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UK recognises Alaafin as Yoruba supreme ruler, Owoade tells Ooni

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The Alaafin of Oyo, Oba Akeem Owoade, on Thursday, declared that the British had signed a treaty with Alaafin recognising him as the superior head of the Yoruba Nation.

This followed a fresh crisis between the Alaafin and Ooni of Ife, Oba Enitan Ogunwusi, after the Ooni conferred the title of Okanlomo of Yorubaland on a businessman, Dotun Sanusi, during the unveiling of 2geda media networking platform, at Ilaji Hotel, Ibadan, at the weekend.

Condemning Ooni’s action on Monday, Alaafin had, in a statement by his Director of Media, Bode Durojaye, given the Ife monarch a 48-hour ultimatum to withdraw the chieftaincy title or face “the consequences”.

The Ooni has, however, kept mum on the matter, even as the ultimatum expired on Wednesday.

In a fresh statement by his media aide, Durojaye, on Thursday, the Alaafin went historical, asserting that he remains the foremost monarch in Yoruba land.

Alaafin said, “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.

“Alaafin has sworn to his ancestors to defend and add glamour to Yoruba tradition; he would never be in a supremacy battle with any king.

“Why does Alaafin 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.”

The Thursday stated that the Alaafin, “at the hallowed ground of the Yoruba ancient shrine…made a covenant with illustrious Yoruba ancestors that he would defend, protect and add glamour to the Yoruba norms and tradition.”

The statement stressed that the 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.”

It stated: “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.

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

The statement also launched into heavy praises of the Alaafin, stating that: “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.”

“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 a prolonged drought struck Ile-Ife as a result of people’s emigration.

“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,” the statement explained.

Sheath your swords, Olugbon urges

Meanwhile, the Olugbon of Orile-Igbon, Oba Francis Alao, on Thursday, called on supporters of both the Alaafin and the Ooni to halt the ongoing media comments fuelling the controversy between the monarchs.

Oba Alao, in a statement in Ibadan on Thursday, also cautioned all Yoruba sons and daughters across the world to avoid emotional outbursts that drag the throne of the Ooni and Alaafin in the mud over what he described as speculative title conferment on Sanusi.

He said, “The latest controversy over the speculative conferment of Okanlomo of Yoruba land on one of our illustrious sons, Dotun Sanusi, who is the proprietor of Ilaji Resort and Sports Centre, Ibadan, is unnecessary.

“There is no substance in the issue because it was a mere speculation. I am in touch with both Alaafin and Ooni, and I can confirm that both traditional rulers are not interested in dragging the issue. They are both for peace and unity. I have said it before that Ooni remains Ooni, and Alaafin remains Alaafin. There is no supremacy battle.

“I, therefore, appeal to all Yoruba sons and daughters all over the world to be calm, avoid nursing any pain on the issue and stop the media comments that are dragging the controversy unnecessarily.”

The Olugbon noted that Yoruba culture is built around unity, peace, kindness, respect for others and honour for obas, saying, “Dragging one another in the media over a speculative issue runs against our moral fabrics, honour for the thrones of both obas,  and the sense of togetherness that stands us out as a people.”

“Obas’ thrones are too sacred to be desecrated by all and sundry. I urge us to keep the sanctity of our thrones, which represent the totality of who we are. Let us continue to uphold the omoluabi ethos in all situations,” he said.

In a related development, a group, Think Yoruba First Ogo Adulawo Socio-Cultural Association, on Thursday, called for a more accurate and respectful representation of Yoruba culture to protect its historical legacy and identity.

Addressing a press conference, TYF’s Lead Legal Consultant, Mr. Oluwatobi Sanwo, warned that distorted narratives pose a serious threat to the intellectual integrity and global perception of Yoruba civilisation.

He explained that the conference was convened to highlight cultural defamation and historical distortion against the Yoruba people, found in a recently published academic book.

According to him, the book falsely claims that the non-Yoruba group were original inhabitants of Ile-Ife, alleging Yoruba were immigrants who usurped authority in their ancestral home.

Other falsehoods, he noted, included a fabricated empire preceding Ile-Ife, assertions unsupported by Ifa Corpus, oral traditions, or credible historical and anthropological research.

Sanwo condemned the distortions as cultural defamation, intellectual dishonesty, and potential ethnic provocation.

He stressed that Ile-Ife remained the undisputed cradle of Yoruba civilisation, recognised worldwide by scholars and authorities.

He said TYF had submitted petitions to Nigerian and international institutions, while raising public awareness to defend Yoruba heritage and intellectual truth against distortion and falsified narratives.

The association urged Yoruba people worldwide to unite in defence of Ile-Ife, while calling on the media to responsibly promote authentic Yoruba history and scholarship.

Sanwo reaffirmed TYF’s commitment to peaceful dialogue and collaboration with traditional rulers, academics, and the press, insisting Yoruba history was sacred, Ile-Ife non-negotiable, and identity indivisible.

The association also appealed to government agencies, universities, and international cultural organisations to support Yoruba scholarship, fund research, and strengthen frameworks preserving African histories and indigenous knowledge systems.

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Late Actress Rebecca Adebimpe Adekola a.k.a Ireti

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Rebecca Adebimpe Adekola a.k.a Ireti | was One of Nigerian Actress That Should Not Be Forgotten In The HISTORY Of Nollywood Film Industry. One of generation of actors who made home videos popular in the 1990s

Aunty Ireti was born in Abeokuta, Ogun State, where she also grew up. Aunty Ireti was a producer, film writer, director and an outstanding actress. Unknown to many, her younger relative, Opeyemi Adekola(Not Odunlade)is also an actor and was inspired to take to the thespian art because of his latè aunty. While speaking with Naijarchives, Mr. Opeyemi Ohiomare Adekola explained that the làte Ireti and his own dad were cousins. Mr. Adekola also revealed to us that while both Odunlade Adekola and their family are both from Oyo State, they hail from different parts: Ireti’s own are from Ogbomosho while Odunlade Adekola is from Otun Ekiti. I guess that lays to rest the popular rum0ur that Odunlade Adekola is Ireti’s younger brother. While an actress, the late Ireti was known for starring in many fl|cks alongside Taiwo Hassan aka Ogogo

Following her d£ath, there was a sp0ntaneous outpouring of grief across the nation. On the 30th September, 2002, her body in a glistening white c0ffin was on display for her last public appearance at the National Theatre, Iganmu Lagos before her ßurial. Ireti mentored many actress in her lifetime, grooming them to become stars in their own right, one of whom is Bisi-Ibidapo Obe aka Omo Logba Logba. Ireti was also the role model for Ibironke Ojo aka Ronke Oshodi-Oke.

HOW DID SHE GET THE NAME ‘IRETI’?

In 1993, Jide Kosoko released a movie titled Asiri Nla and in it, she acted the role of Ireti, and that was how the name stuck.

HER D£ATH

Rebecca Adebimpe Adekola di£d after a brief illn£ss due to some c0mplications susp£cted to be from typh0id f£ver. She gave up the gh0st at Unity Hospital, a private medical center in Surulere, Lagos State
This writeup(Caption) is from Ayeni Abayomi page

In October 2012, ten years after she di£d, the National Association of Nigerian Theatre Arts Practitioners (NANTAP) decided to launch the Ireti Adekola Foundation (IAF) at the National Theatre, Iganmu, Lagos to imm0rtalize her name. The foundation was established to take care of single mothers and mentor upcoming and talented actors and actresses.

In the 1990s before the likes of Jenifa and the rest, Nigerian actress, Rebecca Adebimpe Adekola graced the screen of millions across the nation, especially lovers of Yoruba movies. Popularly known as Ireti, she dazzled many with her acting skills until her d£ath on Friday, 27th September, 2002.

Some of the movie She got starred in includes👇

-IKE OWO
-AGBA AKIN
-OLAONIRAN
-23/24 LORO ILE AYE
-AYE AWA OBINRIN (the last movie she appeared in before her d£mise)

Rest well Legend

You’re a screen g0ddess and one of the few most s0ught after relatively younger actresses who made Nollywood attractive in the late 1990s. You are part of the generation of actors who made home videos popular in the 1990s.

©️Ayeni Abayomi

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Toyin Adegbola: The Enduring Star of Yoruba Cinema

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From “Asewo to Re Mecca” to cultural icon – the remarkable journey of one of Nollywood’s most beloved actresses

Early Life and Family Background

Toyin Adegbola was born on December 28, 1961, in Osun State, Nigeria. She hails from a family with deep creative roots, being the cousin of the legendary actor and filmmaker Adeyemi Afolayan (Ade Love) and his children — among them Kunle Afolayan, Gabriel Afolayan, and Moji Afolayan, all prominent figures in Nigerian cinema.

Growing up in southwestern Nigeria, Toyin’s early exposure to Yoruba culture and storytelling inspired her passion for performance. Before venturing into acting, she worked briefly as a television broadcaster and teacher, experiences that shaped her confidence and communication skills.

Rise to Stardom

Toyin Adegbola began her acting career in 1984, marking her debut in the Yoruba-language sector of Nollywood. She gained national fame after starring in the classic Yoruba film Asewo to Re Mecca (translated as The Prostitute Who Went to Mecca), which earned her the enduring nickname “Toyin Asewo to Re Mecca.”

The film, released during a period when Yoruba cinema was expanding rapidly, portrayed themes of repentance, morality, and redemption, resonating deeply with audiences across Nigeria. Her ability to bring authenticity and emotional depth to complex characters quickly made her one of the most recognisable faces in the industry.

Over the years, she has featured in hundreds of Yoruba films, spanning genres from traditional folklore to contemporary drama. Some of her notable works include:

Deadly Affair (1995)

Irapada (2006)

Arojinle (2018)

Arinola, Alaanu Mi, and Temidire

Through these roles, Toyin Adegbola established herself as a versatile actress, capable of interpreting both comedic and deeply emotional characters.

Beyond Acting: Producer, Director, and Cultural Ambassador

In addition to her acting career, Toyin Adegbola has worked as a producer and director, contributing to the growth of Yoruba-language cinema and mentoring younger filmmakers. Her deep understanding of cultural nuances allows her to bring authenticity to her productions, preserving Yoruba values and traditions through storytelling.

In 2016, she was conferred with the chieftaincy title of Yeye Amuludun of Osogboland by the Ataoja of Osogbo, Oba Jimoh Olanipekun Larooye II. The title, meaning “Mother of Entertainment”, recognised her outstanding contributions to Nigeria’s entertainment industry and her role in promoting Yoruba culture globally.

Legacy and Influence

Toyin Adegbola’s influence extends far beyond the screen. She represents a generation of Nigerian actresses who helped shape the identity of Yoruba cinema before the digital boom of Nollywood. Her continued presence in film and television demonstrates resilience, adaptability, and a commitment to artistic excellence.

She has also served in various capacities within industry associations, advocating for the welfare of actors and supporting emerging talents. In interviews, she has often spoken about the importance of discipline, humility, and cultural pride for those aspiring to build lasting careers in the entertainment sector.

Personal Life

Toyin Adegbola is a mother and grandmother, often described as warm and deeply spiritual. She balances her creative pursuits with community involvement and philanthropic activities, particularly in Osun State. Despite facing personal and professional challenges, she remains one of the most respected figures in Nigerian entertainment.

References

Vanguard Nigeria. (2016). Toyin Adegbola Bags Chieftaincy Title in Osogbo.

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Patricia Olubunmi Etteh: Nigeria’s First Female Speaker of the House of Representatives

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A trailblazer in Nigerian politics and the first woman to lead the country’s House of Representatives

Patricia Olubunmi Etteh remains one of the most notable figures in Nigeria’s democratic history, recognised as the first woman to serve as Speaker of the House of Representatives. Her appointment in June 2007 marked a significant moment for women’s representation in Nigerian politics — a symbolic breakthrough that inspired many across the nation.

Born on August 17, 1953, in Ikire, Osun State, Patricia Etteh trained and worked as a beauty therapist before venturing into politics. She attended the University of Abuja, where she earned a Law degree, demonstrating her commitment to self-development and governance.

Etteh began her political journey as a member of the Alliance for Democracy (AD) and was elected to the House of Representatives in 1999, representing Ayedaade/Isokan/Irewole Federal Constituency of Osun State. Her charisma, grassroots appeal, and advocacy for women’s inclusion in leadership quickly made her a respected voice in the legislature.

In June 2007, she made history when she was elected Speaker of the 6th House of Representatives, becoming the first and only woman to occupy that position in Nigeria’s history. Her emergence was seen as a victory for gender equality and a testament to her political influence within the People’s Democratic Party (PDP).

However, her tenure was short-lived. In October 2007, Etteh faced allegations of financial misconduct related to the renovation of her official residence and the purchase of vehicles for the National Assembly. Though she denied any wrongdoing and maintained that all processes were duly approved, public and political pressure led to her resignation after just five months in office.

Despite the controversy, Patricia Etteh’s impact on Nigerian politics cannot be dismissed. Her rise to the position of Speaker shattered long-standing gender barriers, paving the way for more women to aspire to top political offices. Over the years, she has remained active in political and social advocacy, supporting initiatives that promote women’s empowerment and participation in governance.

Etteh’s story is not merely one of power and controversy — it is a narrative of courage, ambition, and the pursuit of equality in a male-dominated political landscape. As a Yoruba woman from Osun State, her achievement continues to resonate as a source of pride in Nigeria’s democratic history.

Her portrait — often used in educational and historical references — serves as a reminder of the progress made and the journey yet to come for Nigerian women in politics.

References:

National Assembly of Nigeria archives

Daily Trust historical profiles (2007)

Premium Times Nigeria political retrospectives

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