In Yoruba culture, hair is more than just a part of the body; it is a crown, a symbol of identity, and an expression of creativity. Among the Yoruba people, hairstyles in the olden days were of high cultural relevance, a source of storytelling, an index of social status, and a mirror to personal and collective identity. Whether braided, threaded, or even decorated with elaborate adornments, each hairstyle told something different about the age, marital status, spiritual condition, or even mood of the wearer.
Traditional Yoruba hairstyles were not only a testament to the artistic brilliance of the Yoruba people but also a cherished aspect of our heritage. Created with care, using natural oils, combs, threads, and sometimes beads or cowries, these hairstyles required skill, patience, and a deep understanding of the craft. More than just a fashion statement, they were a celebration of Yoruba values, connecting us to our ancestors and community.
This article explores seven iconic hairstyles from olden-day Yoruba communities. Basically, there are two main ways Yoruba women traditionally styled their hair back in the day: Ìrun Dídì (cornrows) and Ìrun Kíkó (threaded hairstyles). We will take a look at the threaded styles and different cornrow styles (as it had many varieties). Each of these natural hairstyles represents the rich tapestry of culture of Yoruba people and takes you back in time when each braid and bead was an indication of something, and everything had a reason behind it.
1. Ìrun Kíkó: The Art of Threading Hair
Ìrun Kíkó, also known as hair threading, is a traditional Yoruba hairstyle involving wrapping sections of hair with black thread to achieve a unique and eye-catching style. This method has been both decorative and protective in nature, hence being one of the cornerstones of Yoruba hair culture through generations.
Cultural Significance
In the Yoruba culture, Ìrun Kíkó was more than a hairdo. The style allowed women to be creative in designing several patterns and shapes with threaded hair. Ìrun Kíkó had practical uses other than aesthetics: it protected hair from damage and breakages while promoting hair length retention.
The threading technique also highlighted the natural beauty and versatility of African hair, symbolizing pride in heritage. Special events, such as weddings and festivals, were times when such a hairstyle was commonplace.
How It Was Done
This hairstyle was made using a special black thread made from plastic or wool. A section of hair is made and then each is wrapped with the thread tightly from its roots to the ends. Depending on the desired outcome, it may be manipulated into several forms such as straight, spiral, or curved shapes.
Ìrun Kíkó can be worn in styles ranging from very simple, practical wear to intricate statement wear. Like cornrows, it also can be made into several variations from looping and crowns to different geometric shapes.
One of these variations include the Police Cap hairstyle women wore during the colonial and post-colonial era. In this style, the threaded sections of the hair are stylishly brought to one side of the front of the face and held down, looking like a police cap (beret).
While in the old days, Ìrun Kíkó was very popular; of late, people have gone back to appreciating this hairstyle for its protective nature and its ability to effectively stretch natural hair.
2. Ṣùkú
One of the most iconic and enduring hairstyles from olden-day Yoruba communities is Ṣùkú. This style is produced by weaving the hair up into an upward bun to give it an elegant and regal look. The name Ṣùkú itself, meaning “round” or “circular,” comes from this shape of the hairstyle.
Cultural Significance
Sùkú had great cultural significance, depicting beauty, youth, and energy. It was normally worn by young women, especially brides-to-be, as part of their wedding preparations or during festive events. This hair was also considered indicative of femininity and preparedness for new responsibilities.
The style was also commonly used by women in communal settings and signified shared values as well as the unity of the Yoruba tradition. It was a versatile hairstyle for both celebrations and everyday life.
How It Was Done:
The making of Sùkú is a process involving skill and precision: to begin, a stylist would section the hair into parts, weaving each braid upward toward the center of the head. Sometimes the hair was divided into symmetrical patterns or artistic shapes and then gathered into a bun. The use of natural oils, such as coconut oil or shea butter, ensured the hair was soft, shiny, and easy to braid.
In some instances, Sùkú was ornamented with decorations such as beads or cowries for beautification. These accessories often had their own meanings, symbolizing wealth, fertility, or spiritual protection.
Present-Day Influence
Although Sùkú originated in olden days, its influence can still be felt within the modern Yoruba communities.
Today, Sùkú hairstyles are worn during cultural festivals, weddings, and even as everyday hairstyles.
The modern stylists have reimagined Sùkú, combining traditional techniques with modern aesthetics to keep this timeless hairstyle alive.
Sùkú remains a testament to the ingenuity and artistry of the Yoruba people, reminding us of the beauty and significance of our cultural heritage.
3. Kolésè:
The Beauty of Natural Coils
The Kolésè is a traditional Yoruba style in which cornrows run from the front or top of the head to the back, close to the neck. This peculiar style is distinguished by the absence of “leg” braids -meaning the braids do not go down the neck but end near the back of the head. The clean, structured cornrows are a representation of natural elegance, making Kolésè a timeless and distinctive look.
Cultural Significance
The name Kolésè is derived from the texture of the hair that was common among Yoruba women in precolonial times. The women often had curly or coily hair, and the hair ends would not lie flat; they would spring up naturally. This no doubt inspired the naming as “Kolésè,” a name closely mirroring the curling motion of the hair’s natural ends.
The Kolésè hairstyle in Yoruba culture is a proud symbol of one’s natural beauty and heritage. More than anything, it was not a fashion statement but reflected an identity and attachment to the wearer’s roots. The style accentuated the hair in its natural texture and hence spoke volumes of the strength and beauty of coiled hair.
Kolésè was made by equally parting the hair, then plaiting them into neat cornrows. These cornrows would begin from the front or top of the head, working their way to the back of the head near the neck, but won’t continue down the neck because of the natural hair texture (or by manually coiling the braid end). The cornrows were meant to be tightly and neatly drawn to show off clean lines and curl of the natural hair at the end.
For ceremonial occasions, Kolésè could be further adorned with accessories like beads or cowrie shells to enhance the style.
Present-Day Influence
The Kolésè hairstyle remains influential even in today’s natural hairstyling trends. It has been in the spotlight on social media recently because of its close similarity to the signature look of the world-famous and incredible singer-songwriter, Alicia Keys.
Many people with curly or coily hair wear hairstyles that reflect Kolésè as a way of paying homage to their cultural heritage by embracing their natural beauty. The braiding technique may vary slightly with modern tools, but the essence of Kolésè -celebrating natural, coiled hair- remains an important part of contemporary African hair culture.
4. Korobá:
The Upturned Basket Style
Korobá is one of the most recognizable and enduring hairstyles in Yoruba culture. Its name comes from the striking resemblance it holds with an upturned bucket. This distinctive design features braids that go from the center of the head outward to all sides, creating a basket-like appearance that is both elegant and practical.
Cultural Significance
The Korobá hairstyle has long been one of the symbols of beauty and cultural pride among the women of Yoruba. Its design reflects resourcefulness and creativity, with Nigerian traditions reflecting unity and balance in its neat and symmetrical structure. The style was popular for everyday life as well as festive occasions, making it a versatile choice for both simplicity and sophistication.
How It Was Made:
In creating Korobá, the stylist starts from the top of the head, braiding small, even sections outward in a circle. The outcome is clean and symmetrical cornrows that bring out the wearer’s natural features while exuding cultural elegance.
The style could be made more elaborate with beads, cowries, or colorful threads to give it a festive look and make it fit for weddings, ceremonies, or other special events.
Present-Day Influence
The Korobá hairstyle has remained a favorite among ladies who want to identify with their cultural heritage and still look timeless. The hairstyle has seen some modern variations, like incorporating longer extensions or bold colors. It continues being a go-to style for people wanting a unique and traditional look and has become used for photoshoots for this same reason.
With its rich history and its special aesthetic, Korobá stands as testimony to the artistry and genius of Yoruba hairstyling traditions.
5. Èkó Bridge:
A Bold Symbol of Lagos
The Èkó Bridge hairstyle is an inspired and symbolic Yoruba hairstyle, representing some of the major bridges in Lagos, Nigeria, such as the Eko Bridge itself. This style captures the essence of urban life and connectivity in Lagos, the bustling city often considered the heartbeat of Nigeria.
The name of this style is derived from the famous Eko Bridge in Lagos and signifies the city’s importance as a hub of activity and progress. The Èkó Bridge hairstyle was a form of art and a means of celebrating significant landmarks, events, and social concepts. It was mostly worn for special occasions and displayed a mixture of ingenuity and pride in the heritage.
How It Is Made:
In this style, the hair is parted into about 10 sections. Each section is then threaded and put together to form something similar to a bridge over the middle of the head. This is its focal point resembling an actual bridge with its characteristic arch and supporting structure.
To enhance the design, the stylist carefully arranges the braids to create a symmetrical, eye-catching pattern. The result is a hairstyle that not only stands out but also carries deep cultural symbolism.
6. Ìpàkó Àlèdè
Ipakò Alède is a Yoruba traditional hairstyle made with straight cornrows running from the back of the head to the front. The term ipako alède describes how the braids are set in the shape of the “occiput of a pig”. In this hairstyle, cornrows are beautifully woven to a sleek and orderly pattern straight to the face from the nape of the neck forward to the forehead.
It symbolizes neatness and good discipline in nature, often reserved for formal or ceremonial purposes. It is a hairstyle that intends to show the skill it takes to achieve a symmetrical look, with perfect alignments of each cornrow.
In Yoruba culture, the Ìpàkó Àlèdè was typically worn by women to show regard for their appearance and ability to keep a very elaborate hairstyle, which was also supposed to be an indicator of social status and attention to detail.
7. Pàtéwó
Pàtéwó, which literally means “clap your hands” in Yoruba, is a hairstyle symbolic and functional at the same time. It gets this name from how the braids are made to meet in the middle of the head, like two hands meeting either to pray or to clap. It is somewhat similar to the commonly known ṣádé hairstyle.
Cultural Significance:
Pàtéwó was generally a natural hairstyle for kids and women during big cultural events or just as a casual wear because it looks neat and elegant.
How It Was Made:
The hair is partitioned into two portions in making Pàtéwó. Each portion is cornrowed toward the center of the head, where the two sides meet to provide a symmetrical and clean finish. The braids are usually fine and quite close together so that the style will look neat and tidy. The middle meeting point can either be done with beads and cowries or remain empty, depending on the choice of the person wearing it……!
Nollywood actress Cynthia Anijekwu has made an emotional appeal to Nigerians for financial assistance after revealing that she is battling cancer for the second time.
In a video circulating on social media on Tuesday, the actress disclosed that she was first diagnosed with cancer in 2023, when she underwent surgery followed by chemotherapy in a bid to halt the disease.
She maintained that doctors initially managed the condition after the treatment, but the cancer later returned and has since spread to her bones, requiring more intensive care, including radiation therapy and another surgery.
According to Anijekwu, recent medical examinations revealed that the cancer has spread to her bones, significantly increasing the cost and complexity of her treatment up to N600,000 every month.
The actress said doctors have recommended radiation therapy and another surgery as part of her ongoing care.
“I have cancer in 2023 (sic). I did my surgery and took chemotherapy, but later it came back again. I’ve been in and out of the hospital. The doctor recently told me it has reached my bones, and the treatment is now much more expensive,” she said.
“I need to live. I need to survive. I’m asking Nigerians to please help me. Anyone that can help, please, I need help. Even my hands have swollen. The cancer has affected both breasts. I need to live. Please help me. I need to survive.
“Your one naira, your two naira can add up to something reasonable for me to get the proper treatment for this cancer. I’m begging you, please help me,” she pleaded.
Before her health challenge became public, Anijekwu built her career in Nollywood, featuring in several English- and Igbo-language productions.
However, there is no publicly verifiable record identifying a major blockbuster film or comprehensive filmography associated with the actress, as public attention has largely shifted to her battle with cancer in recent years.
The actress said the financial burden has become overwhelming for her family, prompting her to seek help from members of the public.
A masked Nigerian surrogate mother has opened up about how financial hardship and what she described as an irresponsible partner led her to become a surrogate, saying the decision came after the loss of her second child.
The woman disclosed this during a new episode on Cruise TV published on YouTube on Sunday, where she recounted the emotional, financial and psychological realities of carrying children for other families.
She said becoming a surrogate was one of the hardest decisions she had ever made, describing the emotional attachment that develops during pregnancy despite knowing the child does not belong to her.
“Emotionally it’s not easy. Even when I started the journey, when the pregnancy was three months, I called my nurse that I don’t think I can cope again because it’s not easy to carry what is not yours.
“When you start having the emotional attachment, you keep reminding yourself that this is not mine. I tell myself it is a job, and that helps me cope, but the emotions still come and go.”
The woman explained that she became a gestational surrogate through IVF, meaning she had no biological connection to the babies she carried.
Speaking on what pushed her into surrogacy, she said her partner failed to provide for the family despite her efforts to support them.
“I had my first child. Unfortunately, my husband is not the person that is hardworking and he doesn’t take responsibility. I do work. There is no work I cannot do.
“When I became pregnant the second time, I could no longer work. We couldn’t even afford hospital bills.”
She said complications during the pregnancy eventually led to the death of the baby, an experience that changed her outlook.
“That baby died, and that was the reason I made that decision. Instead of giving him another baby, I would rather help people who have the money to take care of me.
“If you don’t have the money to care for my health, I won’t do it for you.”
She disclosed that she initially declined financial compensation beyond medical care, accommodation and allowances, a decision she now regrets.
“I told them I didn’t want any compensation aside from the process, monthly allowance, wardrobe allowance and accommodation fee, but that was a mistake.
“I won’t do it again,” she said.
The surrogate mother also said she would not encourage her daughter to follow the same path because of the emotional and health risks involved.
“I cannot advise my daughter to be a surrogate.”
She added that she relocated during one of her pregnancies to avoid stigma and often told people the baby had died whenever they asked questions.
According to her, surrogate mothers also face psychological challenges after delivery despite undergoing counselling before and after childbirth.
While acknowledging that surrogacy has helped many couples struggling with infertility, she maintained that the process is far more demanding than many people realise.
“Surrogacy is not as simple as people think.”
She called for stronger regulation of the practice to protect surrogate mothers from exploitation and ensure adequate emotional and financial support.
Veteran Nollywood actor, Ricardo Agbor, has opened up about his 18-year journey to parenthood, revealing that he and his wife waited nearly two decades before welcoming their twins.
The actor disclosed this during an interview with AfricanAList published on Sunday, where he reflected on his marriage, faith and the challenges he faced before becoming a father.
Agbor said he remained committed to his wife throughout the period, despite the long wait for children.
“I wanted to get married to a particular lady; I married her regardless of where she is from. She is not from my tribe. So ordinarily, we were supposed to have strife; no, it was very fair,” he said.
Speaking about the couple’s struggle with childlessness, the actor said he specifically prayed for twins and refused to give up despite waiting for 18 years.
“It took 18 years for me to have the twins. And I waited. God knows, 18 years and they are 14 now, so I told God I wanted twins.
“So while that wait was on, if it were someone else, he would cross. But at the end of the day, I have twins. I have a boy and a girl. I asked God what I wanted,” he added.
Agbor also recounted what he described as the most painful experience of his life — the death of his mother.
According to him, she had been receiving treatment for about three weeks without any improvement before doctors advised that she should be flown to South Africa for further medical care.
The actor said his mother requested to be moved to another private hospital in Surulere, but she died in his arms while he was helping her into the car.
“My mom died right in my arms. At the hospital, they were bringing almost 10 doctors to do tests… the sickness was not improving after almost three weeks.
“It was after three weeks that they told me to come and carry my mom and take her to South Africa. I took my mom away and took her to another private hospital within Surulere. It was my mom that told me to take her away from that place. As I was carrying her into the car, she gave up,” he said.
Agbor said the loss left him devastated, noting that it was the first time he had cried outside acting.
“I think that was the first time I cried in my life. I don’t cry. If I cry, maybe it is in a movie and it is a role. So I cried. It was painful,” he added.
