Lifestyle

Lest We Forget: A Historical Reflection on Yoruba-Igbo Tensions

Published

2 months ago

August 5, 2025

Many people today speak of betrayal and mistrust between the Yoruba and Igbo, but few understand the deeper context or the actual conversations that took place among the leaders of both ethnic groups. I had the rare privilege though just a young observer who had learned “how to wash his hands” of sitting in on some of these meetings between Yoruba and Igbo elders.

One such memorable gathering took place in Owerri around 1989. There, I listened in awe as Uncle Bola Ige and other Yoruba leaders addressed claims made by some prominent Igbo figures, including Chief Mbakwe and R.B. Okafor. The accusation? That Chief Obafemi Awolowo had promised to support the Igbo in seceding from Nigeria, and then betrayed them by not following through.

Bola Ige responded with clarity and fire. Turning to Mbakwe, he asked directly:

“You were present at the meeting between Awolowo and Ojukwu, as I was. Did Awo ever make that promise?”

He then turned to two other Yoruba and two Igbo leaders who were also present at that historical meeting.

“I have the transcripts,” he warned. None of the Igbo elders refuted him.

Awolowo, according to Ige, had never promised to follow the East into secession. What he did say was:

“If the Igbo are ever driven out of Nigeria, the Yoruba will take it seriously and reassess their own position.”

The room fell quiet. The accusation crumbled in the face of truth. The Igbo leaders did not deny this version of events.

Then came Bola Ige’s thunderous retort:

“Who are you to accuse the Yoruba of betrayal?”

He laid out a powerful chronology:

1. At Independence, Awolowo offered a joint NCNC-AG government Zik as Prime Minister, Awo as Finance Minister. Negotiations were ongoing when suddenly Zik announced a coalition with the NPC instead. The East aligned with the North to crush the West, jailing Awo and his allies.

2. In 1965, the West and East agreed to boycott the election. They reached consensus in the early hours, but by morning, the Igbo broke ranks and voted while the Yoruba held the line.

3. In 1979, post-election negotiations for a Yoruba-Igbo coalition (UPN-NPP) were underway when the NPP suddenly entered a coalition with the North’s NPN without notice.

4. In 1983, the same betrayal occurred. Yet Awolowo still sought unity. He met Zik again in Benin, pleading that only a Yoruba-Igbo alliance could rescue Nigeria. The meeting ended inconclusively, and again the East returned to align with the North.

With visible emotion, Uncle Bola continued:

“We can go on and on. But let me ask you: how many Igbo have been killed in Yoruba towns like Lagos, Ibadan, Akure, or Oshogbo? You thrive in our cities, build your businesses here, and attend our schools yet you call us enemies. Meanwhile, your people are regularly killed in Kaduna, Kano, Bauchi, Zaria, and your shops looted. Yet you count the North as allies. If you choose to be perpetual slaves, we cannot help you.”

The silence that followed was deafening. No one interrupted him. No one challenged the facts. The Yoruba delegation stood and ended the meeting. I can only hope Chief C.O. Adebayo’s memoirs will someday detail that historic exchange further.

Key Takeaways:

A. The Yoruba have long extended a hand across the Niger. The Igbo, for decades, declined to take it until recently.

B. Many Igbo leaders of the 1970s to 1990s actively propagated the myth that Awolowo betrayed them, using it to solidify internal unity and distract from internal failures. The one common rallying point was hatred for the Yoruba.

C. Time is a great healer. Many Igbo reading this today may be learning, for the first time, that their leaders knew Awolowo never betrayed Ojukwu or the East during the Civil War.

A Call to Our Generation:

Even if our parents quarreled, should we, their children, inherit their grudges? Must we perpetuate old divisions in a Nigeria struggling for unity and growth?

It is time.

Time for a genuine handshake across the Niger.

Time to heal, to build, and to move forward together.

Originally shared on the “Friends Ikoyi Club 1938” Forum by Dr. Adenike Marinho
(Medical Doctor and Social Commentator)

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Lifestyle

Adekunle Gold embraces Nigerian roots with new album ‘Fuji’

Published

12 hours ago

October 2, 2025

Newsbreak365_Admin

Nigerian singer Adekunle Gold returns to his roots on Friday with the release of his sixth album, “Fuji”, which he described as a tribute to the ancestral sounds of his home country.

“That sound is the soundtrack of Lagos. It’s everywhere. That sound gave birth to Afrobeats and all the things that we hear right now,” Gold told AFP in Paris.

A descendant of the Kosoko royal family, the Afropop icon draws inspiration from the Indigenous Yoruba community, one of the largest ethnic groups in West Africa.

It is “one of the oldest sounds of Nigeria”, the 38-year-old singer said.

Fuji music, a popular genre that evolved from Yoruba Muslim culture, is known for its fast beats, large ensemble of percussion instruments, and lyrics based on key sociopolitical themes.

The genre took off in Nigeria in the 1960s, shortly after the country declared independence.

Late singer-songwriter Ayinde Barrister, widely regarded as the pioneer of Fuji music, named the style after the famous Japanese mountain.

Gold blends traditional elements from Nigeria’s rich musical heritage with the catchy melodies of contemporary R&B.

Like Burna Boy or Davido, he represents this generation of Nigerian artists who have bridged divides between past and present for an international audience.

“You listen to it, and it makes your body move. It’s magical,” the singer said.

“Fuji, Highlife (another traditional genre), every sound from Nigeria makes you feel alive. I feel like that’s why it does well,” he added.

Full of colourful outfits, lively dancing, and flower-covered boats, his “Party No Dey Stop” music video — a viral duet with fellow Nigerian Zinoleesky — has amassed 29 million views on YouTube.

The song is his first major hit in the United States.

Gold, also known as AG Baby, gained fame in Nigeria in 2014 after he covered a song by popular boy band One Direction.

Since then, he has signed with American label Def Jam Recordings and has collaborated on the track “Falling Up” with funk legend Nile Rodgers and musician Pharrell Williams.

Spreading culture

Gold invites listeners to delve deep into the latest album, an emotional journey inspired by significant events from his life.

“I talk about my grief when I lost my father. I talk about my love life, my daughter, about being a family man,” he explained.

While Gold lives in the United States, he said his “heart is in Lagos”.

“I’m spreading the culture, talking about my heritage, talking about tradition,” he said.

However, challenges persist in Nigeria, where nearly 60 per cent of the population lives below the poverty line

“There have been steps in the right direction,” Gold said as he expressed hope for the future of his country.

“It is not enough for the government to do everything,” he added, calling on people to “do what we can as citizens”.

Committed to the fight against sickle cell disease, which he has lived with his entire life, Gold launched a foundation this year to fund treatment and support local charities.

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Lifestyle

Lara George: Nigerian Gospel Icon with a Global Voice

Published

1 day ago

October 1, 2025

Oluwagbenga Olaoye

Lara George is a Nigerian gospel singer, songwriter, and producer whose powerful voice and timeless songs have made her one of the most respected figures in African gospel music. Based in the United States, she continues to influence gospel music worldwide through her artistry, leadership, and devotion to worship.

Early Life and Education

Lara George was born into a music-loving family in Lagos State, Nigeria. Her passion for singing was evident from an early age, and she nurtured her talent while growing up in Lagos. She later studied Architecture at the University of Lagos, where she also began to actively pursue her passion for gospel music.

Musical Career and Breakthrough

George rose to prominence as a member of the inspirational music group Kush, active in the early 2000s. The group, made up of gospel-influenced young artists, became popular for its innovative fusion of gospel, hip hop, and contemporary African sounds. Though the group disbanded, it laid the foundation for George’s successful solo career.

Her debut solo album, Forever in My Heart (2008), included the breakout hit “Ijoba Orun.” The song quickly became a gospel anthem in Nigeria, sung in churches and concerts across Africa and beyond. Its success established Lara George as one of the leading gospel voices of her generation.

Following this, she released other notable projects, including Higher (2012), Love Nwantintin (2014), and The Best of Lara George (2017), showcasing her versatility and consistency as a gospel artist.

Achievements and Recognition

Over the years, Lara George has earned numerous accolades. She won Best Female Gospel Artiste at the 2012 Africa Gospel Music Awards, among other honors.

Beyond her music, George has contributed to the industry through leadership. She serves as the Vice President of SoForte Entertainment Distribution Ltd., a pioneering Nigerian company focused on strengthening music distribution across Africa.

In 2021, her global impact was further recognized when she was invited to join the Recording Academy (organizers of the Grammy Awards) as a Voting Member, affirming her status as an international gospel voice.

Personal Life

Lara George is married to Gbenga George, an accomplished legal practitioner. Together they have two children. The family resides in Alpharetta, Georgia, United States, where George balances her family life with her music career and industry work.

Legacy and Influence

Lara George’s music blends heartfelt worship with contemporary gospel sounds, inspiring believers and non-believers alike. Songs like Ijoba Orun remain evergreen classics, while her career continues to highlight the global reach of Nigerian gospel music.

Through her voice, leadership, and consistency, Lara George has left an indelible mark on gospel music, both in Nigeria and internationally.

Sources

Vanguard Nigeria – Lara George: Life as a Gospel Singer (2018)

Africa Gospel Music Awards – Winners List 2012

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Lifestyle

The 1973 Nigerian “Hides and Skins” Postage Stamp: A Window into Economic Identity

Published

1 day ago

October 1, 2025

Oluwagbenga Olaoye

In 1973, Nigeria introduced a new definitive postage stamp series to reflect the country’s transition from the British sterling system to the Naira and Kobo currency. Known as the Industry and National Pride issue, or simply the 1973–1986 Definitive Issue, the series highlighted major sectors that shaped Nigeria’s economy and cultural identity in the post-independence period.

Among the most notable designs in the set was the 1 kobo “Hides and Skins” stamp, which depicted the trade in animal hides and skins. This was not a casual choice. For decades, hides and skins were one of Nigeria’s leading agricultural exports, particularly from the northern region, and they played a major role in the nation’s foreign exchange earnings during the 1960s and 1970s. By placing this industry on a definitive stamp, Nigeria emphasized its economic significance while also projecting a sense of national pride rooted in traditional livelihoods.

The Role of Definitive Stamps

Unlike commemorative stamps, which are printed for specific events or anniversaries, definitive stamps are produced for everyday postal use and often remain in circulation for many years. The “Hides and Skins” stamp, therefore, went beyond a symbolic tribute. It became a practical emblem of Nigerian economic identity, traveling across the country and abroad through the nation’s postal system.

Artistic Contributions

The 1973 series included designs created by Nigerian artists such as Austin Onwudimegwu and Erhabor Emokpae, both of whom contributed to different denominations in the set. While collectors and catalogues acknowledge their involvement in the issue, attribution for specific denominations, including the “Hides and Skins” design, is not always clearly documented. What remains clear, however, is that the series as a whole reflected a conscious effort to use Nigerian artistic talent to celebrate national industry.

A Stamp as History

To philatelists and historians, the “Hides and Skins” stamp is more than just a piece of postal paper. It embodies a snapshot of Nigeria’s economic priorities at a time when agriculture, rather than oil, still dominated the country’s exports. It also reflects the broader post-independence aspiration to craft a distinctly Nigerian visual identity in official symbols.

Today, this stamp is valued not only for its function and design but also for its historical resonance. It offers collectors and researchers a window into how a young nation sought to represent itself to the world—through industry, culture, and pride.

Sources

Stanley Gibbons Stamp Catalogue: Commonwealth and British Empire Stamps (West Africa listings).

Scott Standard Postage Stamp Catalogue (Nigeria 1973–1986 definitive issues)

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