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Brigadier Joshua Nimyel Dogonyaro’s Coup Speech Following the Overthrow of Major General Muhammadu Buhari on August 27, 1985

Published

3 weeks ago

August 7, 2025

Brigadier Joshua Dogonyaro was the first to announce the success of the coup which displaced Major General Muhammadu Buhari in a nationwide radio broadcast over the Federal Radio Corporation of Nigeria. He made the announcement on behalf of the Armed Forces Ruling Council.

Excerpt from his broadcast:

“I, Brigadier Joshua Nimyel Dogonyaro, of the Nigerian Army, address you this morning on behalf of the members of the Armed Forces Ruling Council.

Fellow countrymen, the intervention of the military at the end of 1983 was welcomed by the nation with unprecedented enthusiasm. Nigerians were unified in accepting the intervention and looked forward hopefully to progressive changes for the better. Almost two years later, it has become clear that the fulfillment of expectations is not forthcoming.

Because this generation of Nigerians, and indeed future generations, have no other country but Nigeria, we could not stay passive and watch a small group of individuals misuse power to the detriment of our national aspirations and interest.

No nation can ever achieve meaningful strides in its development where there is an absence of cohesion in the hierarchy of government; where it has become clear that positive action by the policymakers is hindered because, as a body, it lacks a unity of purpose.

It is evident that the nation would be endangered with the risk of continuous misdirection. We are presently confronted with that danger. In such a situation, if action can be taken to arrest further damage, it should and must be taken. This is precisely what we have done.

The Nigerian public has been made to believe that the slow pace of action of the Federal Government headed by Major General Muhammadu Buhari was due to the enormity of the problems left by the last civilian administration.

Although it is true that a lot of problems were left behind by the last civilian government, the real reason, however, for the very slow pace of action is the lack of unanimity of purpose among the ruling body; subsequently, the business of governance has gradually been subjected to ill-motivated power-play considerations. The ruling body, the Supreme Military Council, has, therefore, progressively been made redundant by the actions of a select few members charged with the day-to-day implementation of the SMC’s policies and decisions.

The concept of collective leadership has been substituted by stubborn and ill-advised unilateral actions, thereby destroying the principles upon which the government came to power. Any effort made to advise the leadership met with stubborn resistance and was viewed as a challenge to authority or disloyalty.

Thus, the scene was being set for the systematic elimination of what was termed ‘oppositions’. All the energies of the rulership were directed at this imaginary opposition rather than to effective leadership.

The result of this misdirected effort is now very evident in the country as a whole. The government has started to drift. The economy does not seem to be getting any better as we witness daily increased inflation.

The nation’s meagre resources are once again being wasted on unproductive ventures. Government has distanced itself from the people, and the yearnings and aspirations of the people, as constantly reflected in the media, have been ignored.

This is because a few people have arrogated to themselves the right to make the decisions for the larger part of the ruling body. All these events have shown that the present composition of our country’s leadership cannot, therefore, justify its continued occupation of that position.

Furthermore, the initial objectives and programmes of action which were meant to have been implemented since the ascension to power of the Buhari Administration in January 1984 have been betrayed and discarded. The present state of uncertainty and stagnation cannot be permitted to degenerate into suppression and retrogression.

We feel duty bound to use the resources and means at our disposal to restore hope in the minds of Nigerians and renew aspirations for a better future. We are no prophets of doom for our beloved country, Nigeria. We, therefore, count on everyone’s cooperation and assistance.

I appeal to you, fellow countrymen, particularly my colleagues in arms, to refrain from any act that will lead to unnecessary violence and bloodshed among us. Rest assured that our action is in the interest of the nation and the Armed Forces.

In order to enable a new order to be introduced, the following bodies are dissolved forthwith pending further announcements:

(a) The Supreme Military Council
(b) The Federal Executive Council
(c) The National Council of States.

All seaports and airports are closed; all borders remain closed.

Finally, a dusk-to-dawn curfew is hereby imposed in Lagos and all state capitals until further notice. All local military commanders will ensure the effective maintenance of law and order.

Further announcements will be made in due course.

God bless Nigeria.”

BEHIND THE COUP

The successful execution of the coup was not the work of a few officers. It was a complex operation involving layers of strategic planning, operational command, and tactical execution, backed by wide institutional support across the Nigerian Army.

At its core, the operation was directed by high-ranking officers, while its success depended on broad coordination from middle-level commanders and vital contributions from non-commissioned officers, especially within the Armoured Corps.

Strategic Commanders and Principal Actors (Planning & Oversight)

1. Major General Ibrahim Babangida – Chief of Army Staff (COAS); coup’s principal architect
2. Major General Sani Abacha – GOC, 2nd Mechanised Division, Ibadan
3. Brigadier Joshua Nimyel Dogonyaro – Voice of the coup announcement
4. Colonel Aliyu Mohammed Gusau – Former Director, Defence Intelligence Agency
5. Lt. Col. Halilu Akilu – Director of Military Intelligence
6. Lt. Col. Tanko Ayuba – Commander, Corps of Signals
7. Lt. Col. David Mark – Military Governor, Niger State
8. Lt. Col. John Nanzip Shagaya – Commander, 9th Mechanised Brigade
9. Lt. Col. Chris Abutu Garuba – Commander, 34 Self-Propelled Artillery Brigade, Jos
10. Lt. Col. Raji Alagbe Rasaki – Commanding Officer, Army HQ Garrison and Signals Group, Lagos
11. Colonel Anthony Ukpo – Deputy Director, Defence Intelligence Agency, Lagos
12. Major John Madaki – Commanding Officer, 123 Guards Battalion, Ikeja
13. Major Abdulmumini Aminu – Military Assistant to the COAS
14. Major Lawan Gwadabe – Returned from Fort Knox, reassigned to 245 Recce Battalion
15. Major Abubakar Dangiwa Umar – Armour HQ; later Chairman, Federal Housing Authority
16. Major Mohammed Sambo Dasuki – HQ Corps of Artillery; son of Alhaji Ibrahim Dasuki
17. Major Maxwell Khobe – CO, 245 Recce Battalion, Ikeja
18. Major U.K. Bello – CO, 202 Recce Battalion, Kaduna
19. Major Kefas Happy Bulus – CO, Armour HQ Company, Ikeja
20. Major Sule Ahman – Supply & Transport, Ikeja
21. Major Musa Shehu – Deputy CO, Recce Battalion, Jos
22. Captain Nuhu Umaru – Deputy CO, 202 Recce Battalion, Kaduna

Operational Support: Key Field and Company Grade Officers

1. Lt. Col. Ahmed Daku
2. Lt. Col. Abubakar Dada
3. Major I.B. Aboho
4. Major Friday Ichide – Staff Officer to Col. Dogonyaro
5. Major Simon Hart
6. Captain M. Bashir – Lagos operations
7. Major S.B. Mepaiyeda
8. Captain Victor Scott Kure – Personal security to the COAS

Non-Commissioned Officers of the Armoured Corps (Mobilisation in Lagos)

1. WOII Sule Ayinla
2. WOII Billy Adekunle
3. WOII Army Sweet
4. WOII Yerima
5. Staff Sergeant Bazaria Kabara
6. Sergeant Hitler Bongo
7. Corporal Sule Owoicho

Passive Support and Sympathetic Senior Officers (Non-operational but non-hostile)

1. Brigadier Peter Ademokhai – Director of Army Staff Duties and Plans
2. Brigadier Abdullahi Bagudu Mamman – Director of Army Training and Operations
3. Brigadier Y.Y. Kure – GOC, 82 Division, Enugu
4. Brigadier Ola Oni – GOC, 1st Division, Kaduna
5. Lt. Col. John Inienger – CO, 4th Mechanised Brigade, Benin
6. Lt. Col. Tunji Olurin – CO, 1st Mechanised Brigade, Minna
7. Lt. Col. A. Abubakar – CO, 3rd Mechanised Brigade, Kano

Military Governors Who Encouraged the Coup (Political weight, not operational)

1. Brigadier Garba Duba – Governor, Sokoto State
2. Brigadier I.O.S. Nwachukwu – Governor, Imo State
3. Brigadier Jeremiah Useni – Governor, Bendel State

Buhari & Idiagbon Loyalists

1. Major General Muhammadu Buhari – Commander-in-Chief
2. Major General Tunde Idiagbon – Chief of Staff, Supreme Headquarters
3. Major General Mohammed Magoro – Minister of Internal Affairs
4. Alhaji Rafindadi – Director-General, Nigerian Security Organisation (NSO)
5. Lt. Col. Sabo Aliyu – Commander, Brigade of Guards
6. Major Mustapha Haruna Jokolo – ADC to the C-in-C

Neutralised Loyalists in Early Hours of the Coup

1. Brigadier Salihu Ibrahim – GOC, 3rd Armoured Division, Jos
2. Unnamed CO, Recce Battalion, Jos

Source: NIGERIA: The Palace Coup of August 27, 1985 — Part I by Nowa Omoigui, MD, MPH, FACC

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Lifestyle

The Funkees: Nigeria’s Afro-Funk Pioneers (PHOTOS)

Published

12 hours ago

August 29, 2025

Oluwagbenga Olaoye

The Funkees were among Nigeria’s leading Afro-funk innovators, blending highlife, funk, rock, and Afrobeat into a distinctive sound that resonated across Africa and the diaspora. Formed in the late 1960s, their story reflects both Nigeria’s post-civil war cultural rebirth and the wider global appetite for Afro-inspired music in the 1970s.

Origins and Formation (Late 1960s – Early 1970s)

Emerging in the aftermath of the Nigerian Civil War (1967–1970), The Funkees began as an army band created to entertain soldiers and communities recovering from conflict. Over time, they shed their military function and became a creative force, experimenting with funk, psychedelic rock, highlife, and the Afrobeat movement led by contemporaries such as Fela Kuti.

The founding members included Harry Mosco Agada (vocals/guitar), Chyke Madu (drums), and Jake Sollo (guitar). Deeply influenced by African rhythms and Western acts like James Brown, Jimi Hendrix, and Santana, they forged a new sound that embodied post-war Nigeria’s experimental spirit.

Breakthrough and Early Success (1973–1975)

The Funkees built a reputation through electrifying live shows in cultural hubs such as Enugu and Aba. Their bilingual performances—switching between English and Igbo—gave them mass appeal across regional and social divides.

In 1974, they released their debut album, Point of No Return. With its groovy bass lines, sharp guitar riffs, and tight percussion, the album established The Funkees as bold Afro-funk innovators. Its mix of infectious rhythms and social commentary made it a landmark in Nigeria’s 1970s music scene.

Peak Years and Relocation to the UK (1976–1978)

Their second album, Now I’m a Man (1976), marked the band’s peak in Nigeria. With more polished production, it solidified their status among the top Afro-funk groups of the decade.

That same year, the band relocated to London, joining a wave of African acts—including Osibisa and Fela Kuti—who sought to connect African sounds with Western audiences. In the UK, The Funkees became a staple of the West African and Caribbean diaspora scenes, performing in clubs, festivals, and community gatherings. While they gained recognition within these circles, they never broke into the British mainstream charts like Osibisa, underscoring both the opportunities and limitations facing African musicians abroad.

Decline and Breakup (Late 1970s – Early 1980s)

Internal disagreements over direction, management, and finances began to fracture the band by the late 1970s. Members pursued separate paths:

Harry Mosco Agada launched a successful solo career with albums like Country Boy (1978) and Peace & Harmony (1979), leaning into disco and pop.

Jake Sollo became a respected guitarist and producer until his tragic death in a 1985 car accident.
By the early 1980s, The Funkees had effectively disbanded.

Musical Style and Legacy

The Funkees’ sound fused diverse elements into a uniquely Nigerian groove:

Afro-funk foundations – heavy bass lines meshed with African rhythmic complexity.

Psychedelic and rock guitars – reflecting Hendrix-inspired experimentation.

Highlife roots – grounding their music in pre-war Nigerian popular styles.

Bilingual lyrics – in English and Igbo, touching on love, resilience, and social themes.

Though their career was relatively short, their records became cult classics, later reissued to global acclaim.

Today, The Funkees are celebrated alongside BLO, Monomono, and Ofege as part of Nigeria’s 1970s experimental wave that bridged local traditions with international funk and rock.

Their music continues to inspire modern Afrobeat and Afrofunk revivalists, reaffirming their place in the lineage of African innovation.

From their post-war army-band origins to their London years, The Funkees embodied the turbulence and creativity of 1970s Nigeria. They may not have reached the global commercial heights of Osibisa or Fela Kuti, but their bold sound carved out a lasting legacy. With landmark albums like Point of No Return and Now I’m a Man, The Funkees remain one of the great innovators who helped shape how Afro-funk is remembered today—vital, experimental, and timeless.

Left to right: Jake Solo, Emma Lawson, Pat Finn, Jeff Afam and Jerry Jiagbogu

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Lifestyle

El Mafrex (born Mfreke Obong Ibanga; 14 May 1984)

Published

12 hours ago

August 29, 2025

Oluwagbenga Olaoye

El Mafrex (born Mfreke Obong Ibanga; 14 May 1984) is a Nigerian-born, urban gospel singer-songwriter, based in Edinburgh, Scotland.

He was nominated for Best Gospel Act consecutively at the 2012 and 2013 editions of the (MOBO) Music of Black Origin Awards. He won Artiste of the year and Urban Recording of the year at the 2012 Scottish New Music Awards, making him the first black man to win the SNMA.

His song, “Jehovah”, which features Christian rock band Royal Foundlings had more than 500,000 hits in the first five months of its release on YouTube.He released “That Man from Galilee” in the first quarter of 2013, which debuted at no 49 on the iTunes UK Chart for Gospel and had over a million hits on YouTube in its first 6 months.

On 30 September 2012, he was featured in the Sunday Mail.

He was nominated for the Season 8 of The Future Awards Africa on 10 July 2013

Early life and education

He was born in Nigeria and educated at the Nigerian Military School in Zaria, Kaduna State.

He graduated in 2006 from the University of Uyo, Akwa Ibom State, where he studied physics and majored in electronics. In 2010, he obtained a master’s degree in information-systems development from the Edinburgh Napier University

In 2001, El Mafrex started a boy band, M.O.D. (Men of Destiny), and was the lead vocalist of the five-man group. The band toured and played shows in Nigeria, especially in its south-south region before later expanding from a boy band to a family project. The family project gave birth to the Destiny Kids and MOD dancers.

While in the University of Uyo, he formed another boy band, Da Grooves, made up of Louis and GeePee. Together they played gigs on campus and its environs.

At the end of 2004, he left the band to start his own solo career, which he called the “el MAFREX” project. He was voted Artiste of the year in 2005 by the SUG of University of Uyo, and his songs “Rhythm in the Air” and “Esio Mkpo” were played on radio and television stations in Nigeria. “Rhythm in the Air” won song of the month, on the then Cosmo FM Enugu.

On 21 December 2013, el Mafrex headlined the Sixth edition of the Akwa Ibom State Government Christmas Carol (9999 Carol SIngers) night with other International gospel artists like Israel Houghton, South African gospel legend Lionel Peterson and Nigerian Gospel acts like Frank Edwards, Aity Dennis, Freke’ and Nathaniel Bassey. He led a Reggae praise session in the Guinness book of world records listed event at the Uyo Township Stadium

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Lifestyle

PHOTOS: Theresa Onuorah The Queen of Egedege Dance

Published

12 hours ago

August 29, 2025

Oluwagbenga Olaoye

Theresa Onuorah, celebrated as the Queen of Egedege Dance, is one of Nigeria’s most enduring cultural icons. A singer, dancer, and innovator, she has elevated Igbo performance traditions onto a grand stage while safeguarding their authenticity. Through her artistry, she demonstrates how heritage can remain alive, dynamic, and relevant across generations.

Early Performances and the Birth of Egedege

Before 1985, when she formally established the Egedege Dance Troupe of Unubi in Anambra State, Theresa Onuorah was already captivating smaller community gatherings with her commanding stage presence and sonorous voice. Her natural talent quickly made her a local favorite, laying the foundation for what would become a cultural revolution.

The name Egedege refers to a royal-styled Igbo dance once reserved for kings, titled men, and the wealthy elite. Originally performed under moonlight as a symbol of prestige, Onuorah reimagined it as a theatrical art form open to wider audiences.

By infusing Egedege with elaborate choreography, resplendent regalia, and layered musical arrangements, she democratized a once-exclusive tradition, transforming it into a performance that combined palace grandeur with communal celebration.

The Regal Style of Egedege

What makes Egedege unique is its aura of majesty. On stage, Onuorah appears in rich Igbo attire adorned with coral beads, moving with the dignity of cultural royalty. The performance often begins with the piercing melody of the flute, signaling reverence, before swelling into call-and-response chants led by her commanding voice.

Traditional instruments—ogene (metal gong), drums, and flutes—blend with synchronised dance movements, all designed to embody dignity, identity, and pride. For the Igbo, Egedege is more than entertainment; it is a living archive of heritage and a display of social prestige.

Rise to Fame

By the late 1980s and 1990s, Theresa Onuorah’s troupe had risen to prominence across southeastern Nigeria. She became the preferred performer for royal households, cultural festivals, and national celebrations, earning the title “Queen of Egedege Dance.”

Her popularity reflected her ability to combine authenticity with modern showmanship—positioning her as both custodian and innovator of a revered cultural practice.

Renewed Recognition in the 21st Century

While her name remained synonymous with cultural pride, Onuorah’s artistry found new life in October 2021 with the release of Larry Gaaga’s hit single “Egedege,” featuring Flavour N’abania and Phyno.

The collaboration fused Afrobeat with traditional Igbo sounds, introducing Egedege to a new generation.

In the music video, Onuorah appeared in her full regal splendor, a reminder of the timeless authority she carries. The moment echoed how Afrobeat legend Fela Anikulapo-Kuti preserved and globalized Yoruba rhythms—both artists turning indigenous traditions into modern cultural exports.

Legacy and Impact

Theresa Onuorah’s genius lies in her ability to preserve and adapt. By elevating Egedege from palace courtyards to festival stages, she safeguarded its cultural significance while ensuring it resonates with younger audiences.

For the Igbo, her performances embody heritage, dignity, and identity. For Nigeria and beyond, she stands as a living symbol of African resilience and creativity.

As the Queen of Egedege Dance, Theresa Onuorah is not only a custodian of the past but also a cultural bridge—showing that tradition, when nurtured, can shine eternally in modern light.