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I’m not in supremacy battle with any monarch- Alaafin

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The Alaafin of Oyo, Oba Akeem Owoade, on Thursday, disclosed that he is not in a supremacy battle with any monarch either in Yorubaland or anywhere in the universe.

He made this disclosure in a statement released by his Director of Media and Publicity, Bode Durojaiye, in Ibadan, the Oyo State capital.

The fresh battle between the Alaafin, Oba Owoade and the Ooni of Ife, Oba Enitan Ogunwusi, started last Monday after the Alaafin faulted the Ooni’s decision to confer the title of Okanlomo of Oduwa on a businessman, Dotun Sanusi, during the unveiling of an indigenous social media network- 2geda, at Ilaji Hotel, Ibadan, at the weekend.

The statement explained that Alaafin is a veritable custodian of Yoruba culture and tradition, and has always taken into consideration the safety and welfare of his subjects at all times. It added that the monarch relied heavily on the will and wishes of his subjects.

Durojaiye said he (Alaafin) would never compromise tradition, culture and development of his people for a pot of porridge.

He said the monarch operates a government that is judged by its result, as prosperity, security and well-being of the people dictated his popularity both in the palace and in the empire at large.

The statement reads in part, “Why Alaafin does not need to get into any battle for supremacy with any Oba, either in Yorubaland or anywhere in the universe? These immortal words of Alexander Graham Bell – The most successful men in the end are those whose success is the result of steady accretion.

“It is the man who carefully advances step by step, with his mind becoming wider and wider, and progressively be able to grasp any theme or situation -persevering in what he knows to be practical, and concentrating his thought upon it, who is bound to succeed in the greatest degree” – sum up the life voyage of Owoade, an indomitable monarch with an unequalled passion for the great good of all.

“He (Alaafin) is a veritable custodian of Yoruba culture and tradition, and has always taken into consideration the safety and welfare of his subjects and will never compromise tradition, culture and development of his people for a pot of porridge. The history has been so kind and friendly to Alaafin Owoade publicity since he ascended the throne of his forefathers, as he does not need to get into any battle for supremacy with any oba, either in Yorubaland or anywhere in the universe.

“Alaafin combines humility with royalty to meet the modern-day demands. Kabiyesi (the king who no one questions). Iku Baba Yeye (The one who commands death/he who is parent to death). Alashe (He who wields authority). Ekeji Orisha (Second-in-command to the gods). The Alaafin was inducted into the mysteries of various gods like Ifa, Sango etc to be the direct representative of these deities on earth.”

The statement added, “At the hallowed ground of the Yoruba ancient shrine, as Owoade made a covenant with illustrious Yoruba ancestors that he would defend, protect and add glamour to the Yoruba norms and tradition. Oduduwa’s Principal minister and grandson, Oranmiyan (Because Oduduwa begot Okanbi, (an only child and Okanbi begot Oranmiyan, among others, namely Ila-Orangun, Oni-Sabe, Olu-Popo, Ala-Ketu, Oba-Benin) founded the city of Oyo when prolonged drought struck Ile-Ife as a result of people’s emigration.

“Oyo simply rose to prominence through wealth gained from trade and its military skills. It was the largest West African empire, the most important and authoritative of all the early Yoruba principalities. More so, the British, as it was in their tradition, recognised lineage as meaningful supremacy and legitimacy, preferring to sign the Treaty of Cessation with the Alaafin as the Superior Head of the Yoruba Nation.

“In politics also, he is concerned about the sanctity of his position, and whatever happens on the welfare of his people. Customs and all traditional practices of today in government, religion and economic life have had distance, and possibly age-long origins which were based on valid and accepted tenets that emerged from the synthesis and aggregated experience of a particular society.

“One of such societies is the ancient city of Oyo, reputed for cultural resources that are of rich non-material and material attributes and transmitted through generations. Moreover, the precepts and concepts of Alaafin’s administration have continued to support and nurture the people’s ancient culture and sophisticated civilisation from time immemorial.

“The basic concept of government was monarchy with a rigid adherence to the monolithic Oduduwa dynasty and of the paternal line.”

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Adekunle Gold embraces Nigerian roots with new album ‘Fuji’

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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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Lara George: Nigerian Gospel Icon with a Global Voice

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

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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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