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……!
The Emir of Ilorin and Chairman of the Kwara State Traditional Rulers Council, Alhaji Ibrahim Sulu-Gambari, CFR, has congratulated the Muslim Ummah on the occasion of the Islamic New Year, 1st Muharram, 1448 A.H.
He noted that the migration of Prophet Muhammad (SAW) from Makkah to Madinah established the foundation for justice, brotherhood, and community building, as well as values that are urgently needed for global peace.
Sulu-Gambari stated this in a goodwill message issued on Tuesday by his spokesman, Abdulazeez Arowona, describing the Hijrah as a timeless reminder of sacrifice, perseverance, and faith in Allah’s divine plan.
The monarch noted, “Hijrah teaches us that hard times do not last forever. As we enter 1448 A.H., I urge Muslims to renew their commitment to piety, peaceful coexistence, and service to humanity.”
He appealed to Nigerians to use the new year to pray for peace, unity, and economic prosperity at all levels, while urging religious and political leaders to avoid divisive utterances capable of causing rancour in society and to promote messages that strengthen national cohesion.
The Emir further commended Governor AbdulRahman AbdulRazaq for his administration’s support for religious harmony and urged youths to emulate the discipline and courage of the early Muslims by shunning violence, drug abuse, and other social vices.
Sulu-Gambari also offered special prayers for the repose of the soul of the late Prof. Yusuf Lanre Badmos, whose relentless efforts, scholarship, and devotion to the National Hijrah Organisation, Kwara State Chapter, significantly advanced the commemoration of Hijrah and the propagation of Islamic values during his lifetime.
He prayed that Almighty Allah (SWT) forgive his shortcomings, accept his good deeds, and grant him Al-Jannatul Firdaus.
“May the New Year inspire us to be our brother’s keeper. I pray Almighty Allah (SWT) grants us good health, abundant blessings, and accepts our acts of worship,” the Emir added.
How much has changed since that tragic night of June 13, 2025? Have the survivors of the massacre found healing and security, or are they still trapped by fear, poverty and painful memories? JOHN CHARLES visited Yelewata on Saturday and reports on a community still searching for answers
In Yelewata, memories do not live in photographs alone; they stand in burnt walls, empty compounds and the tears of survivors who still struggle to understand why hundreds of their neighbours never lived to see another sunrise.
The tears came without warning.
Standing before the charred remains of a house in Yelewata, Saaondo, a middle aged man, could no longer hold back the memories. Around him, prayers echoed from a memorial Mass organised to honour victims of the June 13, 2025 massacre. But for him, the tragedy was not history; it was a wound that reopened with every glance at the ruins.
A year ago, fate spared him. He had travelled out of the community just hours before armed attackers stormed Yelewata, killing hundreds and setting homes ablaze. Those he left behind never escaped.
Last Saturday, as the community marked the first anniversary of the attack, the sorrow was unmistakable. Behind the speeches, prayers and unveiling of a monument bearing 272 names was a painful reality: while the dead are being remembered, many survivors say they are yet to rebuild their lives.
One of the leaders of Yelewata community, Matthew Mnyan, noticed Saaondo standing alone and quietly approached him. Concerned, he asked why he had stepped away from the memorial Mass and appeared deeply troubled.
The man’s response was enough to melt even the hardest heart.
‘I would have died too’
Pointing to the burnt remains of a house nearby, Saaondo said, “I left this particular house for Makurdi on the eve of June 13. But all the occupants of the house were killed and burnt when the marauders invaded Yelewata. If I had been around that night, I would have been among those being remembered at this memorial today.”
His grief reflected the mood in Yelewata last Saturday as the once-sleepy community again played host to visitors from different walks of life. They had not come to celebrate a festival or honour a prominent figure. Rather, they had gathered to mark the first anniversary of the deadly attack that left the community devastated.
Yelewata, located along the Lafia-Makurdi Federal Highway in Guma Local Government Area of Benue State, came under a brutal attack on June 13, 2025. The assault, which reportedly lasted about four hours, drew national and international attention. Initial reports put the death toll at about 200.
However, with the unveiling of a memorial monument in honour of the victims during the first anniversary commemoration, the number of those killed was officially put at 272, including 67 children.
According to Franc Utoo, a native of the community and Director of Advocacy for the US-based non-profit organisation, Equipping The Persecuted, which funded the Yelewata Genocide Memorial Monument, the project was conceived to ensure that the victims are never forgotten.
“By choosing to erect this monument, the organisation affirms that those slain in Yelewata must never be reduced to a passing headline or anonymous casualty figures. They must be remembered with dignity, permanence and honour,” he said.
He added, “As the first monument of its kind in Benue State, it occupies a historic place in the moral landscape of remembrance. It preserves the names of the 272 members of the Yelewata community who were killed — 67 children, 83 women and 122 men — and places before the world a solemn record of lives violently taken.”
As residents and visitors marked the anniversary, it became evident that Yelewata is still struggling to recover from the tragedy. Twelve months after the attack, the scars remain visible and the pain is far from over.
Memorial service
Delivering his homily at the memorial Mass, the Catholic Bishop of Makurdi Diocese, Most Rev. Wilfred Anagbe, called on government at all levels to adopt a deliberate policy of resettling displaced persons in their ancestral communities rather than keeping them indefinitely in makeshift Internally Displaced Persons camps.
According to the bishop, the continued confinement of displaced persons in camps for fear of further attacks amounts to a defeatist approach and projects the government as powerless in the face of insecurity.
He argued that keeping otherwise productive members of communities in camps where they depend largely on charity is counterproductive to their physical and psychological well-being and ultimately undermines their dignity.
Anagbe also faulted the Benue and Nasarawa State governments for what he described as negligence, accusing them of failing to act on intelligence reports that allegedly warned of the impending attack on Yelewata.
Despite the tragedy, the bishop commended the resilience of the people of Yelewata, noting that they have remained steadfast in the face of immense physical and psychological trauma.
He assured them that the Christian community across the world continues to stand with them in prayer and solidarity.
Moro blasts FG
In his remarks, Senate Minority Leader Abba Moro criticised the Federal Government and Nigeria’s political class for what he described as their failure to fully appreciate the magnitude of the insecurity confronting the nation.
Moro accused the government of avoiding uncomfortable truths and warned that refusing to confront the problem head-on would not make it disappear.
Taking a swipe at the country’s political elite, he asked: “Can we, in all honesty, go around during campaigns and ask the people to vote for us again when the mandate already entrusted to us has not been effectively deployed for their well-being? We need to wake up.”
How are survivors faring?
For many residents, the first anniversary of the attack was not only a time to remember the dead but also an opportunity to draw attention to the plight of the living.
A community leader, Matthew Mnyan, painted a grim picture of life in Yelewata one year after the tragedy, lamenting that many survivors are still struggling to rebuild their lives.
According to him, poverty has deepened in the community, while insecurity remains a major concern.
He said residents still live in fear and cannot venture far from the community or freely access their farms because of persistent security threats.
Mnyan cited the case of a young girl who was allegedly sexually assaulted while fetching firewood in a nearby bush.
“People of Yelewata and neighbouring communities, especially Udei, are still living in fear. They cannot access their farms because of recurring attacks in the area,” he said.
“There is a case involving a young girl that I am still pursuing. She was sent to fetch firewood from a nearby bush and was allegedly molested by four suspected herders. Incidents like this show that our people are still vulnerable.
“The level of poverty has also increased because many people who relied on small-scale businesses and other means of livelihood have not been able to recover from the attack.”
Mnyan also criticised the Technical Committee on Donations for Internally Displaced Persons, headed by the Secretary to the Benue State Government, Deborah Aber, accusing it of not doing enough to alleviate the suffering of survivors.
“While the government may believe it has done a lot, many people in the community feel otherwise,” he said.
The community leader said residents had advised the state government on how best to utilise donations received from individuals and organisations, including the contribution made by the First Lady Oluremi Tinubu, but alleged that the funds had not been effectively deployed for the benefit of victims.
In March this year, the Secretary to the State Government announced that the committee had received about N1.25bn in donations from various sources, including N1bn donated by the First Lady following the attack.
Mnyan said the community had proposed that a substantial part of the funds be used to resettle displaced residents and support their economic recovery.
“We suggested that some of the money should be given to affected persons as start-up capital for small businesses, while markets and other facilities that would help restore livelihoods should also be provided,” he said.
He further alleged that some of the beneficiaries selected by the committee were not among the names submitted by the community.
According to him, residents raised concerns that the list used for the distribution of assistance did not accurately reflect those affected by the attack.
Mnyan also questioned the quality of some of the housing projects being executed for displaced persons, alleging that some of the buildings had already begun to develop cracks.
He called on Governor Hyacinth Alia to personally visit the community and assess the situation on the ground.
“I am not sure the governor is fully aware of what is happening. I urge him to come and see things for himself, inspect the projects and hear directly from the people of Yelewata,” he said.
Mnyan further expressed concern that several directives issued by President Bola Tinubu during his condolence visit to Benue State had yet to be implemented.
However, the Benue State Emergency Management Agency presented a different account of the situation.
The agency’s Information Officer, Tena Ager, said some displaced persons from Yelewata had already been resettled, while others remained at the International Market IDP camp.
According to him, more than 1,000 completed housing units have been allocated to displaced persons, while the government has acquired additional land in the community for the development of social infrastructure, including a mosque, church, hospital and market.
“Government has also provided cash assistance and other relief materials to the people of Yelewata,” Ager said.
Actor Olanrewaju Omiyinka, popularly known as Baba Ijesha, has announced the birth of his son.
The actor disclosed this in an Instagram post on Monday, sharing a maternity photoshoot featuring himself and his wife.
Expressing gratitude to God, Baba Ijesha revealed that the couple welcomed a baby boy named King Kagar Omiyinka.
He wrote, “In quiet ways, in unseen ways, God has been writing a story only He could tell. We thank the Almighty for blessing us with a healthy baby boy.
“God gave me more than I prayed for. My ever beautiful wife, strong Jagaban, Abikese de mi owo, @ceolumineeofficial, who became the mother of my son, King Kagar Omiyinka.”
The announcement attracted congratulatory messages from fans and colleagues in the entertainment industry.
Baba Ijesha was released from prison in November 2025 after serving a jail term following his conviction in a child sexual assault case.
