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“Memorabilia” Review: Efue Announces Herself Impressively With Debut EP
Why Are Major African Football Tournaments Always Hosted by the Same Countries?
The 2025 NLNG Nigeria Prize For Literature Unveils Shortlist
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
“It Blooms in June” Review: Korede Azeez’s Coming-of-Age Movie Needs to Come of Age
“Daydreamers” Review: Vincenzo Cavallo’s Film Explores the Dreams and Aspirations of Eastleigh’s Somali Immigrants
Film Festival Circuits, a New Frontier for Nigerian Indie Filmmakers?
Mati Diop’s Documentary, “Dahomey”, Wins Golden Bear for Best Film at the 74th Berlinale
Moussa Sène Absa and the Trilogy that Redefines African Femininity in Film
Barnabas Emordi: Successive Steps Behind the Lens to Becoming Nollywood’s Highest-Grossing Cinematographer
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Music
“Stubborn” Review: Victony’s Impressive Debut LP Explores Life’s Highs and Lows
“Hexagon” Review: Love and Devotion Shine Through Anendlessocean’s New EP
“Before the Feast” Review: Falz’s EP Thrives On Carefree Escapism
Afrobeats Royalty: Tekno, On Growth, Abundance, and New Opportunities
“À nu” Review: Karun’s New EP is a Lustrous Link-Up With Producer Duo, GR! & Hook
“Born in the Wild” Review: Tems’ Debut Album Is a Masterclass on Self-Discovery
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2025 AMVCA: How the Stars Lit up the Night With Style
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What Africa Wore to the Met Gala 2025: Fashion, Symbolism, and the Limits of Black Dandyism
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