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.

FOLLOW US ON:

FACEBOOK

TWITTER

PINTEREST

TIKTOK

YOUTUBE

LINKEDIN

TUMBLR

INSTAGRAM

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

FOLLOW US ON:

FACEBOOK

TWITTER

PINTEREST

TIKTOK

YOUTUBE

LINKEDIN

TUMBLR

INSTAGRAM

Lieutenant General Onyeabor Azubuike Ihejirika, CFR (b. February 13, 1956), is a retired Nigerian Army officer who served as the Chief of Army Staff (COAS) from September 2010 to January 2014.

His tenure marked a decisive moment in Nigeria’s fight against Boko Haram, as he spearheaded reforms that reshaped the Army’s counter-terrorism strategy and infrastructure.

He also holds historical significance as the first Igbo officer to be appointed Chief of Army Staff since the Nigerian Civil War (1967–1970)—a development that carried deep symbolic weight in the country’s post-war reconciliation.

Early Life and Military Career

Born in Isuikwuato, Abia State, Ihejirika excelled in academics and graduated from Williams Memorial High School in 1975.

He joined the Nigerian Defence Academy and was commissioned into the Army Engineers Corps as a second lieutenant in December 1977.

He expanded his expertise with a BSc in Quantity Surveying from Ahmadu Bello University, and attended the Armed Forces Command and Staff College, Jaji, as well as the National War College, Nigeria.

Over his military career, he held several critical positions, including:

Commander, 41 Division Engineers

Acting General Officer Commanding (GOC), 1 Division

GOC, 81 Division

Principal Staff Officer at Defence and Army Headquarters

Directing Staff, Command and Staff College

These posts prepared him for the challenges he would later face as Nigeria’s Army Chief.

Tenure as Chief of Army Staff

Appointed in 2010 by President Goodluck Jonathan, Ihejirika assumed command at the height of Boko Haram’s insurgency.

His leadership was defined by reforms and operational strategies that targeted Nigeria’s evolving security threats.

Expansion of Army Deployment

He established new army brigades in the North-East, increasing the military’s footprint in the region most affected by Boko Haram.

Building Counter-Terrorism Capacity

Ihejirika created specialized schools for counter-terrorism and counter-insurgency, professionalizing the Army’s response to asymmetric warfare.

Strengthening Doctrine and Discipline

He cautioned soldiers against collusion with insurgents and introduced reforms in training, barracks infrastructure, and special unit formation.

These measures aimed to improve morale, effectiveness, and loyalty within the ranks.

Public Accountability

In 2012, he publicly reported that Boko Haram had killed more than 3,000 Nigerians since 2009, underscoring the scale of the crisis and the need for new military doctrines.

Controversy and Exoneration

In 2014, Australian hostage negotiator Stephen Davis alleged that Ihejirika, alongside former Borno governor Ali Modu Sheriff, had funded Boko Haram. Ihejirika strongly denied the accusations and filed a N100 billion defamation suit.

The State Security Service (SSS) later cleared his name. Spokesperson Marilyn Ogar described the allegations as “wicked and uncharitable,” praising Ihejirika’s counter-insurgency efforts (Daily Trust, 2014).

Legacy and Recognition

After his retirement in January 2014, Ihejirika was honored in his community with the chieftaincy title “Dike Abia” (Warrior of Abia). His legacy rests on:

Strengthening Nigeria’s military structures during the insurgency.

Building specialized counter-terrorism institutions and training.

Serving as a historic symbol of national unity as the first Igbo Army Chief post-civil war.

Today, he remains an important voice in discussions on Nigerian military reform, counter-terrorism policy, and national service.

Sources
Daily Trust – SSS exoneration and related commentary

FOLLOW US ON:

FACEBOOK

TWITTER

PINTEREST

TIKTOK

YOUTUBE

LINKEDIN

TUMBLR

INSTAGRAM