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PHOTOS: The Soldier Idumota Cenotaph — Nigeria’s Monument to the Unknown and the Forgotten

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Perched in many Nigerians’ memory as a solemn reminder of service and sacrifice, the Soldier Idumota Cenotaph (often referred to in public conversation as the “Tomb of the Unknown Soldier”) commemorates the thousands of West Africans who served — and died — in the two world wars. Erected in the colonial era to mark Nigerian contributions to Britain’s war efforts, the cenotaph has also come to symbolise a wider national duty to remember those whose names and graves were lost to distant battlefields.

A colonial-era memorial with local meaning

The memorial was commissioned after the Second World War as part of a broader imperial practice of erecting cenotaphs to honour soldiers who fell in the Great War and World War II. For Nigerians it had the added importance of publicly acknowledging African manpower and sacrifice at a time when such contributions were too often marginalised in metropolitan histories.

Form and symbolism

The monument pairs two figures in bronze: a soldier and a carrier. These figures are usually described in contemporary accounts as representing the combatant troops of the Nigeria Regiment and the men of the Nigeria Carrier Corps — the latter being the porters and logistical personnel whose work was essential to Allied campaigns in Africa and elsewhere. The juxtaposition of the armed combatant and the carrier emphasizes that victory in large-scale wars depended not only on front-line infantry but also on the largely uncelebrated labour of carriers, orderlies and support staff.

Because many surviving descriptions in public sources are descriptive rather than archival, it is safest to describe the figures by role (soldier; carrier) rather than assign specific ethnic labels to them unless a primary source confirms such identification.

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Sites and movement: from Idumota to national remembrance

Originally installed in Idumota, a busy commercial district on Lagos Island, the memorial served for years as a focal point for Remembrance Day ceremonies and local acts of commemoration. As Nigeria’s political geography and national institutions evolved after independence, the cenotaph’s place of honour also shifted. Public accounts indicate that the monument was moved to Tafawa Balewa Square in Lagos for some decades, and that a national cenotaph and war-memorial complex in Abuja later incorporated or replaced the Lagos memorial as the principal federal site for national remembrance.

The exact dates and administrative details of those relocations vary in different accounts: contemporary newspapers, government gazettes and archival records offer the strongest route to precise confirmation. What is clear, however, is the monument’s continuing role: wreath-laying and remembrance ceremonies (notably around Armed Forces Remembrance Day) keep the memorial alive as a site of national memory.

National and historical significance

Beyond its original imperial context, the Soldier Idumota Cenotaph today stands as: a public recognition of West Africans’ wartime service;

a reminder of the logistical and human costs of global conflict; and a meeting point where veterans’ families, service organizations and the state perform rituals of remembrance.

In that sense it functions similarly to “unknown soldier” monuments elsewhere in the world: it is less about a single individual than about collective loss and national responsibility to remember.

Preservation, interpretation and contested histories

Like many colonial-era monuments in postcolonial settings, the cenotaph raises questions about interpretation and stewardship. Whose stories are told at the site? Which archives have been used (or neglected) when the memorial’s history is narrated? How have relocations and restorations changed the public’s access to — and understanding of — the monument?

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Answering these questions requires archival work and cross-referencing: colonial government orders, Lagos city planning records, National Commission for Museums and Monuments files, and contemporary press coverage all shed light on the cenotaph’s provenance and movements.

Sources:
Nigerian National War Memorial archives

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Declare Your Lineage – Royal Family Tells Musician KWAM 1 Over His Interest In Becoming Next Awujale Of Ijebuland

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KWAM 1, in a letter dated December 3, 2025, addressed to the chairman of the Fusengbuwa Ruling House in Agunsebi Quarters, Ijebu-Ode, announced his interest in the stool, describing himself as a “bonafide son” of the ruling house.

The Fusengbuwa ruling house of Ijebu-Ode, next in line to produce the new Awujale of Ijebuland, Ogun State, has instructed Fuji musician Wasiu Ayinde, popularly known as KWAM 1, to confirm his family’s royal lineage to validate his membership in the ruling house.

KWAM 1, in a letter dated December 3, 2025, addressed to the chairman of the Fusengbuwa Ruling House in Agunsebi Quarters, Ijebu-Ode, announced his interest in the stool, describing himself as a “bonafide son” of the ruling house.

KWAM 1 also stated that his candidacy aligns with Ijebu customary law and the Ogun State Chieftaincy Laws.

In an interview with Punch, the Chairman of the ruling house and former National President of the Institute of Chartered Accountants of Nigeria, Abdulateef Owoyemi, said only bonafide members of the family would be allowed to participate in the selection process.

Owoyemi explained that KWAM 1, Olori Omooba of Ijebu land and others interested in the stool have been directed to complete the Fusengbuwa ruling house royal lineage data form.

According to him, the form, which requires contenders to trace their genealogy back seven generations, ensures that only genuine princes from the family can participate, thereby blocking “strangers” from claiming the throne.

He said, “The first step for anyone interested in contesting for the Awujale throne is to declare their lineage by filling the standard Fusengbuwa ruling house royal lineage data form. Once confirmed as a legitimate member of the ruling house, they can then apply for the expression of interest form.

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“We have told him, just like everyone else interested in the Awujale throne, that the first step is to declare his lineage. He will do this by completing the royal lineage data form, showing his full name, which parent and grandparent he descends from, and continuing up to seven generations.

“The completed form will be signed and submitted to the head of the ruling house unit of the Fusengbuwa ruling house, who will affirm that he is a genuine member. Only then will the process move forward.”

Owoyemi emphasised that although the application window for the throne officially closed on December 5, KWAM 1 had been given a five-day extension, which would lapse on December 10.

He noted, “We won’t shut anybody out of picking the next Awujale, but we must ensure that you are a legitimate member of Fusengbuwa. Every right comes with responsibilities. For a royal family, everyone must prove their legitimacy by completing the royal lineage data form.

“When we receive the form, we will review it meticulously. If clarification is needed, we will contact the applicant. We welcome men of influence who will use their influence to enhance the throne, not to claim it, ensuring that what truly belongs to our family is preserved.”

Owoyemi explained that the local government has given them 14 days to select candidates, and the ruling house hopes to have a new Awujale by the second or third week of January 2026.

He added, “The local government has given us 14 days to select candidates, which expires on December 18. After that, the kingmakers have seven days to deliberate and choose one candidate, whose name will be forwarded to the governor.

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“Legally, the government then has 21 days to conduct background checks and security clearance, allowing for objections or protests. After this period, the State Executive Council will ratify the nominee, and the governor will announce the next Awujale, after which coronation rites will commence.

“So, combining the candidate selection, kingmakers’ deliberation, and legal objection period, we are looking at around 42 days. Therefore, we expect the next Awujale to emerge between the second and third week of January.”

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VIDEO: I’m Married But Not In My Husband’s House; I Didn’t Have The Experience Of Living Happily Ever After – Singer Shola Allyson Reveals

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While speaking about her love life, the 54-year-old who came into limelight with a love album ‘Eji Owuro’, revealed that she is married but not living with her husband.

Sola Allyson, the popular Nigerian gospel singer, has revealed that she is not currently living with her husband.

The musician made this known in her latest interview on Oyinmomo TV.

While speaking about her love life, the 54-year-old who came into limelight with a love album ‘Eji Owuro’, revealed that she is married but not living with her husband.

Sharing her marital experience, the singer said she has never enjoyed the kind of happiness many people describe.

“I’m married, but I’m not in my husband’s house. We live separately. He in his house and I in mine.”

The interviewer asked: “You sang ‘Eji Owuro’, did you experience genuine love from your husband?

She replied, “We lied before. Those older than us didn’t inform us that it’s tough. They made us believe that so long as you both love each other, you will live happily ever after, but it’s a lie.

“That’s not the experience I have. I didn’t have the experience of living happily ever after. I did all I could to make it work.

“Marriage has been a big challenge. I hear people talk about joy in marriage, but I have never experienced it.”

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VIDEO: Shola Allyson Finally Opens Up, Reveals Why She Does Not Reference Jesus In Her Songs

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Recall that Allyson, who is regarded as a gospel singer, was dragged on social media in March 2025 for not directly referencing ‘Jesus’ in all her songs.

Shola Allyson, the renowned Nigerian songstress, has opened up on the real reason she avoids mentioning the name of Jesus in all her songs.

Recall that Allyson, who is regarded as a gospel singer, was dragged on social media in March 2025 for not directly referencing ‘Jesus’ in all her songs.

Reacting to her critics in a post on X, the songstress stated that “No one can bully me into joining their darkness that looks like light because indolent souls find comfort in it”.

Finally revealing her reason for not mentioning Jesus in her songs, Shola Allyson on Saturday during her latest interview on Oyinmomo TV, stated that Jesus did not ask her to do PR for him.

She said “I’m not a religious singer. As I am, I have never introduced myself as a gospel singer. My name is Shola Allyson. I’m a singer”.

Interviewer; “Some people said you don’t mention ‘Jesus’ name’ in all your songs”.

She quickly responded “Jesus did not instruct us to mention his name in songs nor did Jesus ask us to do PR for Him”.

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