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Royal row: Alaafin may publish Supreme Court ruling after 48-hour ultimatum

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Following the expiration of the 48-hour ultimatum issued to the Ooni of Ife, Oba Enitan Ogunwusi, indications emerged on Wednesday that the palace of the Alaafin of Oyo, Oba Akeem Owoade, was preparing to release the Supreme Court ruling, which, according to it, affirms the Alaafin’s exclusive right to confer chieftaincy titles covering the entire Yorubaland.

This development came on the heels of a series of meetings held by the Alaafin with palace chiefs in Oyo town on Wednesday to deliberate on the next steps.

On Monday, the Alaafin’s media aide, Mr Bode Durojaiye, had demanded that the Ooni revoke the Okanlomo of Yorubaland title conferred on businessman, Dotun Sanusi, within 48 hours.

He also cited the Supreme Court ruling in defence of the Alaafin’s position.

The Alaafin accused the Ooni of exceeding his authority and breaching the apex court’s pronouncement on who could confer titles with the “Yorubaland” designation.

He argued that the Ooni’s powers were limited to the former Oranmiyan Local Government Area, now split into Ife Central, Ife North and Ife South.

With the ultimatum expiring on Wednesday, multiple palace sources told The PUNCH that the Alaafin might unveil the Supreme Court judgment to reinforce his position as the paramount ruler of Yorubaland.

On social media, many Nigerians speculated about the “consequences” hinted at by the palace, even as some urged the Alaafin to caution his aide and withdraw the ultimatum.

Amid the uncertainty, the Atóbaáse of Yorubaland, Babajide Agunbiade, said the Alaafin retained historical and political supremacy among the Yoruba. He advised the monarch to consider legal action to reassert his authority.

In an open letter, Agunbiade stressed that while the Ooni remained revered as custodian of Yoruba spiritual heritage, the Alaafin’s role as paramount ruler was indisputable.

He traced the Alaafin’s authority to the Oyo Empire, whose influence once extended across present-day Yorubaland, Dahomey, Offa and parts of Kogi State.

Agunbiade described recent actions by the Ooni of Ife as “an attempt to undermine the authority and tradition of the Alaafin.”

Agunbiade wrote, “As the paramount ruler of the Oyo Empire, which historically spanned vast territories including present-day Yorubaland, Dahomey, Offa, and parts of Kogi State, the Alaafin’s jurisdiction and authority are rooted in tradition and law.

The issuance of Yoruba-wide titles is a prerogative reserved for the Alaafin, as the

Emperor and ruler of the Yoruba people.

“This position has been reinforced through various judicial pronouncements, culminating in affirmation by the Supreme Court of Nigeria. The Alaafin’s role as the paramount authority in Yoruba land is not merely a matter of tradition but is also grounded in legal precedent. This is not just a matter of personal prestige but also of preserving the cultural heritage and traditions of the Yoruba people.”

But a legal practitioner, Pelumi Olajengbesi, countered that no Supreme Court judgment or constitutional instrument granted the Alaafin exclusive pan-Yoruba authority.

He said, “With the greatest respect, the oft-cited Supreme Court decision that purportedly vested Alaafin authority now exaggerated must be properly confined to its facts. Judicial pronouncements are case-specific, and no ratio decidendi of that Court has ever declared the Alaafin the sole custodian of Yoruba legitimacy. No statute in any Yoruba-speaking state vests exclusive authority in the Alaafin to confer titles of pan-Yoruba significance, and the Court cannot by judicial fiat extend such jurisdiction.

“The law is clear, history is unambiguous, and jurisprudence is settled. The Ooni of Ife has not usurped power; he has exercised it intra vires—lawfully, historically, and culturally. He remains the ancestral father of the Yoruba nation, and his competence to confer honours symbolic of unity is beyond reproach.”

Olajengbesi urged that the Alaafin be properly advised, noting that Ile-Ife was universally recognised as the cradle of the Yoruba.

“Every student of Yoruba history knows, tradition and scholarship unanimously affirm Ile-Ife as the cradle of existence of the Yoruba people, the primordial seat where Oduduwa, progenitor of the race, laid the foundation of legitimacy from which all kingdoms, including Oyo, derived their authority.

“As a lawyer, I find no legal, historical, or moral defect in the Ooni’s conferment of the title Okanlomo of Oodua on Chief Dotun Sanusi, an illustrious Yoruba son. On the contrary, it is a timely reminder that while empires rise and fall, the foundation of Yoruba identity, the Ile-Ife and the Ooni, remain timeless, indivisible, and unimpeachable. The Alaafin of Oyo should be properly advised,” Olajengbesi added.

Meanwhile, more groups waded into the dispute between Oba Owoade and Oba Ogunwusi, urging restraint and caution against inflammatory remarks that could derail ongoing peace efforts by socio-cultural, political and religious leaders.

The fresh row had erupted on Monday after the Alaafin faulted the Ooni’s conferment of the Okanlomo of Yorubaland title on Sanusi.

Prominent Yoruba figures, including the Aare Ona Kakanfo, Iba Gani Adams; Ifa scholar, Prof. Wande Abimbola; and the Yoruba Council of Elders, had on Tuesday called for restraint and offered to mediate.

On Wednesday, the Yoruba Council Worldwide described the feud as a matter requiring “calm, reflection and unity.”

Its publicity secretary, Charles Adeyemi, urged Yoruba elders, statesmen and culture custodians to mediate constructively and preserve the dignity of both stools.

The council also appealed to citizens, especially youths, on social media, to avoid inflaming tensions.

The YCW statement read, “We also appeal directly to Yoruba sons and daughters, especially the vibrant voices on social media: let us refrain from speaking ill of our monarchs. Instead, let us be advocates of peace, understanding, and reconciliation. Our words carry weight, and in times of tension, they should be used to build bridges, not walls.

“The Alaafin and the Ooni represent eternal symbols of Yoruba civilisation. Their strength and unity are not only crucial for cultural preservation but also for the collective dignity of the Yoruba nation before the world.

“We therefore call for a truce, apology and immediate retraction of the 48-hour ultimatum issued by Bode Durojaiye, spokesman to the Alaafin of Oyo, while we await the convocation of the Yoruba Obas Conference to allow for a peace pact in Yorubaland.”

Similarly, the President, Traditional Region Worshippers Association in Osun State, Dr Oluseyi Atanda, on Wednesday, called on Nigerians to stop using social media platforms to fuel the disagreement between the two monarchs.

Atanda made this call in Osogbo, during events organised to mark the 19th annual Isese Celebrations in the state.

He disclosed that traditionalists in Osun and Oyo States were already mediating and working towards an amicable resolution of the issues.

Atanda said, “It is a warning to all of us that once we don’t do things in the right way, things are likely to fall apart. It is good that it is happening at an early stage. On our part in Osun, the elders are gathering together and trying to make amends.

“The message has also gotten to the leaders in Oyo, too. We have to wade in for everybody to sheath their swords. It is because of social media that we all think this is a new thing.”

Atanda added that clashes between the two stools were not unprecedented, recalling disputes between the late Ooni, Oba Okunade Sijuwade, and the late Alaafin, Oba Lamidi Adeyemi.

He warned bloggers against “fueling fire with petrol,” insisting the row would pass.

“This is not new. It is just because there is social media now. I think we also need to stop this idea of trying to fuel the fire with petrol in order for us to make sales on our blogs. We are all also contributing to the trend that is on the ground now, but I know it will pass,” he said.

Meanwhile, the Think Yoruba First Ogo Adulawo Socio-Cultural Association condemned attempts to distort Yoruba history.

At a press conference in Lagos, its lead legal adviser, Sanwo Oluwatobi, described such claims as “cultural defamation, historical falsification and intellectual misrepresentation.”

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Lifestyle

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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Lifestyle

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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