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PHOTOS: WHO TRULY OWNS ILORIN – YORUBA OR FULANI?

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Ilorin… a city of mystery, history, and endless debate.

When you walk through its streets today, you hear Yoruba language, see Yoruba dressing, and feel Yoruba culture everywhere. But when you look at the palace, you bow to a Fulani Emir, not a Yoruba king.

So the question that has divided historians, politicians, and ordinary people for two centuries remains:

Who is the true owner of Ilorin – the Yorubas or the Fulanis?

Let’s break it down:

The Ancient Yoruba Roots

Before the names Afonja and Shehu Alimi ever entered the story, Ilorin was already a Yoruba settlement.
It was originally part of the powerful Oyo Empire. Hunters, farmers, and blacksmiths settled there, using a grinding stone to sharpen their tools. That stone gave the town its name: “Ìlórin” – literally meaning the place of sharpening.

Ilorin was not an isolated village. It was a frontier outpost of the Oyo Empire, positioned to guard against northern invaders. The early inhabitants were Yorubas—people tied to Oyo’s traditions, religion, and political system.

So from the very beginning, the roots of Ilorin were Yoruba. Its name, its land, its people.

The Rise of Afonja and the Turning Point

The real drama began in the early 1800s with Afonja, the legendary Are-Ona-Kakanfo (the generalissimo of Oyo).

Afonja was stationed in Ilorin, but conflict broke out between him and the Alaafin of Oyo. Hungry for independence, he rebelled against the king. To strengthen himself, Afonja invited Shehu Alimi, a Fulani Islamic scholar, to Ilorin.

At first, this alliance looked clever. Alimi’s followers were brave, united, and inspired by the great Sokoto Jihad of Usman dan Fodio. They provided Afonja with spiritual legitimacy and military strength.

But what Afonja didn’t realize was that he had opened the gates of Ilorin to a new power.

The partnership broke down. Afonja was eventually betrayed and killed—many say through Alimi’s influence. With Afonja gone, the Yoruba grip on Ilorin collapsed.

This was the turning point.

The Fulani Takeover and the Birth of the Emirate

After Afonja’s fall, Shehu Alimi’s followers took charge. By the 1820s, Ilorin had transformed from a Yoruba outpost into an Emirate under the Sokoto Caliphate. The throne of Ilorin became the seat of a Fulani emir, tied directly to Sokoto.

But here is the irony—while the rulers were Fulani, the city itself remained Yoruba in culture. The people spoke Yoruba, dressed Yoruba, sang Yoruba, and still held on to their traditions—though now under

Islamic influence.

This created a dual identity that still exists today:

Yoruba by culture and population.

Fulani by rulership and political history.

That’s why Ilorin is unlike any other city in Nigeria. It is not fully Hausa-Fulani like Kano or Sokoto. It is not fully Yoruba like Ibadan or Oyo. It is something in-between, a hybrid identity born out of history, betrayal, and politics.

So, Who Truly Owns Ilorin?

Here’s where the debate never ends.

If you ask a historian, they will tell you:

Ilorin is originally Yoruba land. Its name, its founders, its early culture—all Yoruba.

But if you ask about rulership, they’ll say:

Ilorin has been a Fulani Emirate for 200 years. Its kingship belongs to the descendants of Shehu Alimi, tied to the Sokoto Caliphate.

So who owns Ilorin?

By origin and culture → The Yorubas.

By rulership and political history → The Fulanis.

And that is why Ilorin remains one of the most contested cities in Nigeria’s history. A place where Yoruba men bow to a Fulani Emir, where the call to prayer has replaced the talking drums of the Oyo priests, and where history itself refuses to be silent.

Now I throw the question back to you:
Do you see Ilorin as a Yoruba city under Fulani rulers?
Or has it become a Fulani city with Yoruba population?
Drop your thoughts below. Let’s settle this once and for all in the comments!

Credits: AfriVerse Diaries

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Alhaja Batile Alake: Pioneer of Waka Music in Nigeria

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Alhaja Batile Alake stands as a trailblazer in Nigerian music history, remembered for her pioneering role in transforming Waka into a celebrated and enduring genre. Through her groundbreaking career, she elevated a traditional Yoruba chant into a form of popular expression that influenced generations of musicians and reshaped Nigeria’s cultural soundscape.

A Pioneering Career

In the 1950s, Batile Alake made history as the first professional Waka singer to record an album. This achievement not only marked the formal recognition of Waka as a genre but also cemented her place as one of Nigeria’s foremost female musical innovators. Waka, which originated from the Yoruba rárà chant performed mainly by women at communal gatherings, was traditionally associated with praise singing and devotional expression. Alake’s decision to take the form into professional recording transformed it from a localised tradition into a commercially viable art form.

Her music was deeply rooted in Yoruba cultural heritage yet carried the influence of her Islamic faith. This combination gave Waka a unique identity distinct from other Nigerian musical genres of the time. Her pioneering step provided a platform for women’s voices in Nigeria’s male-dominated music industry, allowing Waka to gain both recognition and respect.

Musical Style and Performance

Batile Alake’s songs were distinguished by their strong percussive foundations and the use of call-and-response vocals, a hallmark of Yoruba music. She infused her performances with improvisation, which kept her work dynamic and engaging, whether on record or in live settings. Her lyrics often wove together religious themes with social commentary, creating a repertoire that resonated with audiences across social and cultural divides.

At weddings, naming ceremonies, and religious events, her music became a central feature of Yoruba social life. Women, in particular, embraced Waka as a form of collective identity, empowerment and celebration. Through her artistry, Batile Alake gave Waka a relevance that bridged both sacred and secular settings.

Cultural Legacy

Alhaja Batile Alake’s legacy is most powerfully seen in the generations of Waka performers who followed her path. Among the most prominent was Salawa Abeni, who would later be crowned the “Waka Queen.” Alake’s pioneering career opened doors for women to rise as professional musicians in Nigeria, at a time when cultural and industry barriers were formidable.

By elevating Waka from its traditional margins into mainstream Nigerian music, she ensured that Yoruba women’s artistic voices were preserved, celebrated and modernised. Her work also demonstrated how indigenous traditions could be adapted into modern forms without losing their cultural essence.

Passing and Remembrance

Alhaja Batile Alake passed away in 2013 at the age of 78 in her hometown of Ijebu-Igbo, Ogun State. Her death marked the end of a remarkable era but also solidified her reputation as one of Nigeria’s greatest female music pioneers. Tributes poured in from cultural leaders, musicians, and admirers who recognised her invaluable role in shaping indigenous Nigerian music.

Today, she is remembered not only as a musician but also as a cultural custodian who gave legitimacy and visibility to an art form that might otherwise have remained confined to community gatherings. Her name continues to inspire new generations of Nigerian artists exploring traditional genres in contemporary contexts.

Sources

Vanguard News, “Waka Music Legend, Batile Alake, Dies at 78,” 10 October 2013
The Guardian Nigeria, “Alhaja Batile Alake: The Woman Who Paved the Way for Waka,” 2013
AllAfrica, “Nigeria: Remembering Batile Alake, Pioneer of Waka Music,” 2013

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Remi Lagos: The Legacy of a Nigerian Fashion Icon

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Oluremi Dorcas Osholake, widely known by her brand name Remi Lagos, was one of Nigeria’s most celebrated fashion designers. She left an indelible mark on the Nigerian and African fashion landscape through her elegant, timeless creations, particularly her signature kaftans, which became synonymous with style among Nigeria’s social elite and high-profile women.

Early Life and Education

Born in 1961, Remi Lagos developed a passion for fashion early in life. She pursued textile design in London, equipping herself with the skills that would later distinguish her as a creative force in the fashion industry.

Career and Fashion Journey

Remi Lagos launched her career with a label first known as Freaky Designs, before rebranding to Remi Lagos, a name that would grow into one of the most recognizable in Nigerian fashion. Her designs, which often blended traditional African aesthetics with modern elegance, were celebrated for their sophistication and accessibility.

The designer became especially famous for her kaftans, which were embraced by Nigerian women for their stylish versatility. Her creations appealed to both everyday wearers and celebrities, establishing her as a household name in fashion circles.

International Recognition

Beyond Nigeria, Remi Lagos brought Nigerian fashion to the global stage. She showcased her collections at prestigious fashion events in Johannesburg, Accra, and London, earning international acclaim and positioning Nigerian design within the global fashion conversation.

Death and Legacy

In November 2012, Remi Lagos passed away at the age of 51 after a battle with cancer. Her death was mourned across Nigeria and the African fashion community, as tributes poured in recognizing her contributions to elevating Nigerian fashion.

Her work continues to influence new generations of Nigerian designers, while her kaftans remain a timeless symbol of elegance.

Sources

Vanguard Nigeria. (2012). Fashion Designer Remi Lagos is Dead. Retrieved from Vanguardngr.com

Premium Times Nigeria. (2012). Nigerian fashion designer Remi Lagos dies at 51. Retrieved from Premiumtimesng.com

BellaNaija. (2012). Remi Lagos – A Tribute to a Fashion Icon. Retrieved from Bellanaija.com

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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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