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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
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The Female Camus | Abigail George
Is There Truly ‘No Big Deal’ in the Sarkodie-Nasty C Feud?
15 Things To Know About Chimamanda Ngozi Adichie’s Chieftaincy Title
Afrocritik Top 25 African Music Videos of 2022
Afrocritik Best 15 African Films that Streamed in 2022
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“On The Edge” Review: Temitope Bolade-Akinbode’s Drama Highlights the Human Condition With Tragic Consequences
Orire Nwani’s “Love & Seclusion” Set for North American Premiere at New York University
Berlinale Talents: Esther Kemi Gbadamosi and Perivi John Katjavivi Selected as New Fellows for 2024 Mastercard Enablement Programme
“Hotel Labamba” Review: Biodun Stephen’s Comedy Thriller Offers Easy Laughs; Lighter On Substance
“The Counsellor” Review: Muyiwa Aluko’s Rom-Com Has Too Many Bullet Points and No Jokes
“Orisa” Review: Odunlade Adekola’s Historical Picture Eschews Realism for Theatrics But Doesn’t Quite Stick the Landing
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Music
Dizzy Mandjeku and the Odemba OK Allstars Pay Tribute to the Timeless Traditions of Congolese Rumba With “Odemba Nostalgie” EP
How Recent Afropop Projects Mark a Full-Circle Moment for Nigerian Music
In “Ogechi”, Brown Joel, Boypee, and Hyce Long For Affection
“The Year I Turned 21” Review: Ayra Starr’s Sophomore Project is her Sonic Autobiography
How Kikuyu House and Electronic Dance Music is Taking Root as a Music Genre
“What Would You Do Without Me” Review: Cheque’s EP Adds a Consequential Layer to His Artistry Mosaic
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2025 AMVCA: How the Stars Lit up the Night With Style
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