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Oleku Ija Ore: Historical Account of the Battle of Ore in the Nigerian Civil War

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The Nigerian Civil War (1967–1970), also called the Biafran War, was one of the bloodiest conflicts in post-colonial Africa. Among its many turning points, the Battle of Ore, remembered in Yoruba memory as “Oleku Ija Ore” (“the fierce battle of Ore”), stands out as a decisive episode that changed the trajectory of the war.

This is the full history of the battle, the Yoruba dimension, and its lasting legacy.

Background: The Road to War

The Nigerian Civil War broke out on July 6, 1967, following deep ethnic, political, and military crises:
The January 1966 coup, led largely by Igbo officers, killed many northern leaders including Prime Minister Abubakar Tafawa Balewa and the Sardauna of Sokoto, Ahmadu Bello.

A counter-coup in July 1966, led by northern officers, brought Lt. Col. Yakubu Gowon to power. This coup also sparked massacres of Igbos in the North, leading to mass migrations eastward.

On May 30, 1967, Col. Chukwuemeka Odumegwu Ojukwu declared the Republic of Biafra, seceding from Nigeria.

War was inevitable. Initially, Biafra had the upper hand due to its motivated troops, sympathetic foreign media, and the daring strategies of Yoruba officer Lt. Col. Victor Banjo, who sided with Ojukwu.

The Midwest Invasion

On August 9, 1967, Biafran forces crossed the Niger River and invaded Nigeria’s Midwestern Region. Commanded by Col. Banjo, the invasion aimed to achieve three key goals:

1. Capture Lagos, Nigeria’s capital, to force Gowon’s government into collapse.

2. Gain Yoruba support, using Banjo’s ethnicity as leverage.

3. Expand Biafran control westward, securing international recognition.

Within days, towns such as Asaba, Agbor, Benin, and even Ore fell under Biafran occupation. The invasion shocked the Nigerian government, which had believed the war would be quickly contained in the East.

The Advance to Ore

By mid-August, Banjo’s troops had advanced to Ore in Ondo State, only about 130 miles from Lagos. The road to the capital was wide open, and panic gripped the Nigerian government.

Gowon called emergency meetings in Lagos.

Yoruba leaders were divided: should they support Banjo (a Yoruba fighting for Biafra) or stand with the federal government?

In the barracks, confusion reigned. The West had very few soldiers, and many Yoruba officers were unsure of their allegiance.

Only a small Nigerian platoon of 32 soldiers from the 11th Battalion, led by Lt. Raphael Iluyomade, held their ground at Ore. Their resistance, though modest, gave the Nigerian command precious time to regroup.

Banjo’s Hesitation

This was the critical moment. If Banjo had pressed forward to capture Lagos, history might have been rewritten. But instead, he hesitated.

Several reasons explain this delay:

Yoruba leaders reminded him of Afonja of Ilorin, a Yoruba warlord who invited Fulani allies in the 19th century but later lost Ilorin to them. Banjo was warned not to betray his people by handing Yorubaland to Biafra.

Banjo reportedly entered secret negotiations with Nigerian General Murtala Mohammed, perhaps seeking a peaceful Yoruba-led solution.

Biafran leader Ojukwu grew suspicious of Banjo’s loyalty and ordered him to halt at Ore.

This hesitation proved fatal. Time allowed Nigeria to rally its forces and counterattack.

The Battle of Ore (August 14 – September 17, 1967)

The Nigerian Army, under General Murtala Mohammed, launched a counteroffensive at Ore. Fierce fighting ensued. Though poorly equipped at first, Nigerian forces gradually gained the upper hand with reinforcements from the North and Midwest.

Banjo’s troops, low on supplies, became overstretched.

Local Yoruba support for Biafra was lukewarm at best. Most saw the Biafran invasion as foreign occupation.

Nigerian propaganda painted the invasion as an “Igbo attempt to conquer the West.”
By early September, the tide had turned. Nigerian troops pushed Biafra back from Ore to Benin City. On September 19, 1967, Benin fell.

The Fall of Victor Banjo

Back in Enugu, Ojukwu accused Banjo of betrayal. Along with three others (Philip Alale, Sam Agbam, and Emmanuel Ifeajuna), Banjo was tried by a Biafran military tribunal for allegedly plotting to negotiate with Nigeria behind Ojukwu’s back.

They were executed by firing squad in September 1967. Banjo’s death marked the end of Yoruba leadership in Biafra’s military campaign.

Significance of the Battle of Ore

The Battle of Ore was one of the war’s most decisive turning points:

1. Stopped Biafra’s Advance – Had Ore fallen completely and Lagos been captured, Gowon’s government might have collapsed.

2. Secured Yoruba Loyalty – The invasion convinced the West that Biafra could not be trusted, cementing Yoruba alignment with the federal side.

3. Shifted the War’s Momentum – The Nigerian counteroffensive from Ore marked the beginning of federal dominance in the war.

4. Destroyed Midwest Support for Biafra – Many Midwesterners, especially non-Igbos, turned against Biafra after the failed campaign.

Aftermath

Following Ore:

The self-declared Republic of Benin (a Biafran puppet state) lasted only one day before Nigerian forces crushed it.

By October 4, 1967, Nigerian troops captured Enugu, Biafra’s capital.

Over the next two years, Nigeria gradually strangled Biafra militarily and economically.
On January 15, 1970, Biafra surrendered, ending the war.

Legacy of “Oleku Ija Ore”

Today, the phrase “Oleku Ija Ore” remains part of Yoruba historical memory. It symbolizes:
The ferocity of the battle.

The fragile politics of Yoruba identity during the war.

The decisive role the West played in shaping the outcome of the Nigerian Civil War.
The Battle of Ore is remembered not only as a military clash but also as a moment when Yoruba destiny could have swung either way — toward Biafra or toward Nigeria. History chose the latter.

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TikToker Jarvis reveals why she’s not married to Peller

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A popular Nigerian TikTok creator, Amadou  Aminata, widely known as Jarvis recently shared insights into her relationship with her boyfriend and creative partner, Peller.

During a candid TikTok live session sighted on Monday, she expressed her readiness to settle down but noted that Peller’s younger age is a key reason they haven’t yet taken the step toward marriage.

Recently, speculation has been growing among fans about when the couple might get married. Many of their followers have noticed their strong chemistry and assumed that marriage might be on the horizon. The two have built a strong online following, with fans closely following both their content and personal relationship.

In the viral conversation, Jarvis looked at Peller and stated, “Let us not lie, the age difference is there because I am older and I accept that and I don’t want it to look like since I am older, I am pressurising him to get married at the wrong time and of course, this is a wrong time for him. Let us be real and logical.

“I am not pushing you, and I am after your happiness, and I don’t want you to get married and start to regret rushing into marriage,” she added.

Her remarks quickly gained traction online, sparking widespread discussions about relationships with age differences and capturing the attention of their large fanbase.

During the conversation, Jarvis looked directly at Peller and said, “By now, I would have gotten married, but your age is the one slowing me down. If you were older than me, we would have gotten married.

“Her statement quickly drew attention online and has since gone viral, with many people sharing their views about relationships where one partner is younger.

Jarvis, who is 23 years old and from Benin City in Edo State, first became famous for her unique style of acting like a robot in her videos.

She started creating content during a period of university strike when a friend encouraged her to try out TikTok

What began as a casual activity soon grew into something much bigger, as people across Nigeria and beyond became attracted to her creative content.

Later, Jarvis teamed up with Peller, who is now her romantic partner as well as her creative partner.

In the early days, she revealed that she was the one supporting him financially while he tried to build his presence online.

With time, Peller also grew in popularity and became more established as a creator. Their teamwork and chemistry made them a well-known pair among young people who follow them on social media.

Today, Jarvis has more than seven million followers on TikTok, making her one of Nigeria’s most successful and easily recognised online personalities. Despite her fame, she continues to face questions from fans about her personal life, especially her relationship with Peller.

Her recent comments about marriage and age have once again placed her in the spotlight, sparking discussions about love, maturity, and the expectations placed on young couple.

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Jonathan Adagogo Green: Nigeria’s First Indigenous Professional Photographer

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Jonathan Adagogo Green (1873–1905) occupies a unique place in Nigerian cultural history as the country’s first indigenous professional photographer. At a time when the camera was still a rare and foreign tool, Green used it to document the Niger Delta during an era of social transformation, leaving behind an invaluable visual record of both tradition and colonial encounter.

Early Life and Education

Born in Bonny, Rivers State, Green was of Ibani (Ijaw) heritage. His upbringing placed him at the heart of a cosmopolitan trading hub, where encounters with Europeans, missionaries, and local aristocracy shaped his worldview. Photography was still an emerging craft in West Africa when Green showed interest. He pursued formal training in Sierra Leone, where he studied the technical aspects of photography, though some scholars suggest he may also have apprenticed with European photographers in Nigeria before traveling.

By the time he returned home, Green had mastered his craft and set up his own studio in Bonny, a groundbreaking step that made him one of the first Nigerians to establish a professional career in photography.

Career and Artistic Vision

Green’s portfolio was as diverse as it was culturally rich. His subjects included:

Local chiefs and dignitaries, often portrayed in elaborate regalia that emphasized traditional authority.
British colonial officials, reflecting the growing imperial influence in the Niger Delta.

Everyday life, trade, and rituals, which provided an intimate glimpse into the rhythms of a society navigating both continuity and change.

His work was widely distributed in postcards and albums, circulating within Nigeria and beyond. This not only shaped local identity but also framed how outsiders perceived the Niger Delta.

Green had a distinctive eye for balance. His portraits often juxtaposed tradition and modernity—capturing chiefs in ceremonial attire alongside colonial officers in uniform, or Nigerian elites in European suits still rooted in indigenous culture. His photography, therefore, was not merely aesthetic but interpretive, offering commentary on the hybrid realities of colonial-era Nigeria.

Challenges of Recognition
For decades, Green’s identity was obscured by his English surname. Many early historians mistakenly assumed he was a European photographer, which delayed the recognition of his role as a Nigerian pioneer. It was only through scholarly research that his Ibani (Ijaw) heritage and indigenous identity were firmly established.

Legacy

Though his career was cut short by his untimely death in 1905 at just 32 years old, Jonathan Adagogo Green left behind a powerful archive of images that remain central to Nigeria’s visual history. Many of his works are preserved in the National Museum, Lagos, as well as in international collections.

In 2003, the National Gallery of Art in Abuja curated an exhibition of his works, reaffirming his status as the “father of Nigerian photography.” Scholars like S. O. Ikpakronyi have since helped cement his rightful place in the narrative of Nigeria’s cultural heritage.

Today, Green is celebrated not just as a photographer but as a visionary who understood the power of the image in defining identity, culture, and history. His work bridged the gap between tradition and modernity, leaving a legacy that continues to inspire generations of Nigerian photographers and visual storytellers.

Source: Ikpakronyi, S. O. Jonathan Adagogo Green: Pioneer Nigerian Photographer. National Gallery of Art, Abuja, 2003.

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Barbara Soky: The Screen Icon Who Defined Nigerian Television Drama

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Barbara Soky is a veteran Nigerian actress and singer whose performances in the 1980s and 1990s made her a household name. She remains one of the defining faces of the golden era of Nigerian television drama.

Early Career and Breakthrough

Barbara Soky first attracted public attention as Rosemary Hart in Inside Out, an NTA drama that gave her an early platform. While often described as her “first major role,” records suggest she had appeared in smaller productions before this breakthrough, making Inside Out one of her earliest but not necessarily her debut television appearance. Her natural charm and screen presence quickly set her apart and prepared the stage for the iconic roles that followed.

Rise to Stardom

Her portrayal of Yinka Fawole in Mirror in the Sun, one of Nigeria’s most beloved soap operas of the 1980s, established her as a national star. Alongside actors such as Funsho Adeolu and Clarion Chukwura, Soky brought life to family drama that resonated across Nigerian households.

She went on to play Daphne Wellington-Cole in Ripples (1988–1993), another landmark NTA production created by Zeb Ejiro. The series became a staple of evening television, and Soky’s sophisticated performance helped shape its enduring popularity.

Music Career

In 1986, at the height of her acting fame, Soky explored a different side of her artistry by releasing the album Going Places. The project leaned into pop and highlife influences, reflecting the musical tastes of urban Nigeria at the time. While not as commercially enduring as her acting career, the record added to her reputation as a multi-talented entertainer.

Hiatus and Return

After years of success, Soky took a step back from the limelight in the late 1990s. Her extended hiatus left fans nostalgic for her screen presence. Reports suggest her return began gradually in the 2000s with roles in Nollywood films, though her high-profile re-entry was much later, with the reboot Ripples: The New Generation, which premiered in 2023. Her reappearance connected a new generation of viewers with the legacy of Nigerian television drama.

Legacy

Barbara Soky’s career reflects the golden era of Nigerian soap operas, when family dramas like Mirror in the Sun and Ripples defined evening entertainment. She stands as a bridge between early television drama and modern Nollywood, remembered for her elegance, versatility, and pioneering contributions to Nigeria’s screen culture.

Her story is one of reinvention: a star who dominated television in the 1980s, explored music in the mid-1980s, stepped away at her peak, and later returned to reconnect with audiences who never forgot her.

Sources:
Nigerian Television Authority (NTA) archives (Mirror in the Sun, Ripples)
Daily Times of Nigeria (1980s

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