There is no doubt that the All Africa Music Awards (AFRIMA) has returned with renewed determination to reward and unite African countries through music after a two-year hiatus.
Ahead of a more robust and intentional edition scheduled for November 2025, organisers of AFRIMA have embarked on a journey to give Africa one of the best music awards and culture festivals in Lagos, Nigeria.
For the 2025 edition, which has been dubbed ‘Unstoppable Africa,’ plans are in top gear for the initiative to run between November 25, 2025 and November 30, 2025.
Already, the Federal Government of Nigeria has received and accepted the responsibilities of the host country, while the Federal Ministry of Arts, Culture, Tourism and the Creative Economy have also thrown its weight behind the 2025 edition.
With entry submissions closed on August 8, organisers revealed that a total of 10,717 entries were received.
According to the organisers, the surge in submissions reinforces AFRIMA’s position as the continent’s most prestigious platform for developing, celebrating, and promoting African music globally.
West Africa led the submissions with 5,215 entries (48.68 per cent), followed by Southern Africa with 2,080 entries (19.42 per cent) and Eastern Africa with 804 entries (7.50 per cent). Northern Africa recorded 267 entries (2.49 per cent), Central Africa 291 entries (2.72 per cent), while Africans in the diaspora submitted 75 entries (0.70 per cent).
Ahead of its 2025 Adjudication Process, organisers appointed new music experts to join its International Jury panel. The three new jury members are Marwane Fachane, who represents Morocco (Northern Africa); Asma Lucy Ilado from Kenya (Eastern Africa); and Messie Mboukou from Congo Brazzaville (Central Africa).
Other members of the jury include Olisa Adibua, Jury-in-Charge/Associate Producer; Vicensia Shule, African Union representative; Emil Ngumbah from Cameroon, representing Central Africa; Joett from Tanzania, representing Eastern Africa and Hossam El Gamal from Egypt, representing Northern Africa.
Others are Adam Tiran from South Africa, representing Southern Africa, Delani Makhalima from Zimbabwe, representing Southern Africa, Guy Neza from Cote d’Ivoire, representing Western Africa, Motolani Alake from Nigeria, representing Western Africa and Hadja Kobele, Diaspora, representing North America.
The 13-member International Jury began adjudication on Friday, August 8, in Lagos.
The process, which will run until Sunday, August 17, will screen, categorise, and score entries based on quality, originality, impact, and cultural relevance, before selecting nominees in various regional and continental categories.
On Thursday, August 14, organisers held the 2025 AFRIMA’s patron dinner with the Jury at the Knowhere Restaurant on Victoria Island. The event had several attendees, including members of the jury as well as media practitioners.
All is set for AFRIMA 2025, and the five-day-long event will be broadcast in more than 84 countries around the world.
In recent months, a wave of frustration has swept through Nollywood as some of its biggest stars openly call out Ghanaian television stations for what they describe as brazen theft of their creative works.
From Omoni Oboli to Bimbo Ademoye and, most recently, Nosa Rex, the allegations are the same: their films are being broadcast in Ghana without consent, contracts, or compensation. And while the incidents happened separately, the pattern has sparked a bigger conversation on cross-border piracy and the respect (or lack thereof) for intellectual property in Africa’s entertainment space.
Different voices, same problem
It began with Omoni Oboli, who discovered one of her productions airing on a Ghanaian TV channel without her knowledge. Her outrage was echoed months later by Bimbo Ademoye, who expressed similar disappointment after stumbling on her work being screened in Ghana — again, without permission.
The most recent voice is that of Nosa Rex. In a video posted on his social media page, the actor lamented how his films were being shown in Ghana without his involvement, calling it disrespectful to filmmakers who invest heavily in their craft.
“I’ve said it before and I will say it again, Ghana’s entertainment industry will continue to be behind. Since there’s no one in the whole of Ghana to tell you guys that what you’re doing does not make sense. I’m using this opportunity to call out all the entertainment bodies in Ghana, all the TV stations are stupid and foolish, no disrespect to my fans because I love them but this is too much, enough is enough,” Rex said.
Continuing, he said, “I just released my new movie, ‘Prince of Peace’ and y’all are already airing it, don’t you know we spend money to shoot movies? If they watch on your TV station how will they stream on our channel? I’m also calling out all my Ghana actors, why are you not condemning this act? If this is happening in Lagos I’m sure I would have spoken out against it.”
The cost of piracy
While Nollywood has battled piracy for decades from street-side CD vendors to illegal streaming platforms, the infiltration by foreign broadcasters presents a new challenge. Industry experts argue that unauthorized airings in neighbouring countries strip producers of potential revenue, weaken the value of distribution rights, and discourage further investment.
A Nollywood distributor who spoke anonymously said, “Each time a film is aired without clearance, the producer loses not just money but also the opportunity to negotiate legitimate deals. This is revenue gone, audience data lost, and brand integrity damaged.”
A call for action
The recurring complaints have reignited calls for stronger enforcement of copyright laws across African borders. Stakeholders are urging both the Nigerian and Ghanaian governments to collaborate on protecting creatives and holding violators accountable.
For Nollywood, Africa’s most prolific film industry, the issue goes beyond a handful of celebrities crying foul. It is a matter of safeguarding the industry’s economic future. Without decisive action, piracy in any form whether online, on DVDs, or via unauthorized television broadcasts threatens to undo the progress made in elevating African storytelling on the global stage.
Until then, Nollywood’s stars, like Omoni Oboli, Bimbo Ademoye, and Nosa Rex, will continue to speak out not just for themselves, but for every filmmaker whose work deserves to be seen with respect, and paid for in full.
Nollywood actress and humanitarian, Foluke Daramola-Salako, has revealed that her late mother played a major role in keeping her marriage intact.
Speaking during a recent podcast, the actress described her mother as her best friend and everything, recalling how she battled a stroke for five years before her passing.
“My mom was my best friend and everything. She was sick for five years – she had a stroke. The year she got her visa during COVID-19 was the year she got sick. I don’t think there are two people that can be like my mother,” Daramola said.
According to the actress, her mother’s strength and values influenced her decision to remain married despite challenges.
“The truth of the matter is; it is because of my mother that I’m still married because left to me alone there are so many things that I can say I can’t take anymore, but my mom stood for everything right,” she stated.
Daramola praised her mother’s unwavering faith and dedication to God, noting that even in pain, she was full of gratitude.
“She lost my father when she was 38 years old and never remarried. My mom’s life was sold out to God. Even in her pain, my mom would still praise God. I still cried last night because I look around me and I don’t find real people and that’s the only real person I can talk to,” she said emotionally.
Fondly remembering her mother’s natural beauty, the actress remarked that she never underwent any cosmetic procedures. “She was a very beautiful woman when she was young, she didn’t do tummy tuck or BBL but she had everything. I thank God because I’m sure she’s in a better place because the pain was so much,” she added.
Bimbo Akintola has been in the Nigerian film industry for almost three decades after landing a role in Tade Ogidan’s classic, ‘Owo Blow.’ However, her face became synonymous with the English title, ‘Out of Bounds,’ which also featured Richard Mofe Damijo, amongst other stars. The complete and accomplished thespian is known for her fierce talent, bold characters, and unwavering professionalism. From her very first movie roles to her recent work, she’s managed to remain a powerful and respected voice in the industry, admired by both her peers and a new generation of fans. She once pulled off the role of Dr Ameyo Adadevoh in the critically acclaimed film ’93 Days,’ which chronicled the happenings that led to curbing the spread of Ebola in Nigeria. In this interview with ENTERTAINMENT EDITOR, GBENGA BADA, Akintola opens up about her journey, the importance of integrity, and more.
Your recent role in Kemi Adetiba’s ‘To Kill A Monkey’ is currently making waves. How did you get your role?
They sent me a script, I read it, then I got a call from Kemi Adetiba, and when I read it, I liked Inspector Mo. I empathise with her, and I said, if it’s this lady, I will do it, and if she’s not, I won’t. I liked the character, understood her from just reading it.
Tell us about your first movie.
My first movie was ‘Owoblow’, but ‘Out of Bounds’ came out before ‘Owoblow’.
How have you been able to, unlike most actresses, cut across generations?
First and foremost, I must be truthful; it’s been God, without God’s Grace, you can’t achieve anything. Also, professionalism, the fact that I’m a professional. I don’t play with my work; I hate the idea of mediocrity. I don’t believe that anybody should be mediocre, whatever you are doing; if you are not in the first ten, why are you doing it? I always think that no matter what I do, I must excel. Going to the University of Ibadan (UI), the first thing you are taught is that professionalism is key. The show must go on, you must be there on time, and you must study your character, the director… so I consider them all when I’m at work.
Do you scrutinise the kind of roles that you accept?
Apart from when I first started, and it was about putting my face out there and doing anything, there are some films that I do regret. But I learnt from them. Anything to do with women, the girl child, progress, anything to do with changing norms that are not working for us, I’m all for it.
Have you had reasons to turn down a script beyond financial?
Poorly written scripts, I can’t stand those. Obviously, if you’ve worked with them and you know they are not professionals, and you don’t want them to paint you in a bad image, even if the money is huge, I will say ‘no’. There are certain things we have to say no to. There has to be integrity; it is key. Everything is not money, that’s how we were raised; they told us that money is not the end of life. Money is important; it’s key to a lot of things, but it doesn’t make you. You must also protect your integrity, your name forever.
Did you study theatre arts?
Yes, I fought for it, I studied theatre art deliberately, it was what I wanted to do, though my dad wanted me to study something else. I understood what he was saying, but I just wanted to determine what I wanted to do. I knew I wouldn’t be happy doing anything else. My dad was right, because at that time actors didn’t have a great reputation, they weren’t making the money, and he was thinking of how I would take care of the family, kids and how to sustain myself doing things that nobody takes seriously. And I said to myself that I know that’s what I’m passionate about, and there will be a way. I just knew that somehow I would be fine. The first year, I made it to the University of Jos to study Performing Arts, and my father said never. He said I would stay home to write another JAMB, so I collected the second JAMB fee, but I used it for something else, and when the result came out, I said I didn’t pass; I collected the second JAMB and deliberately picked wrong answers. My dad was ashamed because he had been boasting about my results since I finished school, and people were asking why this your brilliant child was not passing JAMB. One day, he went to the University of Ibadan, got me the diploma form in Theatre Art, and was like, ‘take it and just go’.
How do you handle the unprofessionalism that currently exists in the film industry?
I’m focused on what I’m there to do, because there’s such a huge difference in the way I was trained, what we used to do, and what is obtainable now. There are some people who are still very professional, Kate Henshaw, Femi Jacobs, I mean, the old school actors. Maybe the new ones know about me, so when they work with me, I never had an issue with any of them; they are usually on their best behaviour. I think they just know that they should not do it because I give lectures even when you are not doing right, you just have to take me, I will advise you whether you want it or not, I think people know that about me, so they are on their best behaviour.
Out of all the new generation actors you’ve worked with, which ones do you think are exceptional?
A lot of them, I have many children, Zara Ejoh, Iyabo Ojo, Toyin Abraham, Dayo Amusa, there’s a lot of them that are quite outstanding, there’s talent in this industry.
A lot of people complain that Nollywood has a bad entry point, that anybody can be an actor. What is your take on this?
It’s the same thing worldwide, musicians cross over, celebrities crossover, TikTok sensations cross over, it’s just about money, it’s a money game. They want to make their money. If you are popular and you have a lot of followers, they will put you in a film and see how it goes, and if you can act, it is better.
Why have you not tried producing?
I have, I don’t just make noise about it, there’s one on television which was ‘Circle of 3,’ it was my production, and a few films on Africa Magic.
Are you planning to start a YouTube channel?
Very soon, but what I’m doing now is that I want to build my library, because I don’t like to be in one place, so I don’t want a situation where I start something and then it’s lagging. So I want to build a library for about eight months. I want to see what I can come up with.
What do you say about the pay gap that some producers create between actors and celebrities who star in movies but are not actors?
I don’t think they get paid more than the top actors. At the end of the day, it’s your negotiation, and you have your manager. So if you negotiate low, that’s what you get.
In all the years in Nollywood, are there things that you have regretted?
I don’t like to regret stuff; I like to believe that I learned, and I’ve learned from quite a few things.
Can you tell us a few things?
Women are the devil. Why do women engage in unnecessary rivalry, and what does it mean? I’ve never in my own heart been anyone’s rival, and I never will. Some people also overdo things. You don’t call someone for acting, and say ‘Come and do it for me for free, except you are giving it back somehow. You have to pay them what makes sense. Like when I shot a film four years ago, Iyabo was in it, and she didn’t collect a kobo. But it was not because I didn’t offer the money, she just refused and was like you are my mummy, I won’t take it. But we must always understand when we are asking for a favour. A lot of women are only pretending; they are the devil. They see other women, and instantly, they are checking them out from head to toe. Some people assess everything. If you put Shakespeare in front of me, I can quote for you, but I can’t assess anything. But that is society’s standard of how much you have achieved in life.
What’s your idea of marriage?
Finding the person you want to spend the rest of your life with, that person who can get you, your person.
In one of your interviews, you said you had not gotten married because the person you wanted to get married to died. Can you shed more light on this with us?
That was not how I phrased it. I said my person died; it’s taken me so long to find somebody who was my person. I’m very particular about what I want, and I want someone who will love me the way I want to be loved, a God fearing person who will love me for who I am.
It is believed that a lot of people believe that actresses find it difficult to get married and keep marriages. What is your take on this?
It’s a big fat lie; it’s in every industry. Unfortunately, we are in a little box, so everybody is staring at us, looking at what we are doing, so that’s what it looks like. But it’s happening to everybody; it’s happening everywhere in Nigeria. Look at statistics, it’s everywhere. We started it by not accepting what our mother accepted, saying, ‘I will not stay with the man if I’m not happy’, it’s all trauma-based. You lived the experience with your parents, and you don’t know the good time from the bad time because you carry the trauma. I tell people that when you become an adult, you have to look back at your parents with adult eyes, so you can see their feelings, flaws and still love them.
What movies are the pipeline people should look out for?
I have one we just shot, but it’s going to the festival first, so I think that it would take like two years before it comes out at the cinema. If you’ve not seen ‘To Kill a Monkey,’ please go and watch it; it’s a conversation starter. Though people hated me, it shows that Nigerians are all armed robbers.
What would you be telling young girls who walk up to you that they want to act?
They will always want mentorship, but it will be hard for me to mentor people now. But what I always tell people to do is go for an audition, follow the right person, the directors; they will always put up audition notices. If you are good, they will surely give you a role; nobody will ask you to do anything weird. This industry is led by a majority of women, after marketers. So you won’t find people telling you to come and meet me in the hotel, go for more auditions, or go to a school. There are so many avenues for you to do that, do something on social media, do a little act, if it’s a trend, some people will call you, but if you have talent, you might as well be called.
Makeup artist Theresa Emegwara, popularly known as TesGlam, has begun her bold attempt to set a new Guinness World Record (GWR) for the Longest Continuous Makeup Application by an Individual.
The event, tagged “Glam-4-144”, started on August 14 at POP Landmark, Lagos and will last 144 hours (six days).
TesGlam is aiming to break the current record of 103 hours, 25 minutes, 33 seconds set in April 2024 by Ghana’s Akosua Mantey Roselyn.
Her effort has attracted massive support across Nigeria.
Leading Nigerian beauty brand House of Tara is partnering as the sole makeup product provider for the marathon.
Its Managing Director, Mrs. Rosemary Layode, said the brand is proud to support TesGlam, describing her attempt as a “powerful show of passion and resilience.”
TesGlam expressed gratitude to both House of Tara, saying their support gives her the confidence to succeed.
She hopes her record attempt will inspire young Nigerians and showcase the country’s creative talent.
Nigeria already boasts several Guinness World Record holders, including Hilda Baci for the longest cooking marathon and Tunde Onakoya for the longest chess marathon. TesGlam’s effort could be the next addition to this list
Rising Nigerian Afrobeats artist Olayemi Josiah Awosika aka Fido has named Kizz Daniel as one of Nigeria’s greatest artists.
In a recent interview, Fido, who collaborated with Kizz Daniel on the remix of his hit single, ‘Joy,’ said the ‘Buga’ singer’s impact on the Afrobeats genre is impeccable.
In his words, “Kizz Daniel is one of the greatest artists in Nigeria. He has made such an impact for us in the music industry and for Afrobeat across the world.”
On why he decided to collaborate with Kizz Daniel for the remix of his hit single, he said, “I felt he was the perfect match. Everybody has been asking when they were going to see me and Kizz do a song together. I was like, okay, I’m going to surprise my fans. I have to make sure that whatever the fans ask from me, I have to deliver for them. I give fans what they want and I like to make sure that they’re satisfied.. I know then, that the rest is going to fall in place.”
The Nigerian Official Selection Committee (NOSC) has officially opened submissions for Nigeria’s entry in the Best International Feature Film (IFF) category ahead of the 98th Academy Awards.
According to a statement by the committee, Nigerian filmmakers can submit qualifying films between August 13, 2025 and September 12, 2025, via the official NOSC portal.
According to the statement, the eligibility requirements were clearly listed for filmmakers so as to avoid submission error.
“The submission must be a feature-length film produced outside the United States, with at least 50% of its dialogue in a language other than English. Nigerian Pidgin English is acceptable, Must include accurate, legible English subtitles, Must meet AMPAS-approved technical specifications (35 mm, 70 mm, or Digital Cinema formats), Must have had a theatrical release for at least seven consecutive days between December 1, 2024, and October 31, 2025,” the statement reads in parts.
The NOSC is the sole body recognized by the Academy of Motion Picture Arts and Sciences (AMPAS) to select Nigeria’s official entry for the Best International Feature Film category.
The selected film will represent Nigeria at the Oscars on Sunday, March 15, 2026, in Los Angeles, joining the global competition for cinema’s most prestigious award. The ceremony will be broadcast live to over 200 territories worldwide.
Versatile artist Ogaga Okokowa aka Kokopee has finally released his much-anticipated album, ‘All I Need It’s Kokopee,’ today Friday, August 15, 2025.
The launch follows an exclusive listening party in Lagos on Thursday, August 14, that drew fans, industry stakeholders, and fellow artists.
The seven-track project, running just over 17 minutes, chronicles the singer’s journey “from Genesis to Revelation,” blending tales of hardship, determination, and ambition into a cohesive body of work.
“As it sounds, All I Need, I’m trying to give everybody a guideline that these are all the things you need to make it in life as a human being. These are all I needed to become Kokopee. If you follow my blueprint now, you will arrive at somewhere more productive than where you used to be before,” he said.
Kokopee explained that the project mirrors his struggles in the music industry.
“From Track One to Track Seven, you will see that I’ve suffered. The album shows that I mean business and am not here to play. I’ve gone through the four corners of the industry, and it’s time for me to roll. All I need to succeed is to drop this album and take over,” he said.
The body of work features two collaborations- Peruzzi, Don Jazzy and Jeriq. “The lead single is up to the fans. When you listen to the album, you will pick your favorite,” he added.
However, the singer also used the platform to address a pressing challenge faced by emerging artists, the soaring cost of music promotion.
“The cost of music promotion in Nigeria is part of what is making me advise the youth that if you like music, try to find work first. The cost of promotion is rising just like the cost of living. As bad as it sounds, as the top artists are becoming more successful, the billing is increasing. They believe they should eat your money now before you become Burna Boy. That’s why they want to extort you. It’s expensive, I won’t lie, but I cope by the grace of God,” he said.
According to a statement by Omogbolahan Akinwumi, the Chief Operating Officer of the award ceremony, the 2026 edition will once again honour excellence, innovation, and impact across Africa/Nigeria’s vibrant broadcast media industry. The host state for the 2026 edition will be announced in due course.
The NBMA, renowned for celebrating radio and television personalities, stations, and productions that have shaped the nation’s media narrative, is re-emerging with renewed energy, exciting new categories, a new website, and a revamped digital presence.
“We’re thrilled to bring back the NBMA after more than a decade of reflection, restructuring, and visioning,” said Omogbolahan Akinwumi, Chief Operating Officer of the awards. “The return of the NBMA marks a new era for broadcasting recognition in Nigeria – one that embraces today’s digital media evolution while honouring the timeless values of professional excellence and audience engagement.”
Continuing, Akinwunmi said, “Here’s what is new in 2026 as NBMA returns. Our newly launched www.nbmawards.com offers an intuitive platform for nominations, voting, partnership opportunities, and updates. It reflects a modern, transparent, and interactive approach to managing the awards. In response to the changing landscape of media, the 2026 edition will feature new categories recognizing podcasters, digital content creators, media entrepreneurs, and community broadcasters, in addition to the traditional broadcast legends and trailblazers.
“We are calling on brands, stakeholders, and passionate individuals to partner with us in making the return historic. The Nigerian media has been at the forefront of national development,
and it’s time we amplify the voices behind the microphones and cameras,” Akinwumi added.
Twenty three Big Brother Naija housemates have been nominated for possible eviction in week three.
The current Head of House, Tracy, his immunity-savee, Kulture, and ‘Most Influential’ housemate for week two, Rooboy are the only three housemates spared from the chopping block.
The housemates were previously tasked with searching for envelopes in the house, with strict instructions to maintain confidentiality.
