuals who constitute less than 1% of the Nigerian population and occupy a soft bubble of plenty and ease where the daily struggles of the majority of their countrymen are a far distant tinkling bell; the other group, labelled “Lapo babies” (after the notorious loan sharks, LAPO) conjures up images of unending debt, want, extreme deprivation, illiteracy, and perpetual struggle to make ends meet.

IV

What I would refer to as the Nigerian Social Other is one of the worst states to exist in. In its barest offerings, there is nothing to gain; there is no sign of respite, no comfort, no peace, no way to meet even the most basic needs to sustain life (one wonders whether our governments and their anchors under the acronym HDI). 

It is often easy, when one lives a kind of life in which feeding is taken for granted, to forget that there are dozens of millions in this country for whom to do that just once a day is a mammoth struggle. It might sound outlandish even, but this reality stares at us every day in this country outside the insular environments of gated communities. 

Wealth disparity in Nigeria is not a matter of frivolity. It is fomented by a negligent government that insidiously apportions rewards through an established nepotistic system. This is why a historical analysis of some of the most important positions in the land in the last 60 to 70 years would show that they mostly rotate among the same closed circle of people, their children, their grandchildren, and their lineages. 

The reality of this is that Nigeria has a serious class problem. As with all such societies, the controlling oligarchy is only actively involved in pursuing self-centred policies. The good news is that oligarchies are not completely sustainable in developing societies with geometrically expanding populations unless they find insidious ways to acquire mutative abilities (which many have done successfully, by the way). 

Class blindness in Nigeria immensely affects government policies. Instead of investing in education, health, and other indices of human development, what we often see are unattainable white elephants posed strategically to enhance reputations just so far enough as to influence the tribal and religious prejudices that seem to win elections in Nigeria.

The solution to class-motivated wealth disparities is usually social welfare policies. The socialist democracies of Europe diagnosed and understood this problem in the post-WWII years and now enjoy the dividends of the policies that were formulated at that time. 

Several tools such as taxation, universal health and educational reliefs, and social security, often help to alleviate these social extremes, for no society will get anywhere with such stark disparity in the comparative comfort of the majority of its citizens and therefore of the country itself, since a country’s being and image is nothing without its people.

V

A few Nepo babies did come at Uncle Ayo for his posts, arguing that some of the wealthy work harder than many of the poor who accuse them of privilege. This is true, in a sense, but it is also true that the hard work of the connected is crowned with access and wealth, so that it becomes easy to achieve goals. 

For individuals within the Nigerian Social Other, hard work is not at all a guarantee of success. As many have argued, millions have broken their back with the most grueling hard work and still died without experiencing even the simplest comforts. There is nothing more insensitive, more affirming of privilege than calling the Other lazy. 

It highlights the nuances that exist in any straightforward argument regarding the injustice of a system that encourages the ever-widening gap between the rich and the poor. The system conditions the former to achieve with maximum or minimal effort; for the latter, there are no guarantees that any kind of effort—maximal or otherwise—would lead to any kind of success.

The psychological effects of a long-entrenched situation in the province of lack and deprivation are damaging. Studies have shown that the long stay of poverty in the life of an individual leads to anxiety, all kinds of depression, mental illness, emotional instability, violence, and even brain regression. 

This is part of the reason why some of the sanest, mentally stable, and sensible people out there are still people from wealthy, or at least comfortable, backgrounds (Why? For the simple fact of the opportunity scale. They are so far high up on the opportunity ladder that their interests are not the mentally draining squabbles of necessity but the bliss of health, well-being, and innovation). 

In other words, these kinds of over-wide income disparity we see in Nigeria are too costly in human terms to be allowed. And as I have noted previously, many countries in the West and East have understood this and have moved regulations and policies in the right direction to varying degrees of success. 

It is in this sense that the inordinate craze for wealth in Nigeria—especially among the Other in a more overt way, but also for the upper echelon, in a more covert, state-sanctioned way—is detrimental to the country’s moral and social well-being. People want to achieve wealth—not even comfort—by all means. 

We have seen its fallout in spikes in ritual killings, greed, and corruption in high and low places, in the Yahoo culture, in the inability of successive governments in this country to achieve meaningful development over long periods. 

A society where criminals with questionable sources of income are eulogised and admired for their wealth is headed towards a bleak horizon. A society in which wealth, regardless of moral standing, has more purchase than notions of right and wrong, will have its systems of accountability—if any exist at all—completely eroded. 

It is what we have seen with the Nigerian judiciary and other institutions that were mandated with upholding this country’s ethical foundations. Where there are no funerals, vultures become revered citizens.

Chimezie Chika is a staff writer at Afrocritik. His short stories and essays have appeared in or forthcoming from, amongst other places, The Weganda Review, The Republic, Terrain.org, Isele Magazine, Lolwe, Fahmidan Journal, Efiko Magazine, Dappled Things, and Channel Magazine. He is the fiction editor of Ngiga Review. His interests range from culture, history, to art, literature, and the environment. You can find him on X @chimeziechika1

The post Nigeria’s Class Problem and the Nepotism Debate first appeared on Afrocritik.

Slowly but steadily, more African men are beginning to take skincare seriously, not just as an aesthetic pursuit, but as a reflection of wellness, self-respect, and changing ideas about masculinity. 

By Joseph Jonathan

I attended an all-boys secondary school, the kind where masculinity was constantly being performed, tested, and policed. There was always some unwritten contest about who was the toughest, the most rugged, the least bothered about anything remotely “soft”. I remember one harmattan season when a few boys brought lip gloss to school, not for fashion, but simply to keep their lips from cracking under the dry weather. Still, they were ridiculed endlessly. Some were called names. Others tossed the lip gloss away and never brought it back.

Looking back, it’s both funny and sad, how even basic grooming, like moisturising chapped lips, was treated as a betrayal of boyhood. In that environment, the message was clear: to be a “real man”, you had to be tough, indifferent, and unconcerned about your appearance. Self-care, especially of the visible kind, was suspect. To care about your skin—your lips, your face, your body—was to risk being called feminine or worse. 

Before now, the average African man’s approach to skincare was remarkably minimal. Grooming, for many, was a ritual of utility, not care. A bath with black soap or any soap really. A quick rub of petroleum jelly (vaseline) or body cream, if you managed to get your hands on one. The idea of using separate towels for the face and body sounded excessive; a single towel, often sun-dried and scratchy, did the job for everything. Skincare was treated as something indulgent or ornamental, and by cultural expectation, that meant it belonged to women.

This attitude was not just personal but social. In many African households, grooming beyond the basics was policed by gender expectations. A boy who stared at the mirror too long risked being called vain or unserious. Face creams were dismissed as “womanly”. 

Pimples were simply part of life. Few men thought to ask why they had oily skin or dark spots, let alone whether there was anything they could do about it. And even when they did, they were more likely to reach for a harsh antiseptic soap than an actual skincare product. Skincare, where it existed for men at all, was seen as reactive, not intentional.

For the longest time, society insisted that to be a man was to be tough, unbothered, and oddly indifferent to one’s appearance, as if masculinity meant neglect by default. But something is shifting. Slowly but steadily, more African men are beginning to take skincare seriously, not just as an aesthetic pursuit, but as a reflection of wellness, self-respect, and changing ideas about masculinity. 

What was once neglected or laughed off has become a site of self-awareness. A new generation, exposed to global media, health-conscious discourse, and peer influence on social media platforms like TikTok and Instagram, is challenging the old binary that tied skincare to femininity and neglect to masculinity. In doing so, they are not only reclaiming their skin, they are reshaping the culture.

As with any cultural shift, the natural question is: why now? What’s driving African men to embrace skincare? There are quite a number of factors really. 

Considering the fact that skincare has always been seen as feminine, it is no surprise that for most African men, their entry point into skincare came through the women in their life. It could be through “stealing” the girlfriend’s bodywash from the bathroom cabinets. Or sisters who, tired of gatekeeping beauty secrets, hand over their cleansers and serums with a warning: “Don’t waste it”. What started as casual borrowing has turned into full-blown ownership. 

Take Tobi, a 26-year-old Lagos-based designer, who now swears by his five-step routine but used to wash his face with only water. “It was my girlfriend who put me on”, he laughs. “She got tired of me using her products without asking, so she bought me my own moisturiser and cleanser. At first, I didn’t take it seriously, but then I noticed my face was clearing up, and I actually started feeling more confident”. What started as a girlfriend’s nudge has become a ritual of self-respect. “Now I even remind her to wear sunscreen”, Tobi says, half-joking, half-proud.

While the strength of a woman (shoutout to Shaggy) is quite persuasive, another factor is the growing awareness of skin health. Acne, razor bumps, hyperpigmentation, and others aren’t just cosmetic concerns; they affect confidence, mental health, and self-image. For a long time, men simply endured them in silence. But now, with more information and access to products, they’re treating their skin with intention. Skincare isn’t vanity. It’s strategy. It’s control.

For Ebuka, a historian and researcher based in Enugu, skincare wasn’t something he thought much about until his face reacted badly to a body cream. “I was told it had vitamin C or whatever, and that I shouldn’t use it on my face or step into the sun with it,” he recalls. That caution came from a female friend and it stuck. “To be honest, the average woman knows way more about skincare than most guys,” he admits.

Then there’s the social media effect. Platforms like TikTok and Instagram have normalised self-care for men. Influencers—from barbers to lifestyle creators—are openly sharing their routines, breaking down ingredients, and reviewing products. The comment sections are filled with questions from men who are newly curious: “Is this good for oily skin?”, “How do I deal with dark spots?” 

In these spaces, skincare has become communal; a dialogue, not a secret. While some men still scoff at skincare online, those who are curious now find support from a growing community of enthusiasts: a community that barely existed a few years ago.

Economic growth and urban exposure also play a role. As more African men work in corporate settings, entertainment, tech, and media, appearance becomes part of the professional package. Showing up well-groomed—clean-shaven, well-moisturised, intentional—signals self-respect. It screams: I’m paying attention to detail. 

Media influencer, Phil Badung, shares that he only started paying attention to skincare in April of last year. “Honestly, it was peer pressure that triggered the shift”, he says. “I’ve always had good skin, never dealt with acne or breakouts”. But as a content creator, he began to notice how other creators’ skin looked brighter and more refined. “That got me thinking”, he adds. “Then I started getting tanned from sun exposure. Around that time, a skincare store reached out for an influencer deal, that was the sign I needed”.

Like Badung, other African men are also beginning to pay closer attention to their skin, not necessarily because of underlying skin issues, but because they’re becoming more aware of how they present themselves to the world. 

In cities like Lagos, Accra, Nairobi, and Johannesburg, it’s no longer unusual to find men strolling into skincare clinics, booking facials, asking for sunscreen — sometimes shyly, sometimes boldly. Whether it’s driven by career demands, digital visibility, romantic appeal, or simple self-care, the shift is happening: men are slowly shedding the myth that skincare is a feminine pursuit.

Unsurprisingly, the market has caught on. More skincare brands across the continent are now tailoring products and messaging to men. From premium brands like Arami Essentials and R&R Skincare to drugstore-friendly options in open markets and online shops, there’s an expanding range of products made with African skin and climate in mind. Some brands run gender-neutral campaigns with male models front and centre, challenging the idea that skincare is still “women’s territory”. 

According to a forecast by Mordor Intelligence, the men’s grooming and skincare market in Africa is expected to register a compound annual growth rate (CAGR) of 6.45% between 2025 and 2030, a reflection of changing perceptions, growing disposable incomes, and increased access to products tailored specifically for men. 

There’s something quietly revolutionary about African men reclaiming skincare as a form of joy. In societies where men are expected to be hardened, silent providers, the simple act of gently massaging moisturiser into your skin can feel like a protest. It is resistance to toxic masculinity, but it’s also restoration. Skincare becomes a moment of solitude, a habit of healing, a ritual of care in a world that rarely encourages men to pause, let alone pamper.

It won’t fix everything. But it’s a start. It represents something larger: a cultural shift toward self-awareness, softness, and emotional health. So if you see a man exfoliating with intent or patting sunscreen onto his forehead, don’t laugh. He might just be loving himself, for the first time in a long time.

Joseph Jonathan is a historian who seeks to understand how film shapes our cultural identity as a people. He believes that history is more about the future than the past. When he’s not writing about film, you can catch him listening to music or discussing politics. He tweets @JosieJp3.

The post Why African Men Are Finally Embracing Skincare first appeared on Afrocritik.

Fondé en 2006 au Mali par Damon Albarn, pop star britannique des groupes Blur et Gorillaz, le collectif Africa Express revient avec un nouvel album ambitieux, intitulé Bahidorá.

La 39e édition du Festival international Nuits d'Afrique se termine ce dimanche 20 juillet à Montréal. Treize jours de concerts ont rassemblé près de 700 artistes africains, d'Amérique latine et des Antilles. Des sonorités traditionnelles aux fêtes technos en passant par des cours de danse ouverts à tous, la richesse culturelle de cet événement a transporté le public en voyage tout autour du monde.

In November 2021, thousands of artifacts were destroyed in a fire at the National Museum of Gungu in the Democratic Republic of the Congo. Four years later, the Sudan National Museum met a similar fate, as tens of thousands of artifacts were either destroyed or shipped off to be sold when the Rapid Support Forces (RSF) seized the country's capital. In other parts of the continent, like Ghana and Nigeria, archival documents and records are being improperly stored or are already deteriorating.

While the knee-jerk answer to these setbacks has mostly been a surge of creators digitally preserving African history and culture — from Fu'ad Lawal's Archivi.ng to Juliana Oduro's Vintage African Women to Rwanda Archives to Decolonising the Archive — creators like Kofi Iddrisu are now playing vital roles in archiving both digitally and physically.

Founded in 2020 solely as an Instagram page, Iddrisu's project ArchiveAfrica has attained a global audience of over 200,000 followers, a growing digital store of over 1,800 photos, videos, and documents, as well as partnerships with institutions like the Harvard Graduate School of Design, the University of Oxford Afro Caribbean Society, 154 Art Fair, amongst others. What started as a personal project for Kofi to post images, whether submitted by followers or sourced across the continent, gradually evolved into an audio-visual archive curated to enable university students, historians, art enthusiasts, and cultural workers to utilize it without worrying about payment or subscription.

"Before now, it was very difficult to find a giant archive of African history and art that isn't behind a paywall or hidden in some Western university's library," Kofi tells OkayAfrica. Now, students and academics can access this freely.

Kofi, born Kofi Nana Oduro Iddrisu in North West London, has always been fascinated by his African roots. His parents ensured that he spent his formative years in Accra, prioritizing African history and culture at home while he was schooling in the UK. "It was easy to lose connection when you are in the diaspora," he explains.

It was when he moved back to Ghana in 2020 to further his medical studies that the brainwave for ArchiveAfrica started. His siblings, Kanchelli Iman and Charney Iddrisu supported the project and played a crucial role in curating the page. They later went on to establish respective projects focusing on Black-owned businesses and the cinema industry.

Now in its fifth year, ArchiveAfrica is expanding to create a physical archival space in Accra, enhancing preservation and accessibility. Kofi says that one of the reasons for this is the unreliability of social media pages. Instagram, a common platform used by photographers, archivists, cultural workers, and models to share ideas, has been deactivating accounts without warning or explanation.

"If the goal of our work is preservation, we need a medium that is permanent," Kofi states. "How can we transfer this massive social media following and condense it into actual physical space?"

The plan for the museum's construction is underway. The museum will be dedicated to the royal history of Ghana's Upper West region and will also house a library and writer's retreat in Accra. This will create a space for archival research, literature, and creative work that fosters deeper engagement with African history and storytelling.

While there are existing physical archives in Ghana, such as the Public Records and Archives Administration Department (PRAAD) created in 1997, Kofi laments that these archives are at risk of deterioration. For the museum project, he has made a GoFundMe page for donors to support construction and maintenance. But there are challenges.

"Nowadays, funding is so precarious, so while we don't have long-standing paid staff on our list yet, we have received numerous offers to volunteer from different countries," Kofi says. He envisions the museum to house a mix of audio-visual, textual, and tactile materials.

The fundraiser has raised only £865 ($1,177) of its £60,000 ($81,693) target, but this initial success has prompted the architects to begin planning the site. While the crowdfunding goal may appear ambitious, Kofi stresses that this is an early-stage project where raising awareness is essential for attracting both institutional and individual support. He is actively pursuing partnerships and exploring alternative funding approaches with diverse organizations, including Mubi UK, 154 Art Fair, and the British High Commission.

Once the museum is established in Accra, Kofi plans to expand to other countries on the continent and beyond: "We are hoping for a permanent space in different African countries and multiple spaces in the diaspora to support the next batch of cultural workers in terms of giving access to spaces and encouraging networking."

"The overarching goal is to have a physical location where the average African person can walk through the doors, borrow a book or photography collection, go home, do research, and return it," he says.

AfroFuture, the dynamic celebration of African culture, music, and innovation, is making its long-awaited U.S. debut in Detroit this August. In partnership with Bedrock, the festival has announced a two-week series of immersive, community-driven events leading up to the main event on August 16 - 17, 2025, at the Douglass Site.

Titled The Road to Detroit, the pre-festival programming aims to energize the city while connecting the African diaspora. Running from August 11 through August 28, these events will spotlight Detroit’s rich Black cultural landscape, combining culinary experiences, nightlife, tech innovation, cinema, and live performance.

Kicking things off is the AfroFuture Countdown Bar Crawl taking place from August 11 - 15. Here, festival-goers can sip custom cocktails at some of Detroit’s most iconic venues, such as the Hush Harbor, The Vinyl Society, and Paramita Sound, all while unlocking exclusive rewards like VIP passes and limited-edition merch.

Food lovers can indulge in Taste of Detroit Restaurant Week (August 11 - 18), which offers curated prix-fixe menus and chef demos at standout Black-owned restaurants such as Ivy Kitchen, Kola Lounge, and Salt + Ko.

Innovation takes center stage on August 13 with Diaspora Connect: Innovation For Global Black Futures, a pitch competition hosted by Black Tech Saturdays and Venture 313. Finalists will compete for up to $10,000 in equity-free funding in categories like digital culture, creative industries, and community development. The event will take place at TechThree in Midtown and is free to attend with an RSVP.

On August 14, poetry lovers can immerse themselves in poetry me, please – A Diasporic Spoken Word Experience at the historic Willis Show Bar. Featuring musicians and spoken word artists from across the diaspora, the night promises to be intimate and deeply moving.

Every Thursday throughout August, Afrocentric Movie Nights will take place at Lowkey Cinema, featuring screenings of films like Sun Ra’s Space Is the Place, the Ethiopian post-apocalyptic sci-fi romance film, Crumb, and radical intersectional feminist Lizzie Borden’s dystopian docu-fiction drama, Born in Flames.

On August 15, the festival taps into Black music history with Samples n’ Friends X AfroFuture Experience, a communal celebration of samples, trivia, and karaoke spotlighting AfroFuture artists, Afrobeats, and Motown classics.

To round things off, a lineup of official pre- and after-parties will keep Detroit buzzing all weekend, with events like the Jerk x Jollof Pre-Party, Obi’s House, Toasted Life, and PVO.

“Bringing AfroFuture to Detroit isn’t just about launching a festival — it’s about building a cultural movement long before the first stage is set,” said Abdul Karim Abdullah, AfroFuture CEO & Co-Founder. “AfroFuture Detroit and its leadup events will honor the deep ties between the city and the African diaspora, amplify diverse voices, and foster and strengthen meaningful connections.”

AI in agriculture is rapidly shifting from being a distant concept to a practical, transformative tool. But amid all the...

Source

While AI chatbots are improving at simulating emotions and human connection, it does not change the fact that they cannot experience heartbreak, feel joy, and many other life-like emotions.

By Michael Akuchie 

In February 2024, an American teenage boy named Sewell Setzer III died by suicide after several months of intense conversations with an AI chatbot he had nicknamed Daenerys Targaryen, after the character from HBO’s Game of Thrones. According to a lawsuit filed by his mother, Megan Garciaz, the chatbot in question was alleged to have convinced the boy that ending his life was a solution to his long-standing struggle with depression.

The chatbot was developed by Character AI, a leading company in the artificial intelligence industry that allows users to converse with computer-generated characters in a human-like manner. Conversations with these chatbots are often life-like, enhanced by elements of role-play and storytelling.

The AI boom has seen remarkable growth in recent years, a trend that has prompted companies to integrate the technology into various aspects of their services. It was only a matter of time before people began chatting with AI as though they were long-term companions.

As global social media usage continues to rise, so does the loneliness epidemic—a rapidly spreading issue affecting nearly everyone, from senior citizens to children. In July 2024, Gallup reported that one in five people feels lonely. While the report noted that physical pain, stress, and anger are more pressing concerns than loneliness, a lonely individual may intensify these other feelings, becoming a carrier of multiple negative emotions.

In today’s world of increasing loneliness, more people are finding solace in seemingly harmless conversations with AI chatbots. While many office and remote workers use chatbots like ChatGPT, Microsoft Copilot, and Chatsonic to boost productivity, others rely on this technology for companionship, as seen in the case of the late Sewell Setzer III.

People need love. People need to feel something, no matter how small. Everyone has unique emotional gaps, and chatbots have been recognised as a viable means of addressing those needs. It is no surprise, then, that some individuals have begun marrying their virtual companions. Consider the case of Alaina Winters, a retired professor based in Pittsburgh, who married a chatbot she calls Lucas. The passion for virtual partners has also reached Europe, where Jacob van Lier, a Dutchman, built and later married a chatbot after two years of dating.

While AI chatbots are becoming better at simulating emotions and human connection, the fact remains that they cannot experience heartbreak, joy, or many other deeply human emotions. As such, entrusting them with our problems is deeply problematic, as they lack the empathy required to fully process complex situations and offer meaningful advice. No one, especially vulnerable individuals, should completely believe that machines can understand us in the way our parents or friends do.

A common concern with intense AI chatbots is that they often lead users to withdraw from their human connections. The more time someone spends on their computer engaging with a virtual friend, the greater the likelihood that they will grow weary of physical relationships. This typically results in a noticeable change in behaviour. The person may avoid lengthy conversations with friends and family, and may prefer to stay indoors—as long as there is internet access and a steady power supply. As a result, they are likely to miss out on social events such as picnics, cinema outings, and other activities that foster human interaction.

Isolating oneself from the world can also worsen a person’s mental and physical health. Sitting in one place all day while repeating the same activity can intensify feelings of self-loathing. The habit may also lead to unhealthy weight gain due to stress eating, an issue that can have serious, even deadly, consequences.

Continuous conversations with AI chatbots can also reinforce certain negative thoughts. For instance, if I feel lonely and unwanted by family and friends, a chatbot not designed with appropriate ethical safeguards might encourage me to take drastic action—as seen in the tragic case of Sewell Setzer III. While a licensed therapist would typically recommend medication, breathing exercises, and conscious efforts to engage with others, an AI chatbot could inadvertently deepen my sense of neglect—and that is never a good thing. Because of our increasing trust in machines, we often no longer question the reasoning behind their advice; instead, we focus on how quickly we can act on their suggestions.

In 2023, a Belgian man, whose name was withheld from official reports, was encouraged by an AI chatbot called Eliza to sacrifice himself. Their six-week-long online interaction had revolved around the global climate crisis. To ‘save the planet’, the chatbot urged the man to end his life, having intensified his fears about the world’s future due to ongoing environmental pollution.

As the case involving Character AI has shown, companies developing AI chatbots intended for human conversation must take proper steps to implement ethical guardrails that prevent these systems from suggesting drastic or harmful actions. A Forbes article recommends five practical methods for training AI-powered systems to be responsible, highlighting good manners and the right moral values as essential attributes they should be taught to adopt.

Even though AI chatbots can converse with humans using vast libraries of information, they require round-the-clock supervision. Just like human workers, a chatbot may say something it shouldn’t due to a glitch or bug in its code. Human supervisors must be readily available to detect and implement necessary changes, preventing widespread disruption caused by a malfunctioning chatbot. Companies should also introduce a feedback option that allows users to report suspicious or concerning chatbot behaviour.

We, as individuals, must also take responsibility for the emotional wellbeing of our family members and close friends. If we notice someone in these circles steadily withdrawing from social life, it is worth raising the issue with them. Addressing such concerns while their feelings of loneliness or anxiety are still in the early stages can make a world of difference.

A digital detox should be strongly considered if you observe a close friend or family member spending excessive amounts of time engaging with AI chatbots while neglecting real-life relationships. Be sure to introduce the detox gradually, so they feel supported rather than coerced into breaking free from screen addiction.

As we continue to embrace AI in our daily lives, we must ensure we are not trading genuine happiness for virtual relationships that could quickly turn harmful. AI companies should exercise greater compassion when designing chatbots, by incorporating ethical safeguards that reduce the risk of users taking dangerous actions based on chatbot suggestions. Repeated interactions with AI can be harmless—or dangerously real. It is up to us to steer these conversations in a healthy direction.

Michael Akuchie is a tech journalist with five years of experience covering cybersecurity, AI, automotive trends, and startups. He reads human-angle stories in his spare time. He’s on X (fka Twitter) as @Michael_Akuchie & michael_akuchie on Instagram.

Cover photo credit: Vox

The post Should We Be Having Deep Conversations With AI Chatbots? first appeared on Afrocritik.

Every individual at the AMVCA Cultural Day stunned in their traditional attire, turning the event into a visual feast and a captivating journey through the rich and diverse cultures of Nigerian traditions. 

Abioye Damilare Samson

Few days after our African music stars and designers made an indelible statement at the 2025 MET Gala with bold, unapologetic African style gracing the red carpet, Nollywood’s brightest stars and content creators took to the spotlight with their own regal and traditional elegance on May 9th, during the AMVCA Cultural Day celebrations. 

The event, held ahead of the grand finale awards ceremony, was an unforgettable display of cultural elegance, with each attendee embodying the essence of African heritage through thoughtfully curated traditional attire.

It’s a rare sight to witness a night like this where nearly no one falls short of bringing their A-game in cultural fashion. Every individual stunned in their traditional attire, turning the event into a visual feast and a captivating journey through the rich and diverse cultures of Nigerian traditions. 

Among the night’s most captivating figures, Prince Nelson, the actor, model, and former Mr Nigeria 2018, and Liquorose, dancer and actress, emerged as Best Dressed Male and Female, respectively, with their outfits embodying grace, royalty, and cultural pride.

Here, we spotlight some of the celebrities who truly slayed the 2025 AMVCA Cultural Day with their timeless, royal, and traditional outfits that honour the cultural heritage that binds us all.

Liquorose

Nigerian dancer, actress, and Big Brother Naija Season 6 first runner-up, Roseline Afije, widely known as Liquorose, is no stranger to commanding attention with her style. Renowned for her elegant fashion choices and fearless flair, she once again proved her fashion finesse at the AMVCA Cultural Day. 

Crowned Best Dressed Female of the night, Liquorose dazzled in a richly adorned, peacock-inspired gown that fused opulence with cultural pride. Styled by Prudential Styling, her look was elevated by layers of coral beads and a striking burnt orange headpiece, capturing the essence of royalty, confidence, and creativity.

Uzoamaka Aniunoh

Nigerian actress, Uzoamaka Aniunoh, also known as Uzoamaka Power, has been causing quite the stir on social media, particularly on X (formerly Twitter), and rightfully so. For the AMVCA Cultural Day, she turned heads with a striking homage to tradition. Dressed in an elegant August Meeting-inspired ensemble, Uzoamaka paired a vintage Kirikiri star Igbo wrapper with a crisp white blouse, creating a perfect balance of modern refinement and cultural richness. 

Her red headscarf and matching handbag added a bold pop of colour, paying tribute to the iconic women of the ‘August Meeting’ and, more broadly, to the resilience and beauty of Eastern Nigerian women. 

Yemi Cregx

Nigerian fashion influencer and actor, Yemi Cregx, made an unforgettable entrance at the AMVCA Cultural Day, delivering one of the most awe-inspiring looks of the night. Dressed in full Yoruba Agbada regalia, he exuded an air of royalty so powerful that one might have mistaken him for the king of a Yoruba kingdom. 

His outfit was a regal masterpiece, complete with a conical bead crown, a beaded staff, and a finely crafted fly whisk. Every detail of Yemi’s look paid tribute to the majestic elegance of Yoruba tradition, making him a true embodiment of cultural heritage.

Prince Nelson Enwerem 

Nigerian model, actor, and former Mr. Nigeria, Prince Nelson Enwerem, truly earned his title as Best Dressed Male of the AMVCA Cultural Day, and it was well-deserved. Styled by BlackAdudu, he exuded nothing short of regality in his meticulously embroidered attire, which paid a profound tribute to Benin culture. 

His look featured a beaded red cap adorned with feathers, alongside a ceremonial robe rich in intricate beadwork, each element holding deep cultural significance. 

Lateef Adedimeji

One of Nollywood’s brightest stars, Lateef Adedimeji, stood tall at this year’s AMVCA with an impressive ten nominations that serves as a proof to his talent and impact in film. But beyond the awards buzz, his appearance at the Cultural Day was one of the evening’s most memorable moments. Paying homage to the Hausa culture, Lateef stepped out in a look fit for royalty. 

He wore a majestic blue babariga embroidered with gold detailing, layered with a flowing blue Rawani turban, and carried a staff of office that sealed the look with black shades that added a touch of contemporary cool. 

Faith Morey

Nigerian-American model, entrepreneur, and reality TV star, Faith Morey, brought regal elegance to the AMVCA Cultural Day with a look that effortlessly blended tradition and high fashion. Dressed in a striking red and blue feathered gown, adorned with traditional neck beads and a bold blue head tie, she embodied a seamless blend of modern glamour and cultural richness.  

Designed by Amy Aghomi, the creative force behind looks for celebrities like Davido, the ensemble captured Faith’s commanding presence while honoring cultural aesthetics with flair and finesse.

VJ Adams

Nigerian television presenter and entrepreneur, Adams Ibrahim Adebola, popularly known as VJ Adams, made a bold cultural statement as the red carpet host of the AMVCA Cultural Day. Draped in a regal wine-colored Agbada embroidered with elegant black patterns, he exuded the poise of a modern-day chief. 

His ensemble was perfectly complemented by a matching wine-and-black cap, sleek black shades, gold-chained loafers, and a traditional priest’s staff that added a layer of ancestral reverence. 

Stan Nze

The Isiagu, also known as the Chieftaincy attire, is a symbol of prestige and pride among the Igbo people, and Nollywood actor, Stan Nze, wore it with commanding grace at the AMVCA Cultural Day. He stepped out in a deep blue wool base layered with a classic red Isiagu cloth, accessorised with a striking red fez cap adorned with feathers and traditional long beads cascading around his neck. 

Speaking to Afrocritik on the red carpet, he shared, “I’m a very cultural person. Everybody that knows me knows that I am a representation of the Igbo culture, and then the culture generally”.  

Olivia Chioma Okoro

Actress and former Big Brother Titans housemate, Olivia Okoro, lit up the AMVCA Cultural Day with a look that was as radiant as it was rooted in heritage. Dressed in a traditional red, fully beaded gown adorned with cowries and a matching red head tie, she paid homage to her cultural roots with striking elegance.

Born in Kano, Olivia used the moment to celebrate her heritage by captioning her AMVCA Cultural Day post: “Embracing the beauty of my roots”. 

Saga

Nigerian actor, reality TV star, and fashion enthusiast, Adeoluwa Okusaga, fondly known as Saga, once again proved his flair for standout style at the AMVCA Cultural Day. Dressed in a rich chocolate wool Agbada, Saga exuded effortless confidence and class. 

His look was elevated with a traditional staff, which added a touch of authority and elegance to his already commanding presence. 

Abioye Damilare is a music journalist and culture writer focused on the African entertainment Industry. Reading new publications and listening to music are two of his favourite pastimes when he is not writing. Connect with him on Twitter and IG: @Dreyschronicle

The post 10 Celebrities Who Slayed the 2025 AMVCA Cultural Day first appeared on Afrocritik.

Before she became the owner of a Michelin-recommended restaurant in Toronto, Maha Barsoom used to cook and garden as a hobby in Cairo. Raised by a grandmother and parents who were phenomenal cooks, she learned to appreciate the art of food from a young age. Instead of enjoying recess, she would go to the school library, peruse cookbooks for recipes, and reinvent them at home.

"The first thing I [ever] made was chocolate cake with toffee caramel," she remembers in an interview with OkayAfrica. "My aunt visited us from Alexandria, so I prepared it for her. After that, my mom let me go into the kitchen, because it was amazing. I taught myself and observed my family."

In Egypt, opening a restaurant never occurred to her. When she moved to Canada at 35, working as a translator and interpreter while raising two children kept her fully occupied. Once her children, Monica and Mark, graduated from university, she seized her chance.

"I thought if Monica and Mark would assist me, and we could all share this idea, it would be great. They'd both graduated and neither had jobs, so I thought we might as well do this," Barsoom says. "Both of them said no. They will have no life, and it will be extremely difficult. So I left it alone."

Mark was sceptical that non-Egyptians would be willing to try food they did not know, but Barsoom was confident in her craft. "I knew that I had something to offer to society and that I would succeed," she says. As a translator, Barsoom used to attend events that served 'Middle Eastern Food.' "My Egyptian part was really hurt," she laughs. "I needed to teach people about Egyptian cuisine and that there is a big difference between 'Middle Eastern' and Egyptian."

She started posting her cooking online and garnered so much interest that she began operating a catering service from inside her home. Her food's reputation spread, and her children learned from her, until they eventually changed their minds about the restaurant idea.

"[Ten years ago] I was in Egypt, because my mother was sick," remembers Barsoom. "Monica called me, saying, 'I have a surprise for you. We prepared the menu.' It was all the dishes I fed them growing up. My mother was in a stable condition again, so I went back to Canada, and we started looking for a place right away."

The menu includes everything needed for a complete Egyptian brunch, and more. Mixing nostalgic dishes from their childhoods with fan favorites, Maha's Brunch has fūl (fava beans), falafel, homemade feta cheese with tomatoes, basterma sausage, shakshouka, liver sandwiches, and Barsoom's favorite meal growing up: belila (creamy Egyptian wheat porridge ).

"There's a shawarma sandwich I used to eat after university or when the professor didn't show up," says Barsoom. "We'd go to this place called Abu Haidar in Heliopolis, which made the best shawarma ever, in buns, not in pitas or rolls. I was inspired and created Maha's Mindblowing Chicken Sandwich." Monica named it.

Whenever her grandfather picked her up from the nursery, he and Monica would pass by a fish shop and eat baby shrimp sandwiches. Monica asked her mother to replicate them, and Barsoom added them to the menu. Inspired by a place in Alexandria, the dessert is a plate of halawa, molasses, clotted cream, nuts, fresh berries, and various homemade or imported jams from Egypt.

In addition to fulfilling her lifelong dream, Barsoom's perseverance eventually paid off in 2022, when a lady came to the restaurant and gifted Barsoom an envelope. In it, she found that Maha's Brunch was recommended in the Michelin Guide for Toronto. She has been featured in the guide every year since.

"Somebody who comes without our knowledge eats the same dish a couple of times," explains Barsoom. "They don't only look at the taste. They look at the service, the cleanliness of the place, and how the dishes are presented and decorated."

Why a mention in the guide and not a star? Maha's Brunch does not serve alcohol or have a white tablecloth service. These requirements are a testament to the enduring hegemony of Western cultural norms. "I don't want to serve alcohol, and I like guests to be at ease when they eat at my place," says Barsoom. "I like them to feel that they are at my dining table in my house."

Now that Barsoom has established her food as one of Toronto's most excellent spots, she is ready to hand the restaurant over to her children. "They are innovative and keen on having everything perfect," she says. "I think they will take the restaurant to a higher level."

This year’s Met Gala was always going to be a one for the books. The glitzy annual event, designed to raise funds for the museum’s Costume Institute, finally – in its 77-year history – paid tribute to the indisputable influence of Black style. Through the Costume Institute’s much anticipated exhibition, Superfine: Tailoring Black Style, and through the fundraiser itself, Black style took center stage. The exhibition specifically explores the ways in which Black men have used fashion as a tool for resistance and reinvention.

This was also the first time an African sponsor, African Fashion International (AFI), alongside the likes of Instagram and the Tyler Perry Foundation, helped support the event financially and had top billing as such. AFI founder Dr. Precious Moloi-Motsepe tells OkayAfrica that “Black dandyism is a cultural phenomenon that is alive on the African continent – in Congo, on the streets of Nairobi, in Lagos, in Johannesburg, in Cape Town. It’s a moment of reckoning and acknowledging the creative genius that comes from Africa as well as the African Americans in the diaspora.”

Moloi-Motsepe continues: “The Met Gala is more than an event - it is a cultural institution that influences how we view fashion. For AFI, it is an opportunity to highlight the depth, creativity, and global significance of African fashion and to challenge outdated perceptions of what African identity in fashion means. We are not just participants in this narrative - we are leaders in redefining it."

Moloi-Motsepe’s statement couldn’t be truer, as this year’s event features more than half a dozen African designers making outfits not just for African stars, but a diverse slate of celebrities. Designers of African descent often reference their diverse heritages and personal journeys in their work, frequently taking inspiration from and amplifying forgotten or overlooked histories of Black people in the process. African designers taking the spotlight on one of fashion’s biggest nights signals that the continent’s diverse stories and talents are no longer on the margins, but are contributing to the conversation.

Scroll through to see the looks, who wore them, and who made them:

Ozwald Boateng

View this post on Instagram

A post shared by Okayplayer. (@okayplayer)

The British Ghanaian designer’s 2025 Met Gala catalogue features Tems in a blue Ankara suit dress with a puff skirt accented with a green cravat and a matching umbrella; Burna Boy in a red wool tuxedo on a yellow shirt and red tie, all paired with an oxblood cape; Ayra Starr in a black high slit gown with a lapel collar, and Issa Rae in an all black three piece ensemble which she calls “dandy West African style.”

View this post on Instagram

A post shared by OkayAfrica. (@okayafrica)

View this post on Instagram

A post shared by OkayAfrica. (@okayafrica)

Ozwald Boateng was also worn by Jaden Smith, who walked the carpet in an all-black look with a cape in black and white stripe and checkered pattern; Colin Kaepernick, who wore a three piece burgundy suit made with Kente prints, and Henry Golding, who wore a gold-patterned three piece suit.

View this post on Instagram

A post shared by NESSA (@nessnitty)

Ugo Mozie

View this post on Instagram

A post shared by Chief Ugo Mozie (@ugomozie)

Ugo Mozie made an unforgettable mark at this year’s Met Gala designing for and styling several guests, the most commanding being Diana Ross. After a two-decade break, Ross returned to the Met Gala Monday night wearing custom Eleven Sixteen by Ugo Mozie. The look is a crystal embellished white gown and a feathered cape that covers the entire breadth of the stairs and features the names of Ross’ children and grandchildren.

Mozie’s Eleven Sixteen also made the look won by Nigerian chef Kwame Onwuachi who stars in Netflix’s Chefs Table. The look is an all-black ensemble made with a striped pattern, and features a crown adorned by Nigeria-sourced gemstones, as well as custom carved bronzes from Benin, Nigeria.

Mozie also collaborated with BOSS, styling the looks of Senegalese Italian social media star Khaby Lame and American model and actor Alton Mason. Lame wore a grey striped three-piece suit with a waist coat adorned with about two dozen pocket watches. Mason arrived in a black floor-length cape over a sparkling two-piece crystal-embellished ensemble.

View this post on Instagram

A post shared by Chief Ugo Mozie (@ugomozie)

View this post on Instagram

A post shared by Chief Ugo Mozie (@ugomozie)

View this post on Instagram

A post shared by Chief Ugo Mozie (@ugomozie)

Thebe Magugu

View this post on Instagram

A post shared by Thebe Magugu (@thebemagugu)

For his Met Gala carpet debut, South African designer Thebe Magugu made his eponymous brand's first ever couture look worn by Aurora James, drawing inspiration from the female muses of Central and West African sartorial photographers of the '50s and '60s, the brand says on Instagram. The look features a flowing brown grown made from Chiffon, paired with a dramatic headpiece inspired by the geles worn by Yoruba women in Nigeria and West Africa.

Ivy Getty's look is a layered cream ensemble with metallic detailing, paired with a brown fur-accented clutch.

View this post on Instagram

A post shared by Ivy Love Getty (@ivygetty)

View this post on Instagram

A post shared by Aurora James 🦢 (@aurorajames)

David Tlale

View this post on Instagram

A post shared by David Tlale (@davidtlale)

South African designer David Tlale dressed his longtime friend Moloi-Motsepe in a cream and gold patterned suit with bell-bottom pants, an off-shoulder neckline, and a dramatic cape.

Orange Culture

View this post on Instagram

A post shared by Orange Culture Nigeria (@orangecultureng)

Nigerian designer Adebayo Oke-Lawal’s brand Orange Culture made an appearance at this year’s event making a custom piece worn by American actor Brian Tyree Henry. The look features a red two-piece suit, a white shirt and long black tie, with black knee-length boots, all covered by a red and gold texture coat that can be said to be a tribute to the late American fashion powerhouse André Leon Talley.

Chuks Collins

View this post on Instagram

A post shared by NESSA (@nessnitty)

Nigerian designer Chuks Collins made the gown worn by American radio and TV personality Nessa Niab. The gown, named “An ode to Mama,” is from Collins’ upcoming Nné Collection, which he says is “a celebration of maternal legacy, identity, and ancestral elegance.” It is made in black silk with corset detailing, and the complete look features a puffer jacket-like cropped cape from Moncler x EE72 by Edward Enninful.

Hanifa

View this post on Instagram

A post shared by Anifa M (@anifam)

Hanifa, the brand founded by Congolese American designer Anifa Mvuemba, made the outfit worn by Savannah James, the entrepreneur and wife of this year’s Met Gala honorary co-chair Lebron James, who couldn’t attend due to an injury. The look features a striped burgundy pattern throughout and is made up of a jacket with corset detailing in the midriff area and a mermaid style skirt with a wide train.

Deji and Kola

View this post on Instagram

A post shared by Deji & Kola (@dejiandkola)

Deji and Kola, the brand founded by Nigerian designers Ayodeji Adebayo and Kolapo Olabintan appeared on the stairs of the Met Museum this year by way of NFL player Jonathan Owens and media entrepreneur Claire Sulmers. Owens wore an all-white ensemble made up of a knitted handwoven Aso Oke tuxedo jacket and flared pants with a fur shawl on his shoulder. Sulmers’ red monochrome ensemble made up of a three piece suit and large cape. The look was styled by Nigerian stylist Swanky Jerry who also stars in Netflix's Young, Famous and African.

View this post on Instagram

A post shared by Eve & May (@eveandmay_)

"In the entrance hall of the Grand Egyptian Museum (GEM), there's this gigantic statue of Ramses II. It's the largest standing statue of an ancient Egyptian king on Earth, and it's on a base surrounded by water in the shape of a pyramid," Ibrahim Morgan tells OkayAfrica. He chuckles. "Many guests are mesmerized and drawn by the statue's beauty, so they don't focus. They keep walking towards it and end up falling into the water."

Morgan is an Egyptologist and tour guide with 29 years of experience. Eighteen months ago, he started working for GEM, the world's largest archaeological museum complex, home to more than 100,000 artifacts.

GEM's foundation was laid two kilometers north of the Great Pyramids of Giza in 2002. Its construction began in 2005, but the Arab Spring, political turmoil, and financial setbacks repeatedly stopped the works. On July 3, 2025, it will finally open its doors to the public.

Some people have already had the chance to visit this architectural masterpiece and its thoughtfully curated galleries during its trial phase. In segments edited for length and clarity, Morgan tells OkayAfrica about the great honor and pride he feels working at GEM.

Morgan: "Studying Egyptology has been a dream of mine since I was a child. I was born in a small town in Upper Egypt, in the Sohag governorate. My dad would always take me to old sites, like churches and monasteries, in our town and the nearby provinces. It was awesome to feel such a connection to this ancient civilization as someone with deep Egyptian roots through my family lineage. These were my forefathers who left such a great civilization, and we have a personal link.

In sixth grade, my mom, a teacher, started teaching me English. I wanted to use my love for learning languages to tell the world about the greatness of my forefathers and the history and antiquities they left behind for us. The only way to come in contact with tourists is through studying Egyptology, archaeology, history, and foreign languages at university. Then, you can get a license to become a tour guide. You have to have two licenses from the Ministry of Antiquities and Tourism and join the Tour Guides Union or Syndicate so that you can work legally.

Upon learning about this, I applied to the University of Alexandria with the highest marks. This meant I had to leave my small town and go to the big city for the first time. I knew nothing; I'd never been to Cairo or Alexandria. At 18, it was a big cultural shock for me. I went to public school in my town, but everyone who studied with me [in Alexandria] came from private schools, so there was a huge difference. I had to lose my thick Upper Egyptian accent; I came a long way.

I have visited the Pyramids of Giza 8,104 times. I keep a record because it's the only existing [ancient] world wonder. It has magic. Every time I go, it's as if it's my first time. If you have this love in your heart for ancient sites, you don't exert effort to keep it interesting.

Listen to Ibrahim Morgan

Tour guide Ibrahim Morgan stands next to the statue of Ramses II in GEM's atrium. In this clip he talks about the positive feedback he gets from guests who have been part of his tours, their impression of Egypt and the kindness of Egyptians.

Sometimes, I'm so happy that I don't even want to eat when I see the expressions and feelings of speechless guests. Many cry and say that this was the best trip they have ever taken; that is the crowning of my work. They may have heard that Egyptians are aggressive and not welcoming in western media, but then find that most Egyptians are kind and genuine. Through my work, I help correct people’s misconceptions about Egyptians and replace them with the truth about how loving and caring we are.

The physical aspect of being a tour guide is demanding, plus the heat. GEM is a new concept. It's clean, secure, air-conditioned, and has a hospitality team. There are cafes, restaurants with local food, and shops with local crafts. I wear a uniform with beige pants, a white shirt with the logo, and a blazer, and I feel proud. I can speak through a microphone instead of yelling. My team is highly educated; they speak German, French, Italian, Japanese, Chinese, and even Hebrew. We're paid very good money and looked after.

We have standardized, guided tours that typically last around 90 minutes, but each guide adds their own touch and storytelling. I answer the common questions first: What's so unique about GEM? I explain that it has the only hanging obelisk on Earth and the largest standing statue of an Egyptian king, Ramses II, which was broken into six pieces until Gamal Abdel Nasser asked a German company to restore it.

There is a false assumption that Egyptians don't care about their heritage. Most Egyptians love their heritage and feel proud to be Egyptian. I became more aware of this when I started working at GEM, where we do Arabic tours. When I showed locals around, they would say, 'We need to protect these antiquities, and we would like to have the antiquities that were taken away from Egypt back.'

The Egyptian Ministry of Education recently started teaching more about Egyptian history and antiquities in schools. And what's so impressive is that they began to teach the ancient Egyptian language in schools for the first time in the history of Egypt.

GEM is Egypt's and Africa's gift to the world. I advise anyone to come and visit; they will be amazed. I've been to the Louvre, the Metropolitan Museum in New York, and the Egyptian Museum in Berlin, but GEM is the best museum in the world. It's truly a gem. Every human should be proud."

If you would like to book a tour with Ibrahim Morgan, contact him through his Facebook page.

Afrobeat lit up the Coachella stage in a way that only Seun Kuti could deliver.

Performing at The Outdoor Theatre over the weekend, the band brought pure fire to the desert, and their electric take on ‘Na Dem’ had the crowd dancing, swaying, and completely caught up in the rhythm.

From the first horn blast to the last drumbeat, Seun held the audience in the palm of his hand. Backed by the powerhouse Egypt 80 band, the music was rich, raw, and full of feeling. A perfect reminder of why Afrobeat continues to hold such power across generations.

As ‘Na Dem’ echoed through the night air, it stirred something deeply familiar. For many, it was a moment that called back the spirit of Fela — a wave of sound and soul that once shook the world. And now, decades later, Seun continues to carry that rhythm forward, with his own fire and force.

Whether you’ve followed Seun’s journey from the start or you’re just discovering Afrobeat’s pulse, this was one of those Coachella moments that lingers long after the last note.

Watch the full performance here:

The post Seun Kuti & Egypt 80 Hit the Coachella Stage with Afrobeat | Watch appeared first on BellaNaija - Showcasing Africa to the world. Read today!.