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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.

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?

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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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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